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Why Ramon Foster Always Saw A Post-NFL Career In Sports Media at 104.5 The Zone

John Mamola
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Why Ramon Foster Always Saw A Post-NFL Career In Sports Media at 104.5 The Zone

When Ramon Foster announced his retirement from the NFL in March 2020, he said it was an honor to be a “Steeler for life.” The 11-year professional stepped away from a game he grew to love while growing up in suburban Tennessee, uncertain of what would come next. Six months later, an opportunity emerged: a return home to host morning drive at 104.5 The Zone in Nashville.

“I got into the NFL broadcast boot camp during my fourth year in the league, and had a player show in Pittsburgh for over six years,” Foster says. “Most players, whether they want to admit it or not. You can’t just retire and sit on your earnings. You have to have a hobby, and mine was sports media.”

During his tenure with the Pittsburgh Steelers, Foster regularly worked with local media and earned a reputation as a trusted locker-room voice in both good times and bad. He appeared on weekly programs and received media awards for his availability and professionalism. Media work after retirement was never a question, only the timing and location.

That moment arrived when brand manager Paul Mason and 104.5 The Zone approached Foster about joining the station. Foster said he initially considered a sales role outside of sports media. However, some encouragement from his wife renewed his interest in broadcasting.

“It’s an honor to be in a situation like this at 104.5 The Zone,” Foster says. “I never wanted to be taken as just a former athlete doing this. I wanted to be a professional about this as well, get better at my craft and be in a position where I’m wanted.”

Connecting With the Audience

A self-described student of the game who placed heavy emphasis on film study, Foster quickly established credibility in Nashville. His radio work expanded into sideline duties for the Tennessee Titans radio network, which later led to a role as game analyst for the Tennessee Volunteers radio network alongside Mike Keith.

In December, Foster signed a multiyear contract extension with The Zone, solidifying his role on the Nashville morning commute. Early on, his status as a former Steelers player did not resonate with all local listeners. Foster said those early reactions ultimately helped shape his relationship with the audience.

“They knew I was a Tennessee Volunteer, but I played for the Steelers. The Steelers rivalry with the Titans/Oilers, that’s hate related. I didn’t know that,” Foster said. “The first month or so I was getting messages about me being a former Steelers. I was stunned. I didn’t know it was that heated. But a lot of people have changed their tunes since. Because I call it like I see it, and they appreciate that.”

Foster continues to maintain ties to the Steelers, hosting a daily podcast for DK Pittsburgh for more than four years and adding preseason television work for the team last season. While he still considers Pittsburgh home, he said he understands his role in Nashville and respects the local culture.

Learning the Art

He compares the demands of morning radio to daily athletic training, citing the preparation, repetition and mental focus required to produce a show five days a week.

“Whether you’re a basketball player or football player, you train every single day,” Foster said. “That’s what radio does for me. The ability to drive into the studio and do shop prep like you’re watching film. Turn the mic on and play the game by doing the show.”

While continuing to produce quality programming on 104.5 The Zone, Foster says he often fields questions from athletes looking to enter media because of his prior experience in podcasting. When asked for advice, he keeps the messaging simple.

“Be consistent. Don’t go try and be the next character, like a Stephen A. Smith or Dan Orlovsky. Be yourself,” he says. “Sports is supposed to be a release. You can be the sit down monologue guy and give people great information, but there is a moment in time where the entertainment has to be part of it too. That’s how I do it.”

Reps are currency with Foster, and he’s rich with experience because of it. Over the past three years, Foster has worked alongside co-host Will Boling, adapting his role much like an offensive lineman adjusts within a system.

“Offensive linemen are chameleons with the situations we’re put into. We’re not looking for a lot of praise, and working with Will has not been any complication at all,” Foster says. “For me being an outsider and Will growing up as a Titans fan, it was an immediate connection with him. I can’t overstate the grind that he puts into his role. It was easy, there’s no egos involved at all. I tell him all the time I like this job because I like rocking with him.”

Adapting To Change

Like a chameleon who shifts for the unexpected, Foster and Boling did the same early last year. When news came that the show would be losing their teammate Kayla Anderson after nearly three years with the program, the show had to evolve through the decision. Foster is no stranger to roster cuts in the NFL, which aided in hearing the news of the loss of Anderson.

“She was awesome with us. I enjoyed our time with her. She brought a different dynamic to the show in the morning,” Foster said. “I wish her the best of luck with her new opportunity. The people here in Nashville loved her. That decision came from up top, and they decided what to do with her. She was good for us, and I’m sure she’s going to be good for her new role as well.”

Foster also took on a new role last year becoming the new football analyst of the Tennessee Volunteers radio network under a multi-year deal. He felt the experience of year one also gave him a window of the expectations of balancing both roles with the Vols radio network and 104.5 The Zone.

Returning to his alma mater in the radio booth for the first time proved to be a challenge, but one Foster welcomed.

“Mike Keith doesn’t give out compliments really at all, but he said I did good for the first year. It was an adjustment for sure though,” Foster said. “I was told by our producer Larry Stone to tell the people what I see, and explain it as if the listener doesn’t know ball. Give it to them as raw as you can, and it’s been fun. A great experience for me.”

As he prepares for the 2026 season, Foster said he has grown comfortable balancing both roles and embracing the grind of travel.

“I loved it. Every single part of it. I just got a new truck in September and I put 5,000 miles on it in the first month driving to call games,” Foster said. “I didn’t mind going from Nashville to Knoxville every single weekend and other locations in the SEC. To be honest, the professional lifestyle is just what I’m accustomed to since college in 2004. The falls are football, and I like the grind of it.”

Less than six years after retiring from the NFL, Foster has built an extensive media resume, including morning drive radio, NFL and SEC broadcast roles, and years of podcasting experience. For now, Foster said his focus remains on family and growth in Tennessee.

Despite interest from other outlets before re-signing with 104.5 The Zone in December, he believes staying put is the right move.

“I tweeted in 2013 or 2014 that I wanted to be the biggest in Nashville. That is where my headspace is right now,” Foster said. “My goal right now is to be the biggest in the state. From Memphis to Knoxville, that’s where I’m at. If somebody comes later, I’ll listen. But we’ll see what’s to come as far as my family is concerned.”

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

The Nancy Guthrie Disappearance and the Perils of Getting Ahead of the Facts

Lauren Ashburn
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The Nancy Guthrie Disappearance and the Perils of Getting Ahead of the Facts

It’s been the highest-profile missing person story in recent memory. The FBI has been investigating around the clock to find 84-year-old Nancy Guthrie, mother of beloved Today show host Savannah Guthrie. And the public is absolutely riveted.

The media are equally fixated. They are treading lightly in covering the tragedy for fear of further endangering Savannah’s elderly mother, and in part out of affection for one of their own.

When the authorities released hugely significant videos yesterday from Nancy’s Nest camera, it gave the first real look at the person who broke into her home. And investigators now have clues, including pictures of a gun, his gloves, a backpack, a unique sweater and a look at his gait. But, he is still very hard to identify. 

The coverage has been packed with emotion, especially on NBC, but elsewhere there have been, with a notable exception or two, speculation that has fueled the anger of authorities in Arizona.

Nancy Guthrie disappeared on January 31st from her home in Tucson. Investigators found blood at the scene and security cameras that were disabled, leading to the conclusion that she was forcibly removed. The FBI and local police launched a full-scale manhunt. 

And then came the high-stakes twist – ransom notes demanding $6 million in cryptocurrency were sent to local TV stations and TMZ – disturbingly, with no proof that Nancy was still alive. 

After the second note, a tearful Savannah and her siblings pleaded for mercy with desperation in her voice. “We received your message and we understand…This is very valuable to us, and we will pay. We beg you now to return our mother to us…”  

Adding to the palpable sense of urgency is that Nancy has a pacemaker and needs daily medication to survive.

Right before a second ransom deadline on Monday, Savannah posted another heart-wrenching video about the second week of her mother’s disappearance saying she believed her mom was still out there. “We are at an hour of desperation and we need your help.”

Savannah has said she will pay the ransom, without naming a figure. Who wouldn’t, if it would save your mom? But the deadline passed without further contact by the kidnappers, or any sign of proof of life. 

I don’t know who could have watched those videos, and not felt extreme angst and endless empathy for the family. As a daughter of parents in their 80s who I love very much, I don’t know how I could ever keep my composure during such an awful nightmare, let alone record a video.

The unimaginable heartbreak for her family echoed across the media landscape, beginning with her Today colleagues, who were visibly distressed. 

Co-host Craig Melvin – who has been friends with Savannah for decades – talked about the “unfathomable pain” the family was feeling and encouraged everyone to pray. “This is a deeply personal story for us.”

Former co-host Hoda Kotb returned to Today to support her longtime friend. “This whole thing is breaking my heart, and I’m happy to be sitting here with you. There’s this helpless feeling. We’re all so close with her and we all want to help her.” She took over as co-host a few days later, saying she is “part of the family” and that “we show up for each other.”

And on NBC Nightly News, anchor Tom Llamas made a rare emotional appeal to viewers. “Savannah has shared that it was her mother who taught her the power of prayer…Savannah and her family need your prayers tonight. They also need your help.”

CBS Morning’s Gayle King choked up: “Your heart can’t help but break for her.”

Morning Joe host Joe Scarborough said, “She’s a dear friend of all of ours… it’s just crushing news.”

CNN and Fox News anchors haven’t turned personal in quite the same way, focusing instead on facts and the seriousness of the disappearance.

But NewsNation’s Ashleigh Banfield – who departed her primetime show last month and is now in charge of an online true-crime vertical – brazenly speculated that a family member is responsible. 

Citing a law enforcement source, Banfield announced a family member “may be a suspect.” The claim ricocheted across social media and the damage was done. A picture of Savannah’s brother-in-law was plastered everywhere. 

As a journalist who has covered several grisly missing person cases when I worked in local TV news, reporting what a single source said was verboten, especially if there was a ransom involved. No reporter ever wanted to be the one who caused the case to go cold, or worse, brought harm to the victim – even though reporters want to be the first to break news.

Journalists, pundits, and the Pima County sheriff in Arizona cited Banfield’s headline-grabbing theory on cable news as a disturbing example of how commentary can feed the rumor mill.

“It’s reckless to report that someone is a suspect…you could do damage to the case,” said Sheriff Chris Nanos, insisting they have no suspects. He added, “I plead with you to be careful of what it is we put out there.” 

Calvin Chrustie, a 30-year kidnapping negotiation expert, along with many other former feds who sounded off on cable, concurred. “Pure speculation online is actually making it more difficult for families and for police to secure the safe return of a hostage.”

Even President Trump has jumped on the case, saying he has been “closely following” it and is “receiving frequent updates.”  Early on he sent in the FBI, called Savannah, and said authorities will have some answers “fairly soon.” As the new footage emerged, he and his team watched it. When a case of this significance reaches the upper echelons of the administration, the media coverage is increasingly intense.

Social media threads, especially on Reddit, have sharply criticized the tsunami of coverage the story is getting, especially when there isn’t new information. There’s been a steady drumbeat of attacks that Savannah’s bold-faced name is blowing the coverage of Nancy Guthrie out of proportion.

One person on a Reddit journalism thread said, “Is the newsworthiness of this story just that it’s a celebrity’s mother?…How many other families are going through something similar without any media coverage?”

There is truth to this comment. In the late ‘90s, working at WJLA-TV in Washington, I covered the disappearance of a young Asian woman who was abducted and presumed murdered. I was told not to cover it again until her body washed up on the shore of the Potomac weeks later. No endless pleas for her return ever made air.

When I was interviewed for a recent Hulu documentary called, Murder Has Two Faces, I made the point that lesser-known homicide cases are often overshadowed in the media by bigger names who receive massive attention – even if the cases are eerily similar.

Reddit users also posted about the relentless Nancy coverage pushing out other important stories. “Like a constant loop…I feel bad for Savannah & her family, but the constant coverage on her missing mom eliminates real world stuff like the Market…C’mon CNN, report the news.” 

Another: “I am going to be honest. I think this constant 24/7 coverage is kind of shameful. Cable news is milking it, like they do every single big story like this.”

But there is no criticism that I could find from mainstream journalists. The stories focused on repeating law enforcement briefings, airing the family’s pleas, reporting on ransom notes with caution, and confirming that no suspect had been officially identified. 

And that’s a good thing. While nonstop coverage can create the illusion of progress, responsible coverage – measured, factual, and restrained – keeps the spotlight where it belongs without pushing a human tragedy onto a media treadmill. 

That said, most of us want a win for Savannah and her family. And we’ll keep watching until we know the truth. 

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Why Micro Dramas Might Be the Next Radio Content Move Hiding in Plain Sight

Phil Becker
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Why Micro Dramas Might Be the Next Radio Content Move Hiding in Plain Sight

Radio has always been great at moments. At times, though, we try to stretch moments into formats (Grunge, EDM, Reggaeton, Throwbacks) and overlook the reality that we now live in a world trained by TikTok, Reels, and Shorts. Enter micro dramas.

Short-form, episodic mini-stories. One to three minutes. Scripted. Serialized. Designed to hook. Think soap operas on social feeds. And while micro dramas are primarily thought of as video, this is a content space radio is uniquely qualified to own.

What Are Micro Dramas?

Micro dramas are dramas or comedies designed to be consumed in small bites but thought of like full shows. They share a few defining traits:

  • Under three minutes
  • Cliffhangers baked in
  • Recurring characters
  • Designed to make you come back

(Sound like radio yet?)

Where Micro Dramas Live Right Now

Video-first micro dramas are exploding on social media. Entire companies are built around them on dedicated apps like ReelShort, DramaBox, ShortTV, and others. Audiences binge two-minute episodes the way they once binged network TV and often pay per episode (in steps a new revenue stream, pun intended).

On the audio side, fiction podcasts have begun releasing micro-episodes inside Spotify and Apple, packaged as daily offerings. Thanks to Silicon Valley, the audience behavior is already trained, and now radio can step in. Find a parade and get in front of it. Just don’t stop short, because that’ll be a parade disaster.

Why You, as a Broadcaster, Are Uniquely Qualified

Radio already understands voice acting, sound design, pacing, teasing, anticipation, and using music for emotion. Morning shows tease the next break for a reason. Stations reset the hour for a reason. Soap operas lived on radio long before television ever stole the format.

Historically, radio has been slow to embrace technology. Many in radio are afraid of evolved technology. Be honest. You’d still be using Selector 12.53J if corporate would let you.

Production Reality Check: High Craft, Low Cost

This is usually where executives brace for impact. Scripts. Actors. Sound design.
“Phil, this sounds expensive.”

Until you realize the ingredients are already in your kitchen:

  • Three to five voice actors
  • One audio producer
  • A small writing team
  • Some music beds
  • Smart, repeatable sound cues
  • A distribution and promotional platform (AKA your current staff and station)

Episodes are short. Production is simple. You’re not scoring a movie. Think recurring settings. This is closer to imaging than podcasting and closer to a play than a promo.

A full season of 22-minute audio micro episodes can be produced for far less than one failed direct mail campaign or one forgettable cash contest. The economics work because scripts are short, music and FX are reusable, licensing fees are lower than streaming music, and celebrity talent—while nice—isn’t required.

Where Stations Can Deploy Micro Dramas

On-air is only the beginning. The real opportunity is when micro dramas become content and brand extensions:

  • On-air exposure that creates multi-platform appointment listening
  • Station app exclusives like early access, bonus scenes, and character POV episodes
  • Push notifications that feel like premieres, not ads for podcasts you don’t follow
  • Sponsorships integrated into plot instead of interrupting it
  • Social content that fills feeds with entertainment you own, not another repost from a show you don’t

Micro dramas give stations something better than filler content. They give you original IP. Tell your CEO that, they’ll love it. Especially if they didn’t get a massive Netflix deal recently.

Micro Dramas Build Brand Passion, Not Just Reach

Micro dramas do what playlists and contests can’t. They create inside jokes. They create tribes. (™ Seth Godin). They create characters listeners talk about like real people.

Stations can cross the line from being a consumption appliance and return to being in show business, baby (partial ™ Bobby Bones).

Ironically, radio started with audio programs like The Lone Ranger. Audio micro dramas can be the storytelling that makes people show up tomorrow because they want to, not because it happens to be on.

Hi-yo.

Why This Is the Natural Next Step for Radio

Broadcasters already reset content daily, live in features and benchmarks, and train audiences to come back tomorrow. The business understands short attention spans, multi-platform behavior, and the desire for story without long-term commitment.

This doesn’t replace music or talent.
It gives you another way to present them.

A Sketch: A Micro Drama for Z100

Title: Always On
Genre: Pop culture thriller/relationship drama
Location: New York City
Tone: Fast, sharp, self-aware
Episode Length: 90–120 seconds
Season: 25 episodes

Premise:
A group of young creatives, influencers, and insiders orbiting New York’s music and media scene slowly realize someone is manipulating their lives through anonymous tips, leaked DMs, and inside information to bring them down.

Who, and why?

“The city is loud. Their secrets are louder.”

Core Characters:

  • The producer who hears songs before anyone else (Josh Martinez)
  • The influencer whose rise doesn’t add up (Crystal Rosas)
  • The intern who knows too much (Shelly Rome)
  • The voice nobody can identify (obviously not Elvis Duran)

Structure:
Each episode ends with a reveal, betrayal, or question that reframes everything before it. The only way to get answers is to listen to Z100.

See what I did there? I just created REQUIRED listening.

App Layers

  • Bonus episodes
  • Listener theories unlocked inside the app
  • Polls that appear to influence outcomes
  • Replace “text and register to win” with watch  to win
  • Pull comments from inside the app and credit posters as characters
  • Prove the audience is part of the creation

Sponsorship Layers: How Brands Live Inside the Story

This is where micro dramas outperform traditional radio sponsorships. Brands don’t interrupt content. They belong in it.

1. Character-Aligned Sponsorships
A brand aligns with a character. The producer drinks a certain coffee. The influencer uses a specific rideshare. The intern works late, powered by an energy drink. The client becomes a story constant, not a read. In the app, character bios include subtle integrations.

2. Plot Device Sponsorships
The product moves the story. A phone upgrade reveals a voicemail. A smart home device records something it shouldn’t. A fashion drop becomes the setting for confrontation. The product is narrative, not promotional.

3. App-Exclusive Brand Episodes
Sponsors fund short, app-only episodes exploring side stories or alternate POVs. Scarcity plus access beats frequency every time.

4. Social Video Extensions
Short vertical clips with tense dialogue or cliffhangers posted natively. Minimal branding. Contextual presence. Think early Beats headphones music video integration.

The Key Shift CMOs Care About

This isn’t about squeezing ads between songs. It’s about giving brands context people remember.

Ask anyone about WSQK 94.5 The Squak and they know exactly what it was because it lived inside the Stranger Things universe. It wasn’t about the station. It was storytelling that included the station. That distinction is the opportunity.

The Final Point

Radio doesn’t have a relevance problem. It has a PR problem. It has a format-courage problem.

Micro dramas don’t ask stations to abandon who they are. They modernize delivery, create new reasons to remember stations, and open fan discovery paths that didn’t exist before.

The future of radio isn’t longer TSL or celebrating new cume from a three-minute AQH or the rumored new one-minute AQH.

The stations that figure this out won’t just be heard.

They’ll be followed.
They’ll be here for years to come.

At least that’s my Phil-Osophy in a business that loves some good drama.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

MLB Local Television Crisis Risks Eroding Fan Loyalty and Competitive Balance

John Mamola
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MLB Local Television Crisis Risks Eroding Fan Loyalty and Competitive Balance

It wouldn’t be a baseball season with some sort of change in the wind. This year, it’s less about replay debates and robot umpires. Instead, a good majority of MLB fans have no clue on exactly how they’re going to watch their home team this season.

What Major League Baseball is experiencing right now with local media rights is not a short-term disruption. It is a structural problem that is eroding fan loyalty, destabilizing revenue projections, and quietly reshaping competitive balance across the league in ways that should concern everyone involved.

With nine MLB teams still searching for a permanent local broadcast home just six weeks before games are played, the league is once again asking fans to adapt on the fly. For the consumer, that means new apps, unfamiliar platforms, and potentially new costs layered on top of an already fragmented sports viewing experience. The simplicity of just wanting to watch your local team just got more difficult.

The economics of the regional sports network issues with baseball doesn’t only extend to the fans. For the teams, it means uncertainty at a time when certainty is essential for both budgeting and brand stability. And for MLB as a business, it represents another step toward an uneven and increasingly fragile local media ecosystem.

The teams at the center of this latest disruption are not operating in a vacuum. Their instability stems from the ongoing fallout involving Main Street Sports Group, whose missed payments have already forced clubs to rethink how they fund payrolls and project future revenue.

While league-controlled distribution through Major League Baseball Media offers a temporary solution, it does not replace the predictability and scale that traditional regional sports network deals once provided.

For fans, the damage is immediate and personal. Local broadcasts are the heartbeat of baseball fandom. They are how generations connect with a team over 162 games, through long summers and quiet nights. When that access becomes unstable and ever changing, loyalty suffers. Each new distributor asks fans to relearn habits, download another app, or pay another monthly fee.

Even the most devoted supporters have limits, and casual fans are far more likely to disengage entirely.

This erosion of trust is not theoretical. Baseball already fights a perception problem with younger audiences who see the sport as inaccessible and overly complicated. Local blackout rules, shifting platforms, and last-minute broadcast changes only reinforce that narrative.

When fans do not know where to find their team, they eventually stop looking. There are too many other items in people’s lives where constantly searching out where to watch your local team becomes less important. That lost attention is almost impossible to reclaim.

From a revenue standpoint, the uncertainty is just as damaging. Local MLB media rights have long served as the financial backbone for many franchises, particularly those without massive national followings. When teams lose guaranteed rights fees, or are forced into short-term or league-managed solutions, revenue projections become conservative by necessity.

Conservative projections lead to conservative spending, and conservative spending shows up on the field.

Payrolls across several affected teams have already felt the impact of missed payments from Main Street Sports Group. Without guaranteed RSN millions for their TV deals, impacted teams are seeing a serious dent in their bottom line. An RSN executive told Sports Business Journal last year that media rights dollars account for roughly a quarter of annual club revenue.

That’s not anything to swing and whiff at.

While ownership groups rarely say it publicly, media instability changes how front offices approach roster construction. Long-term contracts become riskier. Aggressive free-agent spending becomes harder to justify. Development timelines stretch, and competitive windows narrow.

This is where the problem extends beyond individual franchises and becomes a league-wide issue. Teams that own or control their own regional sports networks, or that operate in massive media markets, remain insulated from much of this chaos. Their revenue streams are diversified. Their payroll flexibility remains intact. Meanwhile, smaller and mid-market teams face tougher choices that directly affect competitiveness.

That’s not good for the business of baseball when only 60% of the league can truly compete with no cap nor floor on salaries.

The result is an uneven playing field that continues to widen. Baseball has long wrestled with competitive balance, but the local media crisis adds another layer of inequity. When some teams are forced to slash payroll projections due to broadcast uncertainty while others continue to spend freely, the quality of the on-field product suffers.

Fans notice when games feel less competitive. Then their wallets begin doing the talking for them.

This is bad business by any measure. Competitive balance is not just a philosophical ideal; it is a revenue driver. Parity fuels interest, sells tickets, and sustains national media value. When the local media system undermines parity, it undercuts the league’s long-term growth.

There is also a branding cost. Constant network changes fracture a team’s identity. Broadcast teams get displaced. Marketing partnerships reset. Local advertisers hesitate to commit when distribution remains unclear.

Over time, the sense of continuity that binds a franchise to its community weakens.

MLB deserves credit for stepping in to ensure games remain available, at least online. But stopgap solutions are not a strategy. League-controlled distribution can stabilize access, yet it often shifts financial risk back to the teams and the league itself. That risk ultimately flows downstream to payroll decisions and fan experience.

The timing makes matters worse. Asking fans to adapt to new platforms weeks before spring training games begin sends the wrong message. Baseball thrives on routine. Spring training, opening day, and early-season storylines are moments when engagement should be building, not strained by confusion over where to watch.

If MLB wants to protect fan loyalty, it must prioritize simplicity and consistency. That means fewer platforms, clearer messaging, and pricing models that do not punish the most dedicated viewers. It also means acknowledging that local media rights can no longer be treated as a purely team-by-team issue.

The system is too interconnected, and the failures too widespread.

Long term, the league may need to rethink how local rights are structured entirely. A more centralized model could provide stability and fairness, even if it requires difficult negotiations with ownership groups that currently benefit from the status quo.

Doing nothing, or relying on temporary fixes, only prolongs the damage.

Baseball is built on trust. Fans trust that their team will be there every night, on the same channel, with familiar voices guiding them through the season. Right now, that trust is fraying. Each unresolved broadcast deal and each missed rights payment sends another signal that the system is not working as intended.

For a league that relies so heavily on daily connection, that is a risk baseball cannot afford to keep taking.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Do National News/Talk Radio Hosts Now Need a TV Companion for Career Success?

Garrett Searight
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Do National News/Talk Radio Hosts Now Need a TV Companion for Career Success?

There’s a quiet question about News/Talk radio I’ve been pondering, and it’s getting harder to dodge.

Success used to be defined by reach, ratings, and recognition on the radio dial. Today, the scoreboard feels a lot more crowded, and the lines between platforms keep blurring.

Barrett Media’s Top 20 national news/talk radio shows of 2025, released this week, put that reality front and center. The top half of the list reads like a TV guide as much as a radio ranking. That isn’t an insult. It’s an observation worth unpacking.

At number one sits Clay Travis, who’s a regular presence on Fox News, who hosts his radio show alongside Buck Sexton. Sean Hannity follows at number, and he anchors a Fox News primetime show. Literally, no one in the history of cable news has appeared more than Sean Hannity. Glenn Beck checks in at number three, bringing with him a long TV résumé that includes Fox News, Headline News, and now his own Blaze Media streaming platform.

Megyn Kelly was at number four, after years as one of Fox News’ biggest stars. Dave Ramsey was number five, and he spent years on Fox Business Network. Mark Levin ranked sixth and hosts a Fox News program. Brian Kilmeade comes in at number seven with a daily Fox News gig. Scott Jennings rounds out the top eight and appears regularly on CNN.

That’s not a coincidence. It’s a pattern. You could argue it’s a clear one, at that.

So here’s the uncomfortable question. Are these hosts widely viewed as the best in the business because they’re elite broadcasters who happen to have TV exposure? Or are they dominant radio brands because television gave them name recognition, credibility, and scale that radio alone rarely provides anymore?

The honest answer is probably both. Talent matters, obviously, and nobody climbs to the top of national radio by accident. These are sharp hosts who understand what it takes to get to the top. They know how to create appointment listening, even in an on-demand world.

Still, it’s fair to ask whether radio alone could’ve built these brands in 2025. Decades ago, the answer would’ve been an easy yes. Rush Limbaugh didn’t need a nightly TV show to become a cultural force. Neither did Howard Stern in his prime. Radio once created stars that television chased, not the other way around.

That balance has flipped. Television, streaming, podcasts, and social media now act as accelerants. They widen the funnel, reinforce authority, and turn a host into a “known quantity” before a listener ever finds the station or the app.

Can you just be a “news/talk radio host” today and still win big? I want to believe the answer is yes. Talented radio-first voices are doing strong work across the country. Many connect deeply with loyal audiences who don’t care where else the host appears.

But scale is the sticking point. Influence in today’s media ecosystem is about being unavoidable. It’s about showing up in clips, headlines, panels, podcasts, and feeds. Radio still builds trust, but TV and digital amplify it faster and farther.

That doesn’t mean radio is broken. I think it just means that the job has changed. The most successful hosts aren’t thinking in terms of platforms anymore. The idea of being “just” a radio host is a foreign concept today. Whether that’s a good or bad thing is another topic for another day.

The best hosts are now thinking in terms of presence. Radio is the foundation, not the entire house.

This might say less about individual talent and more about the era we’re in. Attention is fragmented. Loyalty is harder to earn. Audiences expect their favorite voices everywhere, all the time.

Radio-only success still exists, but the ceiling is lower than it used to be. The evidence is sitting right there in the rankings. To dominate nationally in 2025, it helps to sound great on the radio. It helps even more if viewers recognize your face when they turn on the TV.

That’s not a knock on radio. It’s a reminder that today’s biggest voices don’t live on one dial anymore.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Why Did Green Day, Bad Bunny Remain Politically Silent in Their Super Bowl LX Performances

Mike Gunz
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Why Did Green Day, Bad Bunny Remain Politically Silent in Their Super Bowl LX Performances

Sunday’s Super Bowl preshow performance featuring Green Day and the Halftime Show featuring Bad Bunny had not only the music community talking, but the world itself. Especially across social media.

Yet, despite the expected reactions from both sides of the political aisle there is a larger conversation to be had. That conversation centers on expectations. For two artists who have built reputations on political awareness and activism, what stood out most from Sunday’s performances wasn’t what was said, but rather what was noticeably absent.

That rebellious moment never came from either artist, leaving some fans extremely disappointed. Others wondered if it proved that the Super Bowl, and everything that comes with its corporate-heavy spectacle, is simply too big to challenge.

For music programmers, the performances also provided a firsthand look at the reaction artists that stations play can generate, both positive and negative.

Unfair Expectations?

In today’s ultra-polarized, social-media-hysteric world, many expected both Green Day and Bad Bunny to go full political during their sets. This is why Turning Point USA provided a counterprogrammed halftime show.

However, when both Green Day and Bad Bunny ended their sets, some fans remained unfulfilled.

This year’s Super Bowl took place during a midterm election year and against the backdrop of President Trump. Headlines of ICE enforcement masked the NFL’s continued involvement in culture-war politics. If this wasn’t the perfect opportunity for both artists to speak out, then what was?

From a music media standpoint, it’s interesting to examine whether symbolism alone is enough to satisfy an artist’s vocal fanbase. Or if societal expectations have shifted so dramatically that fans now expect direct confrontation and call-outs.

Past Statements

In the week leading up to the Super Bowl, both Green Day and Bad Bunny had no problem making political statements, something they have done throughout their careers.

“To all the ICE agents out there, wherever you are, quit your sh***y-ass job… because when this is over, and it will be over at some point in time, Kristi Noem, Stephen Miller, JD Vance, Donald Trump, they’re gonna dry like a bad f*****g habit. Come on this side of the line,” Green Day lead singer Billie Joe Armstrong said at the Super Bowl Spotify pre-show party on Saturday night.

During the previous Sunday’s Grammy Awards, Bad Bunny declared, “ICE out!” while accepting his trophy. He empathized that, “We’re not savages. We’re not animals. We’re not aliens. We are humans and we are Americans.”

Despite that history, neither artist mentioned Trump or directly addressed politics during their Super Bowl Sunday performances. For many, the fact that both artists performed at all was symbolic enough of the changing times. The sheer representation of punk rock legends alongside a Latin music superstar felt meaningful on its own.

For others, past behavior and previous statements led them to expect more overt messaging.

Green Day Stuck To The Music

During Green Day’s 2000 hit song American Idiot, Armstrong kept the original lyrics: “You can hear the sound of hysteria / The subliminal mindf**k America?”

He has previously been known to ad-lib and change lyrics to include anti-Trump messaging during recent performances. This time, there were no additional signs of political activism. No lyric changes in other songs or words taped onto guitar amps.

Green Day simply rocked out and kept it about the music.

By comparison, when Rage Against the Machine played Saturday Night Live in 1996, the band famously hung upside-down American flags on their guitar amps. Their second song was cut. They were escorted from the building, and reportedly banned from the show entirely.

And we all know what Sinéad O’Connor did—and what happened to her career afterward.

Expectations vs. Reality

Some Green Day fans expressed frustration, questioning why the band chose restraint during such a prime opportunity. A massive amount of devout fans expressed disappointment for not saying more with a captive worldwide audience.

To be fair, Green Day was likely well aware that NBC’s producers were prepared to censor the performance if the band veered from its expected three-song set.

NBC did mute the curse word “f**k,” which is standard procedure when vulgar language is used.

Bad Bunny Celebrated Culture

Bad Bunny’s reaction was different, largely because his presence alone felt like a victory for many fans. For the overwhelming majority of his audience, he met expectations culturally, if not politically.

Some even praised him for not taking the “bait” that would have pleased right-leaning political commentators. They argued that a more overtly political set would have taken away from what Bad Bunny said the performance was meant to represent.

Inclusion, acceptance, and love for all.

Others still wanted more, believing he should have leveraged the moment more forcefully.

The Super Bowl and Politics

This isn’t about what Green Day or Bad Bunny should or shouldn’t have said. Rather, it’s about expectations once a certain bar has been set. That tension exists for many artists. In particular, those who have historically spoken out on political issues.

Whether it’s “When will Taylor Swift come out and endorse a candidate?” or Kid Rock launching his 2026 Freedom Tour. Expectations often follow past behavior.

The same holds true for music programmers, who have seen firsthand the praise or backlash that comes from playing certain artists. Especially in recent times as audiences grow more vocal.

Ultimately, there’s something to be said for the idea that two politically active global artists performed on the biggest stage in American sports. Moreover the decision to let the music speak for itself. That may signal that the Super Bowl spectacle, for all its cultural reach, is not the place for artists to “do or say more.”

Regardless of what some fans might want.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

How SiriusXM’s Andrew Wilkow Turned 90 Seconds Into a National Show

Krystina Alarcon Carroll
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How SiriusXM’s Andrew Wilkow Turned 90 Seconds Into a National Show

Before Twitter gave the world 140 characters to express itself, there was Andrew Wilkow’s 90-second opinion on RADIO 104 WMRQ in Hartford, between music sets.

“I thought girls would like me if I became a rock radio DJ, and I naively thought that you had something to do with how music got on the radio,” the SiriusXM host said of how he got into the media industry.

It’s a love affair that started for Wilkow in third grade, but really launched with some blue humor in West Virginia. “I started doing a morning show at night,” Wilkow recalled of his early radio days. “We would have local pro wrestlers, we were running ads for one of the strip clubs, and sometimes I would have pro wrestlers and strippers in there doing all this crazy stuff. But I was also giving my political opinion.”

But the blue humor was not in his heart, so Wilkow moved on to Hartford, Connecticut, where he had just two minutes to express his political opinion. “I was saying things that were getting on the radar, but I wasn’t getting in trouble. I wasn’t getting FCC fines,” Wilkow remarked. “Then 9/11 happened, and that’s really where I was using the 45 to 90 seconds that I had to opine.”

That caught the attention of WABC Radio in New York City. “Next thing I know, I’m getting a call asking if I’d like to try out as a fill-in host, like a weekend fill-in host on WABC,” Wilkow said. “And I thought it was a joke. I actually hung up the phone. I thought it was a prank.”

It was not a prank. Wilkow soon found himself filling in for Mark Levin’s weekend show. “The program director, now my father-in-law, said, ‘If you can do for two hours what you’re doing for two minutes, maybe we can make you a talk show host.’ It really was a slow burn. I was working only one weekend show if the host was off.” Wilkow earned his own show at WABC before joining SiriusXM in 2006. Twenty years later, he is still hosting the same Monday through Friday 12 p.m. ET / 9 a.m. PT time slot.

Wilkow’s strong opinions are sure to get the left riled up. However, he welcomes well-informed dissenting calls. If you come armed with facts, Wilkow is more than happy to give “any Democrat caller on this program three minutes uninterrupted.”

However, the angry, descending-opinion callers are on the decline. “35 years ago,” Wilkow affirmed, “if you were on AM radio, you were out to the general audience, and you would get those kinds of calls. Now they pretty much relegate themselves to Patriot, Progress, POTUS, and other talk avenues.”

He added, “People tend to cloister in their tribe.”

This hasn’t stopped The Wilkow Majority from welcoming Democrats. “If I can get a civil-minded person who can stay off the personal insults and isn’t driven by emotion, I’ll have that debate all day,” Wilkow said. “We’ve exhausted ourselves inviting Democrats onto this program. They just won’t come anymore.”

Christine Pelosi, daughter of former Speaker of the House Nancy Pelosi, used to come on his show often. “She wouldn’t be afraid to give me insight from her mom or Democrats she was talking to, and it never got personal. It never got insulting.” More importantly, Wilkow believes the segments “made for really good radio.”

Over time, those segments have dissipated. Wilkow believes this is because “I don’t think Democrats want to get into the type of depth of questioning that someone like me and other hosts on this channel are going to put them through.” He added, “I will read a piece of legislation right back to them, and I do it on this program all the time. I just don’t think they want to be on record giving those types of answers.”

It’s this push for answers that helps propel his listeners to be MAGAtive about what is happening in government today.

Today, Wilkow loves what he does, but the childhood love for the music radio medium hasn’t left. “If the opportunity came along to do something fun and one-off, yeah, I would do it. Yeah, of course.”

But he couldn’t do it every day for one simple reason. “For about 10 years of my life, I couldn’t really appreciate a lot of the music that was coming out because it was my job to play it. It was work.”

It’s a perspective all aspiring and current members of the media should keep in mind. “If you work a concert, you’re not there enjoying it. You’re working. Whether you’re security, running the board, or a radio personality, that’s your job.”

Wilkow went on to add, “To the outside, it looks like fun, and it is. It can be fun. But it’s still the job for you, and it’s like you kind of miss that part the audience loves when you go from being in the audience to being a part of it.”

For those looking to follow in Wilkow’s footsteps in music or talk radio, he admits it is a very different world from when he started, but there is still one applicable lesson.

“I had gotten myself into the program at WRUF-FM. I don’t even know if I was fully on the air yet, and the program director said, ‘I need someone to work…’ Before he could finish the phrase ‘Saturday morning,’ which is SEC tailgating, I put my hand up.”

“I solved the program director’s problem right there. Nobody wanted to do it. He said, ‘I’m going to have to pick someone.’ And I learned very quickly that if you’re willing to solve the program director’s problem, you’re willing to give up a Friday night, an overnight, or work the holidays. The more time on the air you have,” Wilkow added, “the better you’re likely to get at it. So I took every single opportunity.”

“I don’t think you could ever go wrong with hard work, meaning if you’re on your own producing your own podcast and you can get enough traction, maybe somebody with a company that provides greater support and algorithm knowledge will say, ‘Okay, this person is really getting it done as an independent,’” Wilkow said. “That’s what I would say to a young person. If you can afford the time to do something independent, get it out there as best you can.”

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

The Rise of Cross-Platform Storytelling in Modern Sports Coverage

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The Rise of Cross-Platform Storytelling in Modern Sports Coverage

Sports fans today do not just sit down to watch a full match on television. They scroll through highlights, tap through player stories, and listen to match reactions while on the move. The game now lives on screens, in headphones, and across social feeds simultaneously.

Mobile phones, apps, and social platforms have completely changed how people keep up with their favourite teams. Content moves faster, arrives in shorter bursts, and appears in many different formats. Fans expect more access, more interaction, and less waiting between moments.

Because of these changes, media outlets, clubs, and independent creators have had to rethink how sports stories are told. Instead of relying on a single channel, coverage now spreads across clips, podcasts, graphics, and live updates that follow fans wherever they are.

When Sports Coverage Was Simpler

In the past, sports coverage followed a predictable rhythm. Television broadcasts aired at set times, radio offered live commentary for those who could not watch, and newspapers delivered match details the next day. Most fans received updates in limited windows, usually as scores or brief summaries.

That slower, more organised style no longer fits modern habits. Fans now want updates constantly, and even waiting an hour for highlights can feel outdated. What matters is not only what happened, but how quickly and clearly it is shared.

This shift is visible beyond traditional media formats. Canada’s sports-themed casino gaming scene reflects a similar trend, using sports narratives, visual themes, and interactive mechanics to keep users engaged across digital platforms. From virtual betting options to sports-inspired slot games, fans interact with teams, leagues, and statistics in ways that echo modern storytelling methods.

What Fans Expect Now

Today’s fans want more than a final score. Before a match begins, they look for predicted lineups, professional analysis, and data-driven graphics. During the game, they follow live updates, tactical insights, and social media reactions in real time. Once the final whistle blows, the conversation continues through player interviews, statistical breakdowns, and fan discussions.

Many fans do not watch an entire match from start to finish. Instead, they keep up through short clips, trending posts, and podcast summaries. Time is limited, and attention spans are shorter. The demand is for concise content that highlights what matters most without requiring a full ninety minutes.

Clubs, media outlets, and creators respond by breaking matches into moments. A key pass, a goal, or a controversial call becomes a short clip, a meme, or a poll inviting fans to weigh in. Each moment adds another layer to the story.

How Broadcasters Adapt

Major broadcasters no longer rely solely on television schedules. To remain relevant, they publish content across platforms such as YouTube, TikTok, and Instagram. Match previews, expert panels, and highlight clips are now designed for mobile viewing, with subtitles, fast loading times, and shareable formats.

Some broadcasters integrate live statistics, heat maps, and visual analysis while a match is still in progress. This adds depth for fans watching at home or on the move. Once the game ends, extended analysis and expert reactions often appear online within minutes.

Interaction has also become essential. Through live chats, viewer questions, and online polls, broadcasters invite fans to participate. Modern sports coverage increasingly treats the audience as part of the storytelling process rather than passive observers.

Podcasts Continue the Conversation

Podcasts have become a central part of sports media. They allow fans to tune in on their own schedule, whether during a commute, at the gym, or while handling daily tasks. Without the time constraints of television, podcasts offer space for longer discussions and deeper analysis.

Shows range from weekly recaps to tactical breakdowns, transfer rumours, and personal perspectives from former players. The format encourages personality and openness, helping listeners build trust with hosts over time.

Many fans place more trust in their favourite podcast than in traditional post-match press conferences. The tone is conversational, accessible, and less scripted, which suits audiences accustomed to multitasking and on-demand content.

Online Services Make It Instant

Social media delivers sports coverage in real time. Fans see lineups, warmups, and behind-the-scenes footage before a match even begins. When the action starts, goals and key moments are clipped and shared within seconds.

Teams, leagues, and media outlets actively engage on these platforms. They post updates, interact with fans, and react as events unfold. Short videos, polls, gifs, and informal commentary dominate feeds on platforms like Instagram, X, and TikTok.

Many fans follow matches almost entirely through social media. They may never turn on a broadcast, yet they stay fully informed through their feeds. Smaller clubs and independent creators thrive in this environment as well, producing reaction videos and matchday content that can rival major networks in reach and impact.

Final Words

Cross-platform storytelling has reshaped how fans experience sport. Coverage is faster, more personal, and constantly available. Watching the match is only one part of the experience. The rest unfolds through podcasts, clips, posts, and conversations that travel with fans wherever they scroll.

KFI AM 640 Announces Upcoming Weekday Lineup Changes Featuring John Kobylt, Tim Conway Jr., Chris Merrill and Michael Monks

BNM Staff
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KFI AM 640 Announces Upcoming Weekday Lineup Changes Featuring John Kobylt, Tim Conway Jr., Chris Merrill and Michael Monks

KFI AM 640 in Los Angeles is making changes to bolster its weekday lineup. The moves are designed to return some of the brand’s most popular personalities to familiar dayparts while also introducing new voices to move the radio station forward.

As announced on-air today, John Kobylt is returning to afternoon drive, from 3p-6p PT. Kobylt previously commanded the daypart for years as part of the legendary John & Ken Show. With Kobylt returning to his former drive time slot, Tim Conway Jr. returns to evenings from 6p-10p, bringing back his popular evening program.

To cover Kobylt’s midday spot from 12p-3p, KFI will introduce a brand new show. Chris Merrill and Michael Monks, will team up in middays to launch the new Monks & Merrill Show.

Chris Merrill is a familiar voice to KFI’s audience. He has hosted shows and worked for the station in various roles for years. Merrill recently exited KTAR 92.3 in Phoenix where he had been co-hosting the midday show with Joe Huizenga.

Michael Monks meanwhile has gained notoriety as an award-winning senior reporter/host for KFI News. Together, Monks and Merrill will strive to deliver a unique sound while entertaining and tackling Southern California’s biggest issues.

For those who missed it, here is how the announcement sounded live on KFI’s airwaves.

The new weekday line up on KFI AM 640 will be as follows: 

  • 6 a.m. – 9 a.m. – Bill Handel
  • 9 a.m. – 12 p.m. – Gary & Shannon
  • 12p.m. – 3 p.m. – Monks & Merrill
  • 3 p.m. – 6 p.m. – John Kobylt
  • 6 p.m. – 10 p.m. – Tim Conway Jr.

In announcing the changes, iHeartMedia Los Angeles Division President, Paul Corvino shared his enthusiasm: “The new lineup change continues with a tradition built on excellence. This is a great opportunity to add two new dynamic voices, Chris Merrill and Michael Monks, to our already nationally recognized roster of talent. It’s an incredibly exciting time for our brand advertisers and the greater Southern California listeners.”

KFI Program Director Brian Long also weighed in on the decision to once again feature John Kobylt in afternoons and Tim Conway Jr. in evenings: “The chance to put John Kobylt back in drivetime and move Tim Conway Jr. and his entertaining brand of talk a bit later for the evening crowd is a homerun for the KFI listeners. Starting the day with Wake-Up Call, Bill Handel, Gary & Shannon, our award-winning news team, and now the addition of the new Monks & Merrill Show makes KFI the most stimulating talk lineup in America.”

KFI’s new weekday lineup hits the Los Angeles airwaves starting February 17th.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Super Bowl LX Second Most-Watched of All Time, Peaking at All Time High 137.8 Million Viewers on NBC Sports

BSM Staff
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Super Bowl LX Second Most-Watched of All Time, Peaking at All Time High 137.8 Million Viewers on NBC Sports

NBC Sports didn’t just broadcast Super Bowl LX — it used the NFL’s biggest stage to redefine what a modern, multi-platform sports moment can deliver at scale. The network’s presentation set an all-time U.S. television record when 137.8 million viewers tuned in during the second quarter as the Seattle Seahawks held a 6–0 lead over the New England Patriots.

That peak stands as the largest audience ever measured for a single moment on American television and underscored the Super Bowl’s unmatched ability to command national attention.

Across NBC, Peacock, Telemundo, NBC Sports Digital, and NFL+, the Seahawks’ 29–13 victory averaged 124.9 million viewers, according to Nielsen’s live plus same-day Big Data and panel measurement. The audience ranks as the second-most watched program in U.S. history, trailing only Super Bowl LIX on FOX, and now stands as the most-watched show in the history of NBCUniversal, which marks NBC’s 100th anniversary in 2026.

“The Super Bowl and the NFL once again delivered a blockbuster audience across the NBC broadcast network, Peacock, and Telemundo,” said Rick Cordella, president of NBC Sports. Cordella also pointed to the event’s strategic value, noting that the game provided an unprecedented lead-in to NBC’s Winter Olympics coverage.

Super Bowl LX also capped a milestone season for Sunday Night Football. The franchise delivered a record 23.5 million viewers this season and remains on pace to finish as primetime’s top show for an unprecedented 15th consecutive year, further solidifying NBC’s long-term investment in the NFL.

Spanish-language viewership reached historic levels as well. Telemundo averaged 3.3 million viewers, marking the most-watched Super Bowl in U.S. Spanish-language history. That audience peaked during the halftime show with 4.8 million viewers, setting another record and highlighting the growing cultural impact of the event across diverse audiences.

The Apple Music Super Bowl LX Halftime Show starring Bad Bunny extended that impact far beyond television. Total social consumption reached four billion views within the first 24 hours, a 137% year-over-year increase, with more than half of those views coming from international markets. The top three most-viewed NFL social posts of all time now belong to halftime clips from this year’s performance.

The Apple Music Super Bowl LX Halftime Show averaged 128.2 million viewers from 8:15-8:30 p.m. ET in the United States. Full global viewership for the Apple Music Super Bowl LX Halftime Show will be available early next week.

Viewership momentum carried into NBC’s postgame programming. Following the Lombardi Trophy presentation, Mike Tirico hosted Primetime in Milan, featuring events from the Milan Cortina Winter Olympics. The presentation averaged 42 million viewers, representing NBCUniversal’s largest Winter Games audience since the 2014 Sochi Olympics and a 73% increase over the comparable 2022 Beijing broadcast.

Meanwhile, Peacock logged its best day ever in reach and hours streamed, fueled by Super Bowl viewing and the postgame debut of “The Burbs,” which became the platform’s most-watched original launch on Day 1.

Taken together, Super Bowl LX reinforced the NFL’s unrivaled power while illustrating how broadcasters now measure success across television, streaming, social, and global engagement — all in a single Sunday.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

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