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Sports Fans Were Wrong About Cable, and Now Are Paying the Price

John Mamola
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Sports Fans Were Wrong About Cable, and Now Are Paying the Price

It’s time for sports fans to admit a hard truth: we were wrong. Not about who’s going to win the Super Bowl or which player prop to bet on. We were wrong about cable television. For years, sports fans complained about bloated cable packages, high monthly fees, and hundreds of channels we never watched. But in our rush to cut the cord and embrace the streaming revolution, we failed to appreciate the value that cable offered—particularly for sports.

This week, Warner Bros. Discovery CEO David Zaslav said the quiet part out loud during an earnings call: the consumer streaming experience is broken. He said that the industry needs to clean up the consumer experience in needing multiple (he said 18) apps to get everything. Zaslav suggested that it needs to be cleaned up through partnerships, consolidation, and some companies exiting the streaming game. His assessment is blunt and accurate—but it’s also a case of too little, too late.

For the sports fan, the current streaming model is not an upgrade. It’s a downgrade wrapped in an illusion of choice.

Sports remain the most-watched live television in America. This summer alone, both Major League Baseball and the WNBA saw notable increases in viewership compared to the previous year. Our appetite for live sports is insatiable. But our ability to access them affordably and conveniently is getting worse.

The Cost of NFL Football

Take the upcoming NFL season as a case study. If you want to follow the league without a traditional cable subscription, here’s what it will cost you monthly:

ESPN’s direct-to-consumer product will cost you $29.99/month. Amazon Prime for Thursday Night Football will cost you $14.99/month. Peacock has Sunday Night Football and Peacock exclusive games at $11.99/month. Netflix owns Christmas Day for $22.99/month. If you’d like access to CBS and FOX, Paramount+ will cost you $11.99/month and FOX One will cost you $19.99/month.  

That’s over $110 per month. If you maintain these subscriptions from the start of the regular season through the Super Bowl, the total investment exceeds $650. And that doesn’t even include the hidden cost of high-speed internet—an absolute necessity for streaming.

Yes, you could skip Netflix since it only broadcasts games on one day this season. But that’s a temporary reprieve. More games—and more fragmentation—are coming.

So, ask yourself: was cable really that bad?

Simplicity Was the Ultimate Unknown Value

When sports fans complained about paying a high price for channels we didn’t watch, we failed to acknowledge that cable gave us everything in one place—NFL, NBA, MLB, NHL, and more. It wasn’t perfect, but it was simple, and that simplicity had real value.

Now, instead of flipping channels, we juggle apps, logins, and blackouts. If you’re a baseball fan, you used to know where every game was. Today, you’ll need to check your local RSN, Apple TV+, Roku, ESPN, FOX, or the MLB’s own platform—just to see if your team is even available.

We traded clarity for complexity. And now we’re paying the price—literally and figuratively.

The only constant in media is change. We’ve all evolved over the past decade, adapting to new technologies and behaviors. Sports fans are no exception. But if today’s model is frustrating, the future may be even more so.

Prepare Now for What’s To Come

Instead of hoping for a return to simplicity, we need to prepare for more fragmentation, more paywalls, and more frustration. Zaslav’s comments about improving the consumer experience are valid, but collaboration among streaming giants seems unlikely unless it serves their bottom lines. If shared access doesn’t result in more subscribers, more revenue, and more control—why would they bother?

Professional sports leagues will continue to strike deals with multiple platforms because they can. Their product has never been hotter. And as broadcast rights become more expensive, the cost will continue to be passed on to consumers.

Ultimately, this is the reality we’ve created. We wanted à la carte options. We wanted to only pay for what we watched. But now we’re paying more than ever—for less.

It’s unlikely we’ll ever return to the way things were. The allure of professional sports is too strong, the demand too high, and the profit margins too tempting. Streaming platforms will raise prices incrementally—$5 here, $10 there—just enough to dull the pain in the short term but compound it over time.

Ironically, the very companies that made sports more accessible in theory are now the ones making it harder to watch. And while I respect David Zaslav’s call for reform, it’s not the platforms that need to change—it’s us.

Sports fans created this problem. And if we’re not careful, we may reach a point where the cost of staying connected outweighs the love of the game. When that day comes, many fans may simply opt out.

It won’t happen overnight. But it will happen. That’s the cost of business.

Let’s hope it doesn’t get to the point where it’s too little, too late—for the fans, and for sports itself.

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.

How Bridget England Shapes Cincinnati’s 96 Rock Experience

Charese Fruge
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How Bridget England Shapes Cincinnati’s 96 Rock Experience

For Bridget England, radio isn’t just a job, it’s home. Literally.

The Program Director of Cumulus Media’s 96 Rock, WFTK-FM, in Cincinnati, has spent her entire radio career in her hometown. a rarity in an industry known for its nomadic nature.

“I’m kind of a rare breed in radio. I was born and raised in Cincinnati and have been lucky enough to build my entire career right here,” England says. “I’ve had a few bumps along the way (who hasn’t in this business?), but that’s part of the ride.”

From Morning Host to PD

After 15 years as a morning show host on 96 Rock, England stepped into the PD role, something she says just made sense. “This is what I know. The station feels like family. Sometimes it drives you crazy, but you love it no matter what and want the best for it.”

England sees 96 Rock as more than just a radio station; it’s a connection point. “We’re part of the fabric of Cincinnati. We support local businesses, team up with community organizations, show up at events, and cheer on the local teams. All of it,” she says. “We want to be a voice people trust. Our listeners know we’ve got their backs.”

That local-first approach extends to the station’s passion projects as well. “We’re big on supporting veterans, raising awareness around mental health, and lifting up local nonprofits,” England says. “These are the things that really matter to our team and our audience. We’re proud to use our platform to spotlight the people making a difference.”

Real People, Real Talent

When it comes to A+ talent on the station, England doesn’t hesitate. “I look for people who are real and driven. You’ve got to be authentic on-air. Someone listeners feel like they actually know,” she says. “And hustle matters. Always learning, always growing.”

But it’s not just about performance inside the studio. “You’ve got to live the life. Go to the shows, hang out where your listeners hang out. Be part of the community. Be the friend they’d grab a beer with. And if you’ve got a great sense of humor and are up for just about anything? That seals the deal.”

Navigating the Three-Minute Qualifier

Like every programmer, England has had to adjust to PPM realities, particularly when it comes to the new three-minute rule. “It’s definitely made us more aware of pacing. We want to keep things tight and engaging,” she says. “But you also know when to let a great moment breathe. The data’s important, but instinct and experience still matter. Sometimes you’ve got to break the rules to make good radio.”

When it comes to the format, England isn’t buying the “rock is dead” narrative.“There’s a great mix of core artists still putting out strong music, and new bands are constantly coming up with fresh sounds,” she says. “Rock isn’t just surviving, it’s evolving.”

Supporting Local Artists

And her station is doing its part to support that growth, especially on the local level. “Cincinnati has some incredible talent, and we love being a platform for them,” she adds. “Whether it’s interviews, promoting local shows, or just being part of the scene, we’re always looking for ways to support local artists.”

One area where England says the radio industry still has work to do? Representation. Especially for women in leadership. “I can’t tell you how many meetings I’ve been in where I’m the only female in the room,” she says. “There’s so much talent out there, but we need to do a better job of opening doors and creating space for women to lead, contribute, and shape the future of this industry.”

Intentional Leadership

Her advice? Be intentional. “It starts with who we’re mentoring, hiring, and promoting. Representation matters.”

“Radio is a team sport,” England says. “I’m lucky to work with people who show up every day ready to give it their all. We push each other, support each other, and have a lot of fun along the way. I’m grateful to be able to talk about the work that still gets me excited every morning.”

Follow Bridget England and the station on Instagram: @96RockCincy and Facebook: 96 Rock Cincinnati.

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.

Howard Stern Keeps His Edge in a Culture Gone Soft

Keith Cunningham
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Howard Stern Keeps His Edge in a Culture Gone Soft

We may be surrounded by absurdity, but those of us in RockTernative can’t lose our necessary and rebellious edge.

Reports that SiriusXM and Howard Stern may not come to terms with a new contract are generating a lot of noise — but cries of leaning Left or being Woke have nothing to do with this.

  • Is Howard being cancelled?  No.
  • Will he retire or dial back more? Maybe.
  • Is the show different now?  Yes.
  • Has he lost his edge? Not a chance. 
  • Have some in RockTernative? Maybe.

We’ll get to that.

If Stern exits live shows (whenever that day comes), it won’t be a surprise to anyone inside SiriusXM.

But cancelling Howard — an ugly separation or bowing to any cancel culture mob — that would rank high among a list of worst-ever decisions by SXM — worse than counting empty rental cars as real subscribers or not being early adopters with podcasting.

They could save some coin short term, but they’d face a long-term disaster.

But what does this mean for terrestrial RockTernative?

For starters, if your morning show’s gone soft — or your numbers could use a jolt — what’s your plan to win the (local) listeners who may be displaced by a Stern exit?

But the larger issue is this: 

With today’s hostile climate, everything is Left or Right, different mobs working 24/7 to tear down others and won’t tolerate any opinion other than their own. It got me thinking about how Rock brands fit into modern-day crazy town.

Whether it’s a great RockTernative station, a Sydney Sweeney ad, Mr. Beast’s charitable efforts, Taylor Swift going to an NFL Game, or innocent Olympians enjoying McDonald’s, not much can be said or done anymore without someone being offended.

OK.

Be offended.

So what??!!

Yes, there are offensive lines we shouldn’t ever cross, but common-sense talent already knows that. If you don’t know those lines, I can’t help you. And common-sense people aren’t the ones so easily offended.

Let’s bring Howard back to the stage.

Like me, most consider Howard to be Rock Royalty. He’ll always have Rock running through his veins. Say whatever you want about his cultural, socio or political leanings — but he’s not a softy or lunatic. He also doesn’t care what we may think.

And that’s just one reason why so many millions love Stern and other talent in the Rock space. 

Howard still has his edge that:

  • Made Satellite Radio a real and profitable thing.
  • Turned haters into listeners.
  • Launched a career (and company) into the stratosphere.

It’s that edge and level of confidence that’s falling by the wayside with many entertainers. 

Why? 

Fear of being cancelled.

For DJs, comedians, writers, influencers, TV shows — the fear is real.

But not everyone in RockTernative has lost their edge. 

I’ll avoid specific Radio names so I don’t make them unintended targets, but let’s use Green Day, Kid Rock, Rob Halford, Joe Rogan, and Bill Burr as Rockish psychographic examples—a diverse group with differing opinions, but probably all own Master of Puppets.  

None of them will lose one minute of sleep if someone doesn’t agree with them.

None of them are racist, homophobic or Nazis.

They’re just creative, talented, compassionate, normal humans who are proudly outspoken about their strong personal opinions and beliefs. They’re comfortable in their own skin.

RockTernative Radio must embody that same spirit — now more than ever.

Howard has for decades.

This isn’t a suggestion to be reckless or to torch your brand’s ratings and revenue.

It’s a reminder to be Real. Authentic. Confident.

And remember, not all entertainment rules are the same. Being on public airwaves is different from hosting a Netflix special, doing a podcast, headlining a comedy club or hosting on SXM or Cable TV.

We may be surrounded by absurdity, but those of us in RockTernative can’t lose our necessary and rebellious edge. It’s about being entertaining and opinionated, but firm and fair; mindfully smart.

This isn’t talked about enough:

The fear of being cancelled has paralyzed many to the point of being plain and boring. Or worse, fake. I even second-guess myself writing this bubble gum column (no offense to bubble gum — or those chewing it right now.)

  • Managers: Talk with talent about this so they feel empowered and clearly understand the landmines to avoid.
  • Talent: If you feel trapped and don’t know what you can or can’t say anymore, hit the corner office and ask questions — get answers — you’ll feel better afterwards.

Howard may retire or alter his schedule more, but he’s not being cancelled, and he still has his edge. Commentary of his that still draws any ire — that’s proof the edge is still there.

There will always be someone who is offended.

Every song has haters.

Don’t get cancelled, but don’t rollover or lose your edge.

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.

Country Radio Needs to Hang Up on Caller Number Nine

Jeff Lynn
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Country Radio Needs to Hang Up on Caller Number Nine

For decades, “Be caller number nine to win!” has been as much a part of Country radio’s DNA as the jingle package or the lunchtime request hour. However, in 2025, it is now outdated and needs to be retired.

My wife, Kristi, will testify that nothing sets me off more than listening to a radio station in the car and hearing, “Be caller number nine.” She likely can recite word for word the rant that will follow. It sounds like a leftover from the era when the “touchtones” signaled the time to call.

Especially in Country radio, which thrives on connection and authenticity, it is a missed opportunity.

It’s time to rethink our approach and reimagine contesting in a way that reflects how listeners consume, engage, and connect.

The Problem with Caller Nine

There was a time when “caller number nine” created urgency and made the station feel live and local. Now, it’s predictable at best, alienating at worst.

In an on-demand world, why do we expect people to call repeatedly, hoping their call will get through?

Most people are aware that the odds of success are slim. The experience is often frustrating, especially when a recorded voice answers instead of a real person. That’s not engagement. That’s just maintenance.

Who’s Playing?

Be honest. I know what you call them. The people winning “caller nine” contests are the same handful of listeners.

If you want to build audience loyalty across a broader base, you need contests that are inclusive, accessible, and fun for everyone. Not just the prize pigs. There I said it.

Casual fans who might be engaging on social, streaming your station, or interacting with your brand in other ways are effectively locked out.

Contesting Should Reflect Your Brand

One-size-fits-all content does not reflect your brand. Great contesting should be an extension of your station’s voice and values. If your brand is all about family, community, and connection, then build contest moments that reflect that.

If your morning show is high-energy and funny, create contests that amplify that tone. “Caller nine” does none of this. It’s a blank template—the lowest creative denominator.

Listeners connect with moments and experiences. They remember contests that feel original, fun, or emotional. Not the sixth time this week you asked for caller nine.

Lean Into Digital and Social

If your contesting strategy doesn’t involve your app, website, or social media in some way, you’re leaving engagement on the table.

Imagine a scavenger hunt that spans your Instagram stories. A text-in lyric scramble that rewards not just speed, but knowledge of the music. These are the kinds of contests that reflect how people live—scrolling, tapping, liking, sharing.

Digital contesting gives you valuable data. You know who’s entering. You can build your email list, learn listener habits, and target promos more effectively. That’s real ROI.

Make It an Experience

The best contests are more than just giveaways. They’re experiences. They make the winner feel like the star of the show and the rest of the audience feel like they’re watching something special.

Instead of giving away tickets to the 9th caller, what if you turned the contest into a story arc? Build it over a week.

107.9 KUZZ in Bakersfield recently caught my eye with its “Morgan Mystery Seat” promotion. The station was giving away pit tickets for the Morgan Wallen Show at Levi’s Stadium.

Program Director Brent Michaels told me about the contest.

“We picked an actual seat off a seating chart at Levi’s Stadium. Six times a day, a listener could guess the very specific seat where we hid pit tickets to the show.”

“So first level (was the mystery seat on the floor, 100 level, 200 level, 300 level, or 400 level). Then the section, then the row and the seat. People took it step by step. If you got the level right, you moved on. Then the section, row, etc. You had to listen every time so you could eliminate wrong guesses from where the seat could be.”

“It was fun!” 

Even if you weren’t interested in going to the concert, it gave listeners the chance to play along vicariously. It was a creative twist on a prize involving the hottest artist in the format. It created a moment.

These moments create buzz. They get people talking. And they show your station is doing more than checking boxes.

Rethink the Prize, Too

Sometimes it’s not just the contest mechanism that’s tired. It’s the prize itself.

In the Country space, access is everything. Meet-and-greets. Soundcheck parties. Signed gear. Backstage photos. Zoom hangouts with the artist. Even a personal shoutout from an artist’s social account can have huge value to a fan.

The more exclusive, intimate, or creative the prize, the less you need gimmicks to generate interest. Great prizes drive participation organically. They make the contest feel worth it.

Keep It Real—And Fair

There’s a balance to strike between entertainment and transparency. Contesting only works if listeners believe it’s honest and fair.

Listeners want to be part of something real. If your contesting doesn’t feel honest, it won’t matter how clever the format is.

A “Call” to Action

Country radio has a chance to lead here. This format is built on connection, on storytelling and loyalty. Those values should extend to every corner of your brand, including contesting.

Caller number nine had its moment, but that moment has passed. Your audience is smarter, savvier, and more distracted than ever. If you want to cut through the noise, you’ve got to surprise them. Delight them. Involve them.

I would love to highlight the creative things that your station is doing. Email me here.

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.

Ratings Roundup: Fox News Sees Double-Digit Gains in Key Demo Last Week

Garrett Searight
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Ratings Roundup: Fox News Sees Double-Digit Gains in Key Demo Last Week

The Lead

Few television networks — regardless of network or cable TV — have been as hot as Fox News this summer. And that was on display last week, as the network saw double-digit growth in a key category.

During the week of July 28th, Fox News averaged 2.4 million viewers in primetime. That figure is effectively flat from the previous week, and was virtually on par with the ratings finish the network saw during the same week in 2024.

Fox News did make substantial gains in the coveted Adults 25-54 demographic during the week. The network’s viewership in that sector grew by 11% during the week of July 28th, up to 258,000 viewers. In total day viewership, Fox News also saw a nearly 7% increase in the key demographic, up to 167,000 viewers.

In the overall total day ratings, Fox News averaged 1.5 million viewers, which is relatively flat compared to each of the past four weeks, when it finished with 1.544 million (July 7th), 1.483 million (July 14th), and 1.484 million (July 21st).

During the week of July 28th, CNN also saw a slight uptick in viewership. In the primetime ratings, the network was up 4% to finish the week just under 500,000 total viewers in the daypart. While the network was up week-over-week, it did finish 28% lower in the primetime ratings than it did during the same time period in 2024.

In the key demo, the network averaged 85,000 total viewers in primetime.

MSNBC Sees Double-Digit Drop

The news for the week of July 28th wasn’t as rosy for MSNBC as its cable news counterparts.

During the week, the primetime audience at the network dropped to 754,000. That figure represents a 17% decline week-over-week. The news was even worse compared to the same week in 2024, as MSNBC saw a 46% drop in total viewers.

After besting CNN in the key demographic during the week of July 14th, MSNBC has seen its total in that sector dwindle each of the past two weeks, dropping from 91,000 to 78,000 the week of July 21st, down to 68,000 during the week of July 28th. That’s a drop of 25% in three weeks’ time.

In the total day ratings, MSNBC averaged 506,000 viewers, well surpassing the 353,000 total seen by CNN.

However, similarly to the primetime ratings, MSNBC has seen its audience in the Adults 25-54 demographic decline in each of the past two weeks. During the week of July 14th, it averaged 54,000 viewers from the sector. The following week, it dropped to 50,000 before reaching 46,000 during the week of July 28th. That 46,000 figure is the third-lowest finish in-demo for MSNBC in the total ratings this year.

CBS Evening News Biggest Gainer As Each Network Newscast Grows

The data for CBS Evening News hasn’t been all that positive since longtime anchor Norah O’Donnell exited the program earlier this year. But that changed during the week of July 28th, as the newscast was the top gainer, as it and each of its counterparts saw an increase in viewership.

During the week, the CBS News program saw a 6% increase in overall viewership, up to 3.8 million viewers. For comparison’s sake, the network newscast featured as many as 5.2 million viewers this year ahead of O’Donnell’s departure.

During the week, CBS News also averaged 553,000 viewers from the Adults 25-54 demographic. That figure represents an 11% week-over-week increase. It also marks the second time since the week of March 31st that the network has averaged more than 550,000 viewers from the sector.

ABC World News Tonight with David Muir remained as the top network newscast for the week. It averaged 7.4 million viewers for the week, its largest average audience since the week of June 16th. ABC News featured just over 1 million viewers from the key demo for the week. It marked the 12th straight week that the newscast led by Muir was the top overall program in all of television.

Like its competitors, NBC Nightly News with Tom Llamas also saw an increase in viewership. It’s week-over-week viewership grew by 2%, up to 5.6 million viewers. That newscast also featured 807,000 viewers from the key demographic, an increase of 4% compared to the previous week.

Can Rumble Expand Its Horizons Outside of Conservative Politics?

Garrett Searight
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Can Rumble Expand Its Horizons Outside of Conservative Politics?

It was announced this week that shows from Cumulus Podcast Network and Westwood One will begin being seen on Rumble, the digital video platform most commonly associated with conservative political commentary.

For a company looking to grow its user base and shed its image as a niche platform, this might seem like a step in the right direction.

But is it?

Rumble has clearly carved out a space for itself by being the alternative to YouTube, particularly for content creators who feel they’ve been unfairly demonetized, silenced, or shadowbanned by Big Tech. And there’s no arguing the platform is needed.

When platforms become monoliths, alternatives must exist. Rumble serves a legitimate function in the digital ecosystem, and it deserves credit for building a viable infrastructure that supports live streaming, video hosting, and monetization tools.

Still, it’s worth asking—is Rumble’s only long-term purpose to be the safety net for conservative political content?

Because while there is certainly other content available on the platform — sports shows, comedy, video game streamers, and general pop culture commentary — perception is reality. And the perception of Rumble is that it’s little more than a YouTube for people who rant about “The Deep State” and vaccines while promoting gold investments, companies that utilize the term “Patriot” somewhere in the title, and testosterone supplements.

Take this screenshot as an example.

A screenshot of digital video platform Rumble

That’s not to say that there isn’t plenty of other content on the platform, but this is what Rumble has “picked” to display on the home screen. Three — for lack of a better term — Trump-centric stories and a video game streamer who was accused of sexual misconduct with a minor. That isn’t exactly dispelling any notions that it isn’t an “alternative” — quotes used intentionally — to YouTube.

Add in that podcasts like the Shawn Ryan Show or a program like The Mark Levin Show will soon be prominently featured, and you can see how an observer might think it’s still just where conservatives gather, making it the Truth Social or Parler of the digital video world.

Let’s be clear: there’s nothing inherently wrong with conservative political content, or a platform that hosts it. I believe in the mission of Rumble. I believe that YouTube can absolutely be too overreaching, and could use competition to keep it from becoming a digital tyrant.

But if Rumble’s goal is to become a true rival to YouTube, or even Twitch, it needs a strategy that broadens —not just technically, but perceptually.

A platform’s image shapes its growth. Twitch is for gamers and live streamers. YouTube is for everything from vlogs to news to DIY. TikTok is where viral trends are born. Rumble? To most, it’s where people go when they’ve been kicked off YouTube for telling the “truth” about the 2020 election.

If Rumble wants to be more than that, partnerships like the one with Cumulus are good, but the horizons need expanding. It’s the kind of move that can start nudging Rumble out of its political silo. But one partnership doesn’t fix perception, and it certainly doesn’t diversify a user base overnight.

It’s easy to see how Rumble got here. The need for a free speech-focused video platform has never been louder, and the audience Rumble catered to early on was starved for a space that didn’t come with the risk of deletion for stepping out of Silicon Valley’s comfort zone. Rumble leaned into that moment. Hard.

But now, it may be boxed in by the very identity that helped it rise.

To be fair, Rumble isn’t trying to be YouTube Lite. Its CEO — Chris Pavlovski — has stated that the platform is for all creators. It’s invested in sports programming, it’s signed exclusive deals with a handful of streamers, and it’s tried to market itself as a free-speech platform for all viewpoints.

Yet if your friends or colleagues were looking to launch a comedy channel or a food vlog, would Rumble even enter the conversation?

Therein lies the challenge. The broader public doesn’t associate Rumble with apolitical content—or even content that’s conservative but entertaining and insightful, rather than bombastic and incendiary. Instead, Rumble is the place for the banned, the controversial, and the demonetized. Again, that content has an audience. But if Rumble’s only audience is the one looking for that kind of material, it limits what the platform can ever become.

Perception is reality. And Rumble’s perception is that it’s a political platform, not a cultural one. Until that changes, the odds of becoming a true digital video juggernaut are slim.

So as these new Westwood One and Cumulus Podcast Network shows roll out, Rumble should be asking itself: is this the first of many mainstream moves that help reposition the platform? Or is this just an attempt to make the platform a little more palatable to advertisers and a few more mainstream partners—without changing the core experience for users?

Rumble is needed. That much is obvious. It fills a hole in the digital media world, and its existence challenges the dominance of platforms that have grown a little too comfortable. But if its purpose is only to serve as the digital refuge for those who feel abandoned by YouTube, then that’s all it will ever be. And that might be enough—for now. But it won’t be enough to truly compete.

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.

2025 Marconi Radio Award Finalists Announced by NAB

BNM Staff
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2025 Marconi Radio Award Finalists Announced by NAB

The National Association of Broadcasters (NAB) has unveiled its 2025 Marconi Radio Award finalists.

Established in 1989, the Marconi Radio Awards are awarded to radio stations and on-air personalities to recognize excellence in radio.

The Marconi Radio Award presentation will take place on October 21st at The Edison Ballroom on the eve of the NAB Show New York.

The finalists for this year’s NAB Marconi Radio Award are:

LEGENDARY STATION OF THE YEAR

  • WABC-AM, New York, NY
  • WCBS-FM, New York, NY
  • WHLI-AM, Long Island, NY
  • WLW-AM, Cincinnati, OH
  • WMMR-FM, Philadelphia, PA

LEGENDARY RADIO MANAGER OF THE YEAR

  • David Yadgaroff, Audacy, Philadelphia, PA
  • Nick Martin, Big River Broadcasting Corp., Florence, AL
  • Derrick Corbett, WDAS-FM, iHeartMedia, Philadelphia, PA
  • Jason Meder, Cox Media Group, Tampa Bay, FL
  • Dr. Maria Boynton, WVEE-FM, Audacy, Atlanta, GA

NETWORK/SYNDICATED PERSONALITY OF THE YEAR

  • Katie Neal, Audacy, Nashville, TN
  • Ellen K, KOST-FM, Los Angeles, CA
  • Colin Cowherd, Premiere Radio Networks, Inc., Los Angeles, CA
  • Steve Harmon, Cumulus Media, Dallas, TX
  • Enrique Santos, iHeartMedia, Miami, FL

MAJOR MARKET PERSONALITY OF THE YEAR

  • The Roula & Ryan Show with Eric, KRBE-FM, Houston, TX
  • Mark “Hawkeye” Louis and Michelle Rodriguez, KSCS-FM, Dallas, TX
  • The Greg Hill Show, WEEI-FM, Boston, MA
  • Preston Elliot and Steve Morrison, WMMR-FM, Philadelphia, PA
  • Karson & Kennedy, WWBX-FM, Boston, MA

LARGE MARKET PERSONALITY OF THE YEAR

  • Karen Dalessandro, KSLX-FM, Phoenix, AZ
  • Tracy and Fizz, KYGO-FM, Denver, CO
  • Lincoln Ware, WDBZ-AM, Cincinnati, OH
  • Mitch Albom, WJR-AM, Detroit, MI
  • The Smiley Morning Show, WZPL-FM, Indianapolis, IN

MEDIUM MARKET PERSONALITY OF THE YEAR

  • Skyler Cooper, KRMG-FM, Tulsa, OK
  • Todd Hollst, WHIO-AM, Dayton, OH
  • Larry Hansgen, WHIO-FM, Dayton, OH
  • Dan Austin, WQHK-FM, Fort Wayne, IN
  • Mo & StyckMan, WUSY-FM, Chattanooga, TN

SMALL MARKET PERSONALITY OF THE YEAR

  • Jordan Jay, KATI-FM, Jefferson City, MO
  • Matt & Amy in the Morning, KIKV-FM, Alexandria, MN
  • Ian Rambo, KQRQ-FM, Rapid City, SD
  • The Big Dawg DreDay with Comedian LP, WALJ-FM, Tuscaloosa, AL
  • Mark Starling, WWNC-AM, Asheville, NC

MAJOR MARKET STATION OF THE YEAR

  • KBXX-FM, Houston, TX
  • WCBS-FM, New York, NY
  • WMMR-FM, Philadelphia, PA
  • WSB-FM, Atlanta, GA
  • WWBX-FM, Boston, MA

LARGE MARKET STATION OF THE YEAR

  • KDKA-FM, Pittsburgh, PA
  • KKFN-FM, Denver, CO
  • KOSI-FM, Denver, CO
  • KTMY-FM, Saint Paul, MN
  • WLLD-FM, St. Petersburg, FL

MEDIUM MARKET STATION OF THE YEAR

  • KBOI-AM, Boise, ID
  • KRMG-FM, Tulsa, OK
  • WBEN-AM, Buffalo, NY
  • WTIB-FM, Greenville, NC
  • WYCT-FM, Pensacola, FL

SMALL MARKET STATION OF THE YEAR

  • KFGE-FM, Lincoln, NE
  • WCHS-AM, Charleston, WV
  • WIKY-FM, Evansville, IN
  • WTAW-AM, College Station, TX
  • WWNC-AM, Asheville, NC

ADULT CONTEMPORARY (AC) STATION OF THE YEAR

  • KOSI-FM, Denver, CO
  • KSTP-FM, Minneapolis-Saint Paul, MN
  • WKJY-FM, Long Island, NY
  • WTBC-FM, Chicago, IL
  • WWBX-FM, Boston, MA

BEST RADIO PODCAST OF THE YEAR

  • “Inheriting,” KPCC-FM, Los Angeles, CA
  • “Ransom,” KSL Newsradio, Salt Lake City, UT
  • “Purple Daily,” KSTP-AM, Saint Paul, MN
  • “WCCO Radio: 100 Years,” WCCO-AM, Minneapolis, MN
  • “Behind The Song,” WDRV-FM, Chicago, IL

CHR STATION OF THE YEAR

  • KTXY-FM, Columbia, MO
  • WDJX-FM, Louisville, KY
  • WPRO-FM, Providence, RI
  • WXKB-FM, Fort Myers, FL
  • WZPL-FM, Indianapolis, IN

CLASSIC HITS STATION OF THE YEAR

  • KQRQ-FM, Rapid City, SD
  • KXSN-FM, San Diego, CA
  • WJJK-FM, Indianapolis, IN
  • WOGL-FM, Philadelphia, PA
  • WOMC-FM, Detroit, MI

COLLEGE STATION OF THE YEAR

  • WKCR-FM, Columbia University, New York, NY
  • WMSC-FM, Montclair State University, New York, NY
  • WRHU-FM, Hofstra University, Hempstead, NY
  • WRRC-FM, Rider University, Lawrenceville, NJ
  • WSOU-FM, Seton Hall University, South Orange, NJ

COUNTRY STATION OF THE YEAR

  • KATI-FM, Jefferson City, MO
  • KCLR-FM, Columbia, MO
  • KYGO-FM, Denver, CO
  • WTHI-FM, Terre Haute, IN
  • WYCT-FM, Pensacola, FL

NEWS/TALK STATION OF THE YEAR

  • KFI-AM, Los Angeles, CA
  • WABC-AM, New York, NY
  • WBAL-AM, Baltimore, MD
  • WBBM-AM, Chicago, IL
  • WENG-AM, Englewood, FL

RELIGIOUS STATION OF THE YEAR

  • KPWJ-FM, College Station, TX
  • WGTS-FM, Rockville, MD
  • WMCA-AM, New York, NY
  • WMIT-FM, Charlotte, NC
  • WPZE-FM, Atlanta, GA

ROCK STATION OF THE YEAR

  • KCMQ-FM, Columbia, MO
  • KISS-FM, San Antonio, TX
  • WDRV-FM, Chicago, IL
  • WIYY-FM, Baltimore, MD
  • WXTB-FM, Tampa, FL

SPANISH LANGUAGE STATION OF THE YEAR

  • KNDE-HD3, College Station, TX
  • WAMR-FM, Miami, FL
  • WMIA-FM, Miami, FL
  • WOJO-FM, Chicago, IL
  • WYUU-FM, St. Petersburg, FL

SPORTS STATION OF THE YEAR

  • KILT-AM, Houston, TX
  • WBZ-FM, Boston, MA
  • WGFX-FM, Nashville, TN
  • WIP-FM, Philadelphia, PA
  • WXYT-FM, Detroit, MI

URBAN STATION OF THE YEAR

  • KMJQ-FM, Houston, TX
  • WDZZ-FM, Flint, MI
  • WHUR-FM, Washington, DC
  • WMBX-FM, West Palm Beach, FL
  • WVEE-FM, Atlanta, GA

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.

PickleJar Up All Night Relaunches on Nashville’s Y’all 106.7

BMM Staff
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PickleJar Up All Night Relaunches on Nashville’s Y’all 106.7

PickleJar Entertainment Group is bringing back its overnight show “PickleJar Up All Night.” Joining forces with Midwest Communications in Nashville.

Patrick Thomas hosted the initial version. It aired on Cumulus Media’s Country stations from May 2023 through the end of 2024. With new hosts and a revamped format, the show is set to debut later this month. The show will return as a five to six-hour syndicated block originating from Midwest’s Nashville station, “Y’all 106.7” WNFN-FM.

Michael Brody, Midwest Communications’ Vice President for Tennessee, said, “We’re thrilled that WNFN will serve as the flagship station for PickleJar Up All Night. This exciting collaboration between PickleJar and Midwest Communications brings a fresh, interactive energy to late-night Country radio. With direct access to Nashville’s vibrant community of artists, we’re creating engaging content straight from the heart of Music City.”

Kristian Barowsky, PickleJar’s President and co-founder, added, “We couldn’t be more excited to call Nashville and 106.7 WNFN our home base for PickleJar Up All Night. This partnership with Midwest Communications is a major milestone in our mission to shine a spotlight on both rising stars and Country icons. As we expand our affiliate network, we’re giving artists a national stage and encouraging them to build their PickleJar profiles, upload their original songs, and connect with new fans through radio.”

According to PickleJar, the new iteration reflects a stronger commitment to Nashville’s Country music community. While representing a key step toward evolving the company into a versatile platform. One that combines content, commerce, and connection in the entertainment industry.

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.

Charlamagne The God: Howard Stern Put SiriusXM On The Map

BMM Staff
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Charlamagne The God: Howard Stern Put SiriusXM On The Map

Charlamagne Tha God and the rest of The Breakfast Club crew recently took time during their show to weigh in on the report that Howard Stern’s run at SiriusXM may be coming to an end when his current contract expires.

Citing a Sun article, the team discussed speculation that SiriusXM and Stern are unlikely to agree on the kind of money the radio icon might be seeking. The article suggested Stern is no longer seen as a worthwhile investment for the satellite radio giant.

DJ Envy reflected on Stern’s reported earnings.
“Howard Stern was making $100 million a year. I think he worked two or three days a week. And not working in the summer. Wow, that was amazing.”

Charlamagne acknowledged Stern’s value to the company.

“He was worth it, though. He put Sirius satellite radio on the map. They gave him a whole bunch of stock 20 years ago. Sirius would not have probably half the success it’s had if it wasn’t for Howard Stern.”

While nothing is official yet, the conversation also touched on rumors that Stern’s political views may have influenced SiriusXM’s stance. Charlamagne dismissed that idea.

“I just know he makes $100 million a year, so it’s probably just financial. C’mon, look at the economic climate we’re in. Like they said, they are going to make him an offer, but it’s going to be something decreased from $100 million,” said Charlamagne.

“It might not be worth his while to want to do it. He’s 71 years old. He might just want to kick his feet up somewhere. Who knows?”

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WQAM Begins FM Simulcast on 104.3 in South Florida

BSM Staff
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WQAM Begins FM Simulcast on 104.3 in South Florida

Audacy is turning up the volume on South Florida sports radio. The company announced that Miami’s 560 WQAM, the longtime flagship of the Miami HEAT and University of Miami athletics, has begun simulcasting on 104.3 FM, bringing the station’s signature blend of local sports talk and play-by-play to a wider audience.

Pending FCC approval, the station will transition to new call letters—WQAM-FM—while maintaining its presence on the AM dial.

“Miami’s sports fans have an unrivaled passion, and they deserve a destination that matches their energy,” said Claudia Menegus, Regional President of Audacy. “By adding this powerful FM signal, we’re not just expanding our reach, we’re solidifying WQAM’s position as the undisputed leader in South Florida sports radio. We are fired up to continue delivering year-round coverage of the HEAT, Hurricanes and the entire Miami sports landscape to our loyal listeners while welcoming more fans into our community.”

With the upgrade to a 100,000-watt FM signal, the station is poised to reach a broader and potentially younger and more diverse audience. That’s welcome news for partners like the Miami HEAT.

“The Miami HEAT are thrilled with the move of WQAM to the FM dial,” said Michael McCullough, Executive Vice President and Chief Marketing Officer of the team. “The increased power and reach of WQAM on FM will bring even more fans, listeners and a younger, more diverse audience to the airwaves to enjoy the Miami HEAT audio experience. HEAT games will now sound better than ever on WQAM on FM.”

WQAM’s weekday lineup remains unchanged, featuring familiar names that have helped shape the station’s identity as a go-to source for local sports coverage. The Joe Rose Show with Hollywood kicks things off from 6 a.m. to 10 a.m. ET, followed by Tobin & Leroy from 10 a.m. to 2 p.m., and Hochman, Crowder & Solana rounding out afternoon drive from 2 p.m. to 6 p.m.

This move places WQAM among Audacy’s portfolio of 19 FM sports stations and expands its national sports footprint, which includes 40 owned-and-operated stations, 160 sports streaming channels on the Audacy app, a network of more than 600 sports podcast titles, and play-by-play rights to over 50 professional and collegiate teams.

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.

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