Stefan “The Foosh” Cabezas serves as the technical director for KFI AM 640 shows The Tim Conway Show and Later with Mo Kelly.
Cabezas is recovering in the ICU after being pulled from a burning car by three good Samaritans following a crash on the 105 Freeway last week.
The accident occurred when Cabezas was attempting to change lanes and was cut off by another driver, sending his vehicle into a guardrail before it flipped and caught fire. His mother said his arm was outside the window during the rollover, leaving him trapped as flames spread. A fourth bystander applied a tourniquet after he was freed.
Police say without their actions, Cabezas would not have survived.
“We went three hours yesterday, panicking and trying to figure out where he was,” KFI host Tim Conway Jr. told KTLA. “I thought he was gone. I had the worst feeling in the world.”
Cabezas underwent surgery at Harbor-UCLA Medical Center and remains on a ventilator after a second operation. His family says more surgeries are expected.
Friends and relatives are now searching for the individuals who saved his life so they can be thanked in person. Outside of his radio duties, Cabezas drives for Uber, and his injuries will keep him out of work for an extended period. A GoFundMe page has been created to assist with medical expenses.
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“The Dave & Mahoney Show” is taking over mornings at Rock 104.5 KDOT, Reno. The show will take the spot previously held by “Rob, Anybody & Dawn,” which ended last month.
Rock 104.5 is the 50th affiliate for the Phoenix-based morning show.
Dave Farra, co-host of Dave and Mahoney, said, “Expanding beyond Las Vegas to now include Reno and Rock 104.5 coming on as our 50th affiliate is truly a dream realized.”
“Lotus is a top-tier operator, and partnering with them in a state we absolutely love is an opportunity we’re excited to run with. Huge thanks to Jim, Greg, and Chris at Lotus for trusting us to carry the torch at Rock 104.5. And hey—do Lake Tahoe trips count as legit business expenses now?”
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iHeartMedia has announced it has appointed Lisa Coffey to serve as the company’s new Chief Business Officer.
In the newly created role, Coffey will oversee the company’s development and revenue of its Advance Advertising Products and platforms. She will report directly to iHeartMedia Chairman and CEO Bob Pittman and iHeart’s President, COO, and CFO Rich Bressler.
“I’m excited to join iHeartMedia, a premier brand in the advertising industry,” said Coffey. “The opportunity to drive innovation that modernizes audio and integrates live audiences into the digital ecosystem, aligned with how brands buy and transact today, is incredibly compelling.
“And because broadcast radio has 3 to 4 times the reach of any streaming audio service, and is over two-thirds of the total daily audio usage by consumers, I look forward to launching a platform that makes those audiences addressable and scalable for the advertising and marketing community,” she continued.
“We’ve been working to transform our broadcast advertising media to a more digital-like product, including strong data, attribution and targeting capabilities as well as creating new marketing and advertising products,” Pittman said. “Lisa’s unique skills and experience will enable us to take the critical next step in bringing this to market. We’re thrilled that Lisa has joined our team, and we’re confident that Lisa is exceptionally well-suited to lead this critical growth initiative for iHeartMedia, helping us unlock the full potential of our scale, platforms and content.”
Coffey joins iHeartMedia from Loop Me, where she served as the Global Chief Revenue Officer. She also previously worked in leadership positions at Amazon, including working as the Head of Business Development for Amazon Hub and Head of Agency Development, where she helped found Amazon Advertising.
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In a sweeping shift for combat sports distribution, UFC and Paramount has reached an exclusive seven-year agreement to carry UFC’s full slate of events beginning in 2026 — ending the mixed martial arts organization’s long-standing Pay-Per-View model in the United States.
The deal, valued at an average annual $1.1 billion, will see all 13 numbered UFC events and 30 Fight Nights each year available to Paramount+ subscribers at no additional cost. Select marquee events will also simulcast on CBS, providing the sport with its largest potential broadcast reach to date.
“I couldn’t be more excited to join forces with Dana, Ari, and Mark,” Paramount Chairman and CEO David Ellison said. “Rarely do opportunities arise to partner exclusively with a global sports powerhouse like UFC. Live sports remain a cornerstone of our strategy — driving engagement, subscriber growth, and long-term loyalty — and adding UFC’s must-watch events to our platforms is a major win.”
For fans, the change means premium UFC events that once required a $70-plus PPV purchase will now be part of the standard Paramount+ package. For Paramount, it’s a bold play to leverage one of the most valuable properties in global sports to drive both streaming and broadcast engagement.
The UFC’s decision to move away from its lucrative but limited Pay-Per-View model comes as media companies increasingly prioritize accessibility and subscription growth over one-off purchases. By placing its top-tier events in front of a broader audience without an extra fee, UFC is betting the exposure will expand its fan base, bolster sponsorship opportunities, and create long-term value.
“This is a milestone moment and landmark deal for UFC, solidifying its position as a preeminent global sports asset,” said Ariel Emanuel, executive chair and CEO of TKO, UFC’s parent company. “Our decade-long journey with UFC has been defined by continuous growth, and this agreement is an important realization of our strategy.”
Mark Shapiro, TKO’s president and COO, echoed those sentiments, calling Paramount a “platinum partner” with the reach to elevate the sport. “Our new agreement unlocks powerful opportunities for years to come — meaningful economics for investors, expanded premium inventory for global brand partners, and deeper engagement for UFC’s passionate fan base,” Shapiro said.
Globally, UFC reaches nearly 950 million broadcast and digital households in more than 210 countries and territories, with programming in 50 languages and a roster of about 600 fighters representing 75 countries. In the United States, UFC counts roughly 100 million fans who engage across TV, digital, and social platforms.
Paramount also signaled interest in pursuing UFC rights outside the United States as they become available. The contract’s payment schedule is backloaded, positioning the financial impact to grow over the term.
The seven-year term, which begins in 2026, has an average annual value of $1.1 billion. The contract’s payment schedule is weighted more toward the back end of the deal.
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My first trip to Morning Show Boot Camp was a memorable one, but for different reasons. First, the bad news. I lost my voice on Thursday night. That made Friday and Saturday challenging. I had vocal cord surgery in 2020 and have been fine since then. Last week though was the worst it’s been in five years. I’m now on vocal rest this week per doctor’s orders.
There were a few people I wanted to chat with but due to vocal limitations that wasn’t possible. To those I missed, we’ll connect at the next one.
Now for the good news, and there was plenty of it.
MSBC showcased the best of what makes radio special, the people and passion. A few hundred attended, and the energy throughout the Austin Marriott and Waterloo Ballroom was excellent. The conversations and segments were more fun and insightful and centered around talent than hard hitting and business driven, and everything ran on time, which kept the event from feeling like it was losing momentum. Networking opportunities were available everywhere, giving everyone a chance to build or extend relationships.
I was glad to see Audacy, iHeart and a few other groups support the event. Conferences that highlight the industry and unite professionals need and deserve support.
Rather than go through each session, I’m going to list the things that stood out most from the show.
Don Anthony: MSBC is a success because of Don Anthony. What a gem of a human being. Don and I have known each other for years but had never met in person. I’m glad we changed that. Stephanie Eads and I were welcomed with open arms by Don, and had multiple conversations about hosting events, publishing, and the state of the industry as if we were long lost friends. I’ve been to other shows where hosts act as if I’ve committed a crime by showing up. As long as I’m breathing and covering the business, I’ll be rooting for Don and MSBC, and encouraging folks to support the show. He’s first class all the way.
Venue: The Austin Marriott Downtown was an excellent choice. The ballroom was bright and spacious, the sound inside the room was clean, and the access to the bar, pool, and elevators to get back to your room was great. The hotel had enough to do that you could stay inside and avoid the Texas heat.
Radio Roundtable: The session led by Mike McVay featuring Jill Strada, Katie Neal, Jim Ryan, Greg Strassell and Jeff Sottolano was important for talent in the room to hear. It’s great to love radio, be creative, and appreciate your audience, but business is vital to everything we do. Jim Ryan and Jill Strada offered great advice on managing and motivating talent, Katie Neal reminded the room about radio being declared dead since ‘Video Killed the Radio Star’ was played. However, the points that stuck most with me were shared by Sottolano and Strassell.
Jeff Sottolano told the room that the economic challenges facing radio are real, and programming has to do more to help sales. His message about doing the work, tuning out the noise, and opportunities to win being more available than ever struck the right tone.
Greg Strassell also raised an important point that while it’s fashionable to bitch about Nielsen, great shows produce numbers. Blaming the system is easier than examining why a show isn’t performing. Greg also shared that he wished more salespeople were in the room to discover the magic and passion, but since they’re not, we need to go to them.
That made me wonder, ‘why aren’t sellers and advertisers in these rooms’? I see the same thing at our Summits. How much better would our sales performance be if those responsible for selling understood the product, passion and performers better? If programming and sales are supposed to be in unison, shouldn’t sales be in the same locations that programming professionals are? It’s hard to argue they wouldn’t benefit from it.
Battle of the Bits:The Monolith by Hawkeye was brilliant and absolutely deserved the win. Miguel and Holly did an awesome job hosting the session and kept it moving, even when one contestant tried to hijack it and read off 150 names involved in his bit. Overall, a lot of fun, and a showcase of how different personalities, shows and markets approach being creative.
Shawn Tempesta: The conference kicked off with Trivia, which was fun, simple, and a great way to get everyone engaged. Shawn was the perfect host for it. He had great command, and kept the session light and moving. Rob Mack’s knowledge of call letters was especially impressive. The fact that the game show included a Shitty Radio Jock (he was there) reference, and ended with four call letters (KGMZ) which I had a hand in creating made it even more fun.
Yung Joc: His authenticity, honesty, and humor on stage was a hit. I laughed my ass off at the friendly exchanges between Joc and Fred when he asked for ways white people talk about money. His personal story of deciding how to handle going on the air after his brother lost three of his kids in a house fire was emotional, gut wrenching, and a reminder of what comes with putting your life on the airwaves.
Photo Credit: Benztown Branding
JohnJay & Rich: The backstory of how they got on the air, the banter between them, and the passion they have for serving affiliates and saving dogs stood out. They were also hilarious, taking friendly jabs at Paul Castronovo any chance they got for his going over his allotted time earlier in the day. Very funny.
Meetups: I enjoyed connecting with Dave Farra of Dave & Mahoney, Greg, Dave and Ryan at TM Studios, iHeart’s Brad Hardin and Maynard, Hubbard Radio’s Greg Strassell, Tommy Mattern, Rizzuto, and Chris Eagan, Premiere Networks’ Woody, JohnJay & Rich, and Peter Tripi, and Dave Richards, Jeff Sottolano and Nikki Nite from Audacy. I also crossed paths with Joel Denver, John McConnell, Tim McCarthy, Bruce Gilbert, Dana Cortez, Bo Matthews, Corey Dylan, Bret and Hannah from the Bret Mega Show, Riggs, Katelyn and Erica, Kramer and Jess, Miguel and Holly, Trevor from the Jim Kerr Show, Tim Bronsil, Steve Reynolds, Shawn Tempesta, Kevin Rolston, Austin Huff, Loper, Lauren Ingridson, Jen Brown, Lisa Dollinger, and June Colbert.
In addition, I really enjoyed talking shop with Dennis Clark on Wednesday night. What a fantastic human being. His track record in the industry speaks for itself. The shout out he gave Stephanie and I from the stage was unexpected, and first class. Being able to break away from the noise to enjoy a quiet dinner on Friday night with our good friends, Mike McVay and Heather Cohen, put a nice stamp on a great week.
Women’s Brunch: Corey Dylan did a nice job hosting the Saturday morning brunch, and Heather Cohen and Mike McVay informed attendees of how the Alliance for Women in Media serves the industry and why it’s important to get involved.
After Heather and Mike spoke, an audio message from Dana Cortez played (she was at MSBC earlier in the week) where she talked about paying her own way to the show over the years, and why it’s necessary to invest in your career. Amen! So many talent, programmers, and behind the scenes people expect their company to foot the bill for them to grow their skills and relationships. It doesn’t work that way, folks. Investing in yourself is a necessity if you want to maximize your potential.
Photo Credit: Benztown Branding
Anne Hudson also took the mic and spoke about social media monetization, opening a few eyes in the process. She shared that 12.5 million views of a viral video of hers on TikTok produced $54, and 500K views on IG led to $233, which was a healthy reminder that although it’s great to attract attention, social media doesn’t always pay as well as your radio station does. Her advice for creating content around products you use, and not overthinking production value (use your phone) was smart. Too many don’t create content because of those reasons.
Beasley Media Layoffs
I keep up on the economic challenges facing the industry and know most executives would prefer not to lose talented employees. But late last week, Beasley Media parted ways with some talented people in Boston, Philadelphia, and New Jersey.
Because of the recurring changes in Philadelphia, I wasn’t surprised to see Mike Missanelli let go. I was stunned though to see Beasley cut ties with 105.5 WDHA PD and host Terrie Carr. Terrie’s heart and passion was felt across every part of that brand. She is very good at what she does and spent over thirty years there. When a brand loses its soul, it’s difficult to sell the public and advertising community on better days ahead. The reaction to her social post alone suggests a second look might be wise.
The Howard Stern, SiriusXM Contract Saga
Some industry folks consider Howard Stern the greatest entertainer in radio history. Others feel he’s a shell of who he once was. Regardless of your perspective, let’s be honest about one thing. If Howard and SiriusXM separate at the end of his deal it won’t be because he went woke. This is all about money, nothing else.
It might create clicks or views suggesting his politics are behind the potential cancellation of his show, but it’s not accurate. This story was leaked to an international outlet to create noise and get Howard’s fans prepared for radio life without the ’King of Media’, and to put Stern on notice that future paydays would look different. If you read the original report it said “SiriusXM does not expect Stern to agree to their offer.” That indicates an interest in continuing the relationship but not at the current terms.
At this stage of his life, Stern doesn’t need to work. If he signed off tomorrow, he goes down in history as one of the most important and influential talents ever. IF a deal can’t be reached with SiriusXM, would Stern take one last swing with terrestrial radio? Would Spotify, Netflix or YouTube throw a ton of cash at him to get him on their platform? It’s hard to picture Stern not doing anything in media after 2025.
Quick Hits:
We are having a one-week sale on tickets to the 2025 BNM Summit THIS WEEK. I’m announcing additional speakers this week too, including another top personality who I’m excited to add to the show. Speakers, awards recipients, and sponsorships will be finalized by next week, and then we will release our final schedule. A reminder, you can secure tickets via barter through iMar Entertainment by clicking here. All BNM Summit attendees receive an invite to the Barrett Bash on Thursday night September 4th.
Speaking of the Summit, we held an email ticket contest last week. Congrats to Josh Lang, Chris Hayes, Andy Denemark, Elizabeth Hamma, Michael Demarest, Daniel McDonald, Andy Grimshaw, Jeff McKay, Jeremy Caldwell, and AndrewFlores on being our 10 winners.
Have you started following Barrett Media on TikTok, IG, YouTube, Rumble, Threads or Bluesky? We’re on nine platforms now, and are posting a lot more video and visual content. Hopefully by now you’ve had a chance to check out the new Barrett Media Minute, which Dylan Barrett edits and posts weeknights at 7pm.
Dan Patrickcaught heat last week for questioning ESPN’s journalistic integrity as a result of its new deal with the NFL. I was surprised that some took exception to his remarks. Did they think nobody would mention it? I saw videos last week of WWE execs and talent on ESPN shows promoting the new partnership between the two parties, and nobody was put on the hotseat over Brock Lesnar’s legal situation or the WWE’s decision to cancel press conferences. Nor did I expect them to be. If Pablo Torre or Ariel Helwani were hosting, I’d have different expectations. I don’t think ESPN will stop reporting on the NFL but how aggressively will they pursue stories that can damage the NFL the way the CTE expose did? That’s a fair question to ask.
Circa and VSiN hit a home-run turning the Circa Survivor contest into a docuseries. I watched the first five episodes of Season 2 this past weekend. Congrats to Derek Stevens and all involved on an excellent production. The pot for the 2025 contest is up to 15 million dollars.
Being an NFL, NBA or MLB Insider seems glamorous but there are a lot of sacrifices that have to be made to do the job well. Jeremy Schapp‘s conversation with Shams Charania, Adam Schefter, and Jeff Passan is worth your time if it’s a position you’re interested in.
Rick Rubin had a two-hour chat with iHeartmedia CEO Bob Pittman. Click here to check it out. Appreciate JohnJay & Rich providing the plug for it at MSBC.
And here are four new tunes worth checking out. I’m especially a fan of the new Falling in Reverse hit All My Women which includes an appearance by Hardy. I’d also take a listen to Bad OmensSpecter, MGK‘s Outlaw Overture, Bailey Zimmerman‘s Lost, and Blackgold‘s Wake Up.
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Why do people fear ESPN? Recently, I’ve been struck by the amount of fear from those in sports media and sports fans that the “Worldwide Leader” will somehow “ruin” their favorite programs. Somehow, with Inside the NBAmoving to ESPN next season, the network will find a way to diminish what makes that program special. ESPN will find a way to “ruin” NFL RedZone from what the NFL Network and Scott Hanson have built into a fan favorite.
I don’t understand why those who share this fear of the four-letter network getting its grubby hands on these proven entities believe it will change the way we perceive or consume them. What examples prove this fear valid? What case study can you provide that points to an instance of ESPN “ruining” a program beloved by millions?
Or is this fear built from bias? This skepticism sounds to be rooted more in bias than reality. ESPN has built a massive platform—one that is more mainstream, more adaptive, and more forward-thinking than most of its competitors. The criticism of its reach and influence often comes from those who don’t have the same megaphone and resent the disparity.
Make no mistake about it: the sports media industry is changing. Programs and shows can build audiences outside of the traditional network television model that has been around for generations. More network television talent are seeking opportunities to work into their deals the freedom to build those audiences beyond their employer. See what Stephen A. Smith wrote into his new $100 million offer.
The game is changing, and the networks are changing with it—with ESPN at the center of it.
False Narratives of Ruin
When The Pat McAfee Showsigned a licensing deal with ESPN in 2023, the fear was that the network would “ruin” the wildly popular internet-streamed program. Has it?
The Pat McAfee Show is now the beacon of what all content creators aspire to become: work hard, build a following, take risks, and hope network television takes notice. The age of needing a network television agreement to be successful as talent is over. Now, networks need built-in talent with a built-in audience to build a successful network.
Has ESPN “ruined” McAfee’s product? Hardly.
In fact, the partnership has elevated the program—gaining access to ESPN’s partners, exclusive interviews that air only on ESPN, and giving McAfee and his crew a massive plot of real estate to continually grow their audience. The next agreement will be harder for ESPN to sign, not McAfee.
Has McAfee had to adapt his show to a programming clock where ESPN sells ad inventory in the first two hours of the program? Sure. But has it “ruined” it? Not even close.
Inside the NBA Moving To ESPN
I saw the same outcry when TNT Sports licensed Inside the NBA to ESPN and Disney as part of a settlement with the NBA. TNT Sports will still shoot, produce, and house the program in the same Atlanta studios. On its face, it’s a very similar deal to what ESPN has done with McAfee.
However, the number of concerned people—including some Inside the NBA talent—who believe ESPN will somehow “ruin” a program that has won nineteen Sports Emmy Awards is laughable.
Charles Barkley shared his concern with Barstool Sports’ Pardon My Take podcast recently:
“It’s going to be interesting. It’s going to be different but that’s the bad thing about it. We don’t know how different it’s going to be,” said Barkley. “The number one time on our show is after the game. We get 45 minutes to shoot the s**t. Are we going to do get to do that or will they say we have to get to SportsCenter?”
When did questions about things that haven’t even been determined yet immediately lead to fears of ESPN “ruining” a program? There’s no basis for it.
ESPN Will Not Ruin NFL Product
With the recent news of the NFL handing over the NFL Network and NFL RedZone to ESPN as part of the league’s acquisition of a 10% stake in the media company, the same fears resurfaced.
Will Scott Hanson continue as host of NFL RedZone?
It’s official. (& for those wondering: yes, I will still be hosting RedZone.)
Fired up for a great season! Optimistic about this new partnership!
Will ESPN begin airing advertisements during NFL RedZone?
Will ESPN insert its own network talent into NFL RedZone?
Will ESPN influence Good Morning Football so it can’t compete with Get Up?
The difference between McAfee, Inside the NBA, and what’s going to happen (pending regulatory approvals) with the NFL Network and NFL RedZone is that ESPN will own and operate the NFL Media properties, compared to just licensing the other two.
Could there be some concern? Sure. But it’s not fully warranted. There is no evidence to suggest that ESPN will “ruin” what the NFL has built with NFL RedZone.
Will it look different with the ESPN logo on it? Of course—they’ll want their branding on it.
Could it include commercials in the broadcast? ESPN wants to make money on their product. But will it be as intrusive as people believe? I’d be willing to bet probably not.
I fully expect ESPN to be very involved in other NFL Network programming, because there was a reason the league was trying to find a buyer. The league couldn’t maintain it at the standard viewers now expect compared to what ESPN provides.
Hence why the trade was made: “You build onto what we launched, and we’ll show our belief in you by investing in your media company.”
That’s not “ruining” anything. That’s just smart business.
ESPN has no record of “ruining” programs it acquires. If anything, the sports media space should be watching and learning, not panicking. ESPN continues to adapt and evolve while bringing others along for the ride. That’s not “ruining” anything.
That’s just good business.
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The most common topic of discussion surrounding Classic Rock involves how long the format can continue.
We all know about the demographic cliff with core fans of the music aging out of the 25-54 demo, which is the only demo radio can sell at all effectively. We’ve also talked a lot about how younger generations continue to discover, enjoy, and adopt this body of music. We’ve talked about how they are finding it on streaming services and are being introduced to it by their parents. What we haven’t spent much time discussing is how Classic Rock frequently appears out in the wild.
Just in the last few weeks, I have come across three examples of Classic Rock continuing to show its strength and appeal in different places, all of which are outside of our stations or any streaming service.
Billy Joel “And So It Goes”
I must admit when I first came across the new Billy Joel documentary on HBO Max, my first thought was, “another one?” It seems like not that long ago, the documentary “Hired Gun” went in-depth on how Joel mistreated long-time band members. But now, as I write this, I am halfway through the new documentary and have learned a lot about the Piano Man that I never knew. And being a Playtone Production, apart from being a little too easy on Joel, it’s well done.
More importantly, this is a heavily promoted show about a Classic Rock artist on a major streaming platform. Once again, this stands to show us how music from the format can grow in appeal beyond just being played on our radio stations.
AC/DC Turntable
Announced about six months ago and just now getting ready for release, the only word to describe Pro-Ject’s limited edition AC/DC turntable is “wow!” For sale later this month, it is a beautiful piece of equipment. Both the base of the turntable and the tonearm are lightning bolts. Add in the red light in the base that makes both glow, and this thing just screams Highway to Hell. Nothing I write will do this justice, so please take exactly one minute to watch this video.
According to Robert Bruce, the National Sales Manager for Pro-Ject Audio Systems in the United States, the band approached the company about creating this special piece. The group had seen some of the other artist-specific turntables (check them out here) and wanted one of their own.
Bruce says because the item is a limited edition, there will probably be around two hundred units earmarked for sale here in the U.S. At $1699 each, he expects them to primarily be snapped up by the band’s biggest fans.
While this won’t have the mass impact of the Billy Joel documentary, it’s a great reminder of how dedicated Classic Rockers are to their favorite acts and the lengths they will go to seek them out.
Rolling Stones Action Figures
NECA, which makes collectibles and action figures, recently announced it would be releasing eight-inch-tall action figures of Mick Jagger and Keith Richards. Stylized to look like the band members did back in 1975, each comes with several special accessories. Mick has a microphone and stand, and an action figure-sized Sticky Fingers album with sleeve. Keith, of course, has his Fender guitar and a Let It Bleed album with sleeve. Each can be pre-ordered for $37.99.
This is not the first time NECA has memorialized Classic Rockers. Looking around their site, I found AC/DC, Elton John, Freddie Mercury, Iron Maiden and Bon Jovi action figures in their collection. But it is interesting that, as the format centers more on the ’80s and slides further into the ’90s, they chose to produce members of a band whose heyday was the ’70s. It’s just one more illustration of the enduring appeal of iconic Classic Rockers.
So, what can we take away from these sightings of Classic Rock in the wild?
First, we need to celebrate these opportunities on our stations. I’m sure many air talent have talked about these releases in passing, but even I’m remiss in not suggesting more stations create some level of Billy Joel promotion around the release of the documentary. And while I realize most stations do not have the budget to give away a $1700 turntable, a $75 pair of action figures seems like it should be something we can pull off.
Second, let’s be encouraged for the future. The more places we spot Classic Rock in the wild, the better we can feel about the staying power of this music and our format.
PS: If you see any Classic Rock in the wild, please let me know. Mike@jacobsmedia.com.
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Hubbard Radio’s 100.7 KSLX in Phoenix is known for its powerhouse Classic Rock lineup, and one of its signature voices is afternoon host Karen Dalessandro. This year, she’s added another impressive bullet point to her storied resume: a nomination for the Marconi Award for Large Market Personality of the Year.
Dalessandro’s broadcasting career spans decades, markets, and formats, from dominating Country mornings in Milwaukee to bringing her high-energy style to Classic Rock in Phoenix.
Dalessandro and I were colleagues, although with different stations at the then Clear Channel cluster in Milwaukee.
A Marconi Nomination That Came With a Hair Dryer
For many, hearing you’ve been nominated for one of the industry’s top honors would be a quiet, reflective moment. For Karen Dalessandro, it was a bit more… chaotic.
“Almost simultaneously, my husband Doug was yelling it over the sound of my hair dryer, and a text from David Moore (KSLX PD) popped up on my phone! Doug had seen it online, and David already sent out an e-mail to the Hubbard Phoenix staff,” she recalled.
The initial feeling was one of disbelief.
“Surreal moment. It’s such a momentous honor, it took a while to wrap my head around it.”
Energy as a Superpower
Those who have worked alongside Dalessandro know her drive is relentless. Even after decades in the industry, she says her motivation hasn’t waned.
“It’s my superpower! Seriously, it’s something innate to my personality as I’m always striving to learn and evolve. Sharing stories that make people feel is a big part of radio, and it fuels my energy.”
“Finding new ways to say the same liner tests my creativity and improv abilities daily. But I’m genuinely interested in people. Listeners, artists, co-workers and our station clients. Everyone is on their own personal journey.”
That genuine curiosity, she says, keeps her show fresh, and it’s part of what connects her to the audience in a way that transcends format.
From Country to Classic Rock — and Everything In Between
Dalessandro has successfully transitioned between formats, including years as a Country morning show host and now afternoons in Classic Rock. While some might think that requires a wholesale change in approach, she says it’s more nuanced.
“There is more shared audience between the Country and Classic Rock formats than anyone cares to admit! As host of a Country morning show, I targeted a 25–54 woman typically with kids. Classic rock zones in on men 25–54/35–64. I’m prepping differently for a KSLX show with topics relevant to that demographic, but my approach on air is basically the same.
“For a heartbeat, I worried my personality might be ‘too much’ for the Classic Rock audience, but being myself and having fun seems to be infectious regardless of the genre.”
Navigating the Social Media Shift
When Dalessandro and many of her peers were first building their careers, “social media manager” wasn’t even a job description. Today, it’s a non-negotiable skill set for any on-air personality.
Social Media was in its infancy when Dalessandro and I worked together, and I reminded her that we were just beginning to explore it.
“We were all trying to figure it out! (and secure our Facebook/Twitter handles so nobody else would take them!) It didn’t take long to realize the importance of social media for my own personal branding, instant feedback, content promotion, and expanding the base.
“Although I’ve always shared huge chunks of my life on the air, social media opened a window so listeners could see and interact with me directly. It allows me to take people behind the scenes through creative reels, Instagram stories and regular posts. It’s definitely added another layer of work to everything else we were all doing before its existence!”
Photo Courtesy Karen Dalessandro
Advice for the Next Generation
Dalessandro’s longevity and success give her a valuable perspective for those aspiring to follow her path. Her advice: think bigger than just “radio.”
“Think multi-media and be ready to adapt. It’s not enough to show up for your air shift, record spots and appear at station events. Of course, there’s podcasting and YouTube. But take it beyond radio life to your community and network with everyone.
“Also… please don’t EVER just take the 10th caller!”
The Work Behind the Recognition
Dalessandro’s Marconi nomination is a milestone, but she’s quick to note that honors like this are built on consistency, curiosity, and a willingness to evolve.
Whether adapting to a new format, learning the ins and outs of social media, or finding fresh ways to connect with her audience, Dalessandro has approached each stage of her career with the same authenticity that first made her a market leader.
That approach may be the real key to her success and one that others in the industry can learn from.
“Being myself and having fun seems to be infectious regardless of the genre.”
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Last November, Joe Pags got the call no radio host ever wants to receive: he was being laid off as part of widespread cuts at iHeartMedia, departing his longtime home at 1200 WOAI in San Antonio.
But, as they say, everything happens for a reason. And now, months later, he has a new flagship home for his nationally syndicated show at 550 KTSA in the Alamo City.
“It was extremely weird because usually on my show, even though we’re across the nation, I would always reference where we’re from, ‘My listeners here in San Antonio,'” Pags said of being without a station in the market. “And for six-plus months, I didn’t have any listeners in San Antonio. I mean, I did. I think a lot of them found the stream, and stream numbers actually went through the roof, but to not be on the air where I’ve been for 19-and-a-half years was strange.”
Despite the exit from iHeartMedia and 1200 WOAI, Joe Pags said he knew he would be ok because he still had plenty of affiliates and digital avenues for listeners to consume the show. But the chance to return to 550 KTSA — the Alpha Media San Antonio news/talk station — was one he jumped on immediately.
In that process of returning, he’s learned just how powerful of a voice he holds in the Texas city.
“It’s been amazing in that the management, they’re really, really happy that I’m on. That’s a nice feeling,” Pags said, “I’m really, really happy to be on … But I always go to the listener first. The reaction has been ‘Thank God. Great, I can listen to you again. Man, my five o’clock ride home is normal again. I’m so glad you’re back.’ I haven’t heard any negativity at all. And I’ll be honest with you, I always expect some negativity. ‘You’re this, you’re that. I can’t believe you’re on the radio.’ I haven’t heard any of that.”
With the addition of The Joe Pags Show, the station underwent some changes to its daily lineup. It shrunk The Jack Ricciardi Show from 3-7 PM to 3-5 PM in the station’s lineup. KTSA also moved The Lars Larson Show from 7-10 PM to 8-10 PM to accommodate Pags, whose show airs from 5-8 PM.
That decision by the station was obviously a major one, with Ricciardi’s local show being one of the biggest in the market. But Pags gave the already established hosts on the station props for being willing to make the program fit into the daily lineup.
“The fact that the station was willing to figure it out, and there was no pushback at all from those guys. In fact, they welcomed me with open arms,” admitted Pags. “It means a ton to me. Because at the end of the day, they could have balked. They could have dug in and said, ‘Listen, we’re not going to move around. We’re not going to make any changes here. We have what we have, and this guy can go somewhere else.’
“But the entire thing has been very, very smooth, very seamless … These awesome talk show hosts in this building are open and accepting of what we’re doing. I think at the end of the day, we made a station that now has what might be considered an all-star lineup in the Alamo City. We comprise that, all of us together. Before, we had to compete with each other. Now, we’re on the same team, and it feels awesome.”
Every radio host is always in search of “the perfect show.” Joe Pags is no different. And the new 550 KTSA host says he’s going to continue improving on his craft every time he sits behind the mic.
“There’s plenty that I have to get better at. I pride myself on being a really good interviewer. I sometimes get wound up, and I talk over the person because I’ve got eight more questions that I want to ask. And I want to be better at that, because the listener doesn’t get as much out of it if I’m talking at the same time.
“I want to get better at explaining things in a very simple way, because the listeners aren’t simple, but they’re busy. And my job is to have information ingestion all day. Their job is to do what they do for a living all day, get in the car, and hopefully I can explain what happened while they were at work. I always strive to get better at that. I think I’m pretty good at it, but I always strive to get better at that.”
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Fox News is already the undisputed ratings leader, but the launch of the new FOX One streaming platform makes it even less likely that a competitor will catch them anytime soon.
For years, Fox News has dominated the cable news landscape, often by wide margins in both total viewers and the coveted 25-54 demographic. Now, with FOX One, they’re moving to ensure that the audience they’ve cultivated doesn’t drift to other platforms when their viewing habits inevitably shift away from cable.
It would be easy — and maybe even understandable — for a leader in any industry to become complacent. When you’ve held the top spot for decades, it’s tempting to coast. But Fox News is taking the opposite approach, expanding its reach and securing its place in the next phase of media consumption.
For the most part, FOX Corp. has largely shied away from competing with the likes of Netflix, Warner Bros. Discovery, NBCUniversal, and Disney — among others — in the streaming wars. And it certainly appears as if that was a wise choice.
Instead of spending billions on programming and content to place on its streaming platform, FOX continually valued the content it was already making, while developing its own content for platforms like FOX Nation.
But now, with an all-encompassing FOX platform — including the FOX broadcast network, FOX Business, FOX Weather, FOX Sports, FS1, FS2, FOX Deportes, Big Ten Network, and FOX local stations — only helps Fox News.
The cable news audience is getting older, and the migration to streaming is accelerating. If Fox News were simply looking at quarterly ratings reports, they could pat themselves on the back and keep doing what they’ve been doing. Instead, they’re looking at where the audience is going.
By meeting viewers on the devices they already use for entertainment, FOX One eliminates one of the biggest vulnerabilities for a legacy cable brand — the risk of losing loyal viewers to more accessible, modern platforms.
When a competitor wants to catch the leader, the most obvious opportunity comes when the leader fails to adapt. CNN+, for all its flaws and eventual failure, at least recognized that viewers want their content untethered from cable. FOX One takes that same understanding but marries it to the advantage of being a brand that already commands unmatched loyalty. Viewers who have been with Fox News for years now have a direct streaming option without having to explore unfamiliar outlets. That makes the idea of switching far more appealing.
This move also adds a layer of insurance against cord-cutting. The decline of cable subscriptions isn’t slowing down, and every month the pool of potential cable viewers gets smaller. By offering FOX One, the network is proactively claiming a spot in the streaming world before audiences feel they need to look elsewhere. If you’ve built a habit of turning to Fox News for news and analysis, FOX One gives you the same product in the format you’re already comfortable using for movies, sports, and entertainment.
Another underrated benefit of FOX One is the data advantage. With cable, you get Nielsen ratings and demographic trends, but streaming offers precise, real-time insights into viewing behavior. Fox News can learn which shows, segments, and personalities are keeping people engaged, and they can make faster adjustments than ever before. That level of agility is something competitors will have a hard time matching, especially if they don’t have the same volume of loyal viewers to draw from.
Perhaps the biggest takeaway here is the message it sends to the rest of the industry. Fox News isn’t resting on decades of dominance. They’re acknowledging that the way people consume content is changing and acting on it now rather than later. For competitors hoping the streaming shift would level the playing field, FOX One is a reminder that the leader isn’t going to stand still and wait to be caught.
The reality is that for someone to overtake Fox News, they would need both a compelling product and a structural advantage. FOX One eliminates one of the last major structural weaknesses the network had — dependence on cable distribution. Now, even if cable subscriptions continue to freefall, Fox News will have a direct-to-consumer pipeline. That’s a massive competitive edge in a media landscape where accessibility often trumps content quality.
It’s hard enough to be the leader in a crowded space. It’s even harder to stay there. The natural human instinct is to defend the territory you already own rather than take new ground. Fox News is doing both. They’re defending their current cable dominance while planting a flag in the streaming world before anyone else can claim that territory. That makes FOX One not just a smart move, but a strategic one with long-term implications for the industry.
In sports, the best teams don’t just play to protect the lead — they keep scoring to put the game out of reach. That’s what Fox News is doing here. They’re making sure that even if the playing field changes, they’re still positioned to win. FOX One may not completely guarantee they’ll remain the leader forever, but it certainly makes the climb for anyone else much steeper.
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.
