The July podcast charts from Podtrac have been released, and there is positive news for The Tucker Carlson Show.
During the month, the top three positions on the Top Podcasts by U.S. Unique Monthly Audience chart remained unchanged. NPR News Now, The Daily, and Up First from NPR took home the top three spots.
Fox News Hourly Update moved up one position to fourth, surpassing Dateline NBC, which dropped to fifth.
The Shawn Ryan Show and Pardon My Take finished in sixth and seventh, while Stuff You Should Know rose two places to eighth, while Today, Explained was ninth, and This American Life fell two spots to 10th.
The back half of the top 20 saw the most movement. The Tucker Carlson Show jumped up six places to finish the month as the 18th show on the chart. Meanwhile, The Ezra Klein Show vaulted two places to earn 15th place. The Tim Dillon Show also moved into the top 20, finishing in 19th, an improvement of three positions.
Planet Money jumped 11 spots to earn the final place in the top 20 podcasts in July.
Other notable podcast finishes during the month include The Ben Shapiro Show finishing in 13th, mimicking the placement during June’s rankings. Additionally, 48 Hours was 12th, while 20/20 dropped two positions to 16th.
Those companies were joined in the top 10 by The Walt Disney Company, Vox Media, Fox Audio Network, Podcast One, and Paramount in positions six through 10, respectively.
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105.7 WAPL in Appleton, WI, tapped into the power of its rock audience to make a difference. The station raised $1,800 for the Wisconsin Parkinson’s Association through a special listener-driven auction held on Monday, July 28.
Branded Auction for Ozzy, the on-air and online event, was hosted by “WAPL Mornings with Laura Lee & Cutter” and centered around a unique piece of memorabilia: a 1999 Ozzy Osbourne “Bark at the Moon” collectible doll.
The rare 18-inch figure, complete with an audio clip and printed lyrics, generated strong interest among fans eager to own a piece of rock history and support a meaningful cause.
Bidding was promoted across WAPL’s platforms, from on-air promos to a dedicated web page and social media outreach. Listeners placed bids via text, phone, and Facebook, with Jack Van Iten of Greenleaf submitting the winning offer of $1,800.
All funds go directly to the Wisconsin Parkinson Association. They provide care, education, and resources for individuals and families affected by Parkinson’s disease.
The auction served as a tribute to Ozzy Osbourne, who passed away on July 22 at age 76 following a long battle with Parkinson’s.
“It was a moving tribute to a rock icon and a reminder of the impact local radio can have in bringing people together to do good,” the station shared.
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Townsquare Media has released its 2025 second-quarter financial results, and while the total revenue for the company was down overall, it pointed to an increase in digital revenue as cause for optimism.
Total revenue declined 2.3% year-over-year during April, May, and June. That figure drops to 1.6% when political advertising during the unprecedented 2024 election cycle is excluded.
Broadcast radio revenue dropped 9.2% for the company, in line with what was expected and shared on a previous earnings call.
However, the largest gains for Townsquare Media was in the digital realm. The sector saw a 9.4% year-over-year profit increase. Townsquare Ignite — the company’s digital advertising arm — saw a 2.4% increase in revenue, while Townsquare Interactive — the subscription digital marketing division — saw revenue of 1.4%.
Overall, the company shared that 55% of its total revenue and its total segment profit comes from the digital sector.
“We are proud that our business model gives us the ability to deliver solid and consistent results, while also producing strong cash flow, which we have been applying towards organic investment in our business and debt paydown, and which we will continue to do for the remainder of the year,” said CEO Bill Wilson.
During the quarter, Townsquare Media retired $10 million of its outstanding debt. The company’s Adjusted EBITDA rose to $26.4 million, exceeding the forecast from the first quarter.
Additionally, the company’s board of directors approved a $0.20 per share quarterly dividend. Townsquare also noted that it’s full-year forecast now projects between $435-$440 million in revenue, with an adjusted EBITDA of $90-$94 million.
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Cumulus Media’s 104.5 The Zone in Nashville has announced a multi-year renewal of its long-standing partnership with the University of Tennessee Volunteers. The extension continues its role as the flagship station for Vols athletics in Middle Tennessee. As part of the expanded partnership, 104.5 The Zone morning co-host and former NFL lineman Ramon Foster will join the Tennessee Football gameday radio team alongside longtime “Voice of the Vols” Mike Keith.
Foster brings firsthand experience, deep insight, and unwavering Big Orange pride to every broadcast. Foster, who co-hosts Ramon & Will weekday mornings on 104.5, said joining the gameday crew is a personal and professional honor.
“The partnership between 104.5 The Zone and the Vols is something I’m incredibly proud to be part of — from Monday through Saturday,” said Foster. “The Zone’s commitment to delivering top-tier Vols coverage, and now games with me this fall, is something special. GBO!”
Moreover, the station will continue airing full-game broadcasts for Tennessee football. It will also house broadcasts of men’s and women’s basketball, and other marquee events including National Signing Day and the Spring Game. Weekly programs like Big Orange Rewind and The Mike Keith Show will also remain key elements of the content slate.
“For 15 years, 104.5 The Zone has been the proud Home of the Vols in Nashville,” said Glenn Thackston, Executive Director of Learfield/Vol Network. “Being on one of the top sports stations in the country is a perfect fit and VFLs like Ramon Foster and Ron Slay make it must-listen radio for fans of the Big Orange. We look forward to continuing our long partnership with 104.5 The Zone in the state capital as we embark on a new era with the Vol Radio Network.”
Mike Keith, Tennessee Assistant AD for Broadcasting, noted the relationship dates back nearly 15 years.
“I believed then and now that 104.5’s ability to connect with fans throughout the region is unmatched,” said Keith. “With their University of Tennessee connections up and down their talent lineup, 104.5 The Zone is the destination for the best Vol information and conversation.”
Brandon Parks, General Manager for Learfield/Vol Network, called the extension a critical move for regional coverage.
“We look forward to a new chapter and future together in providing premier network and local content and coverage to Tennessee fans and alumni in Middle Tennessee,” said Parks.
Paul Mason, Programming Operations Manager at 104.5 The Zone, echoed that sentiment.
“This partnership is more than just broadcasting games — it’s about celebrating the spirit of Tennessee,” said Mason. “We’re proud to continue bringing Vol Nation the coverage it deserves, with passion, energy, and a whole lot of orange.”
The extended agreement runs through the 2028 season.
Big Orange Nation, Get Ready!
We are happy to share some great news!
WGFX and The @VolNetwork have announced a multi-year extension keeping Vol Football, Basketball, and other athletics on @1045TheZone for years to come.
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ESPN has officially announced that its long-anticipated direct-to-consumer streaming platform will launch Thursday, August 21, offering fans a comprehensive way to access the full suite of ESPN content without the need for a traditional cable subscription.
The debut of the standalone service comes at a strategically significant moment on the sports calendar, coinciding with the opening weeks of the college football and NFL seasons. It also aligns with major events such as the US Open in tennis, international soccer fixtures, and the start of women’s college sports including soccer, volleyball, and field hockey. The timing positions ESPN to capture attention across multiple fanbases ahead of the WNBA and PLL playoffs and before the NBA and NHL seasons begin in earnest this fall.
“Timed for a marquee stretch of live sports programming,” the network said in a statement, the new offering is designed to meet fans where they are – with flexibility, personalization, and access to an expansive library of live and on-demand content.
The service will launch with two pricing options, including a flagship “Unlimited” plan for $29.99 per month. That package gives subscribers access to all ESPN linear networks – ESPN, ESPN2, ESPNU, SEC Network, ACC Network, ESPNEWS, ESPN Deportes – plus ESPN on ABC, ESPN+, ESPN3, SECN+, and ACCNX. In total, fans will be able to watch more than 47,000 live events per year, along with replays, studio shows, and original series.
To incentivize early adoption, ESPN is also rolling out a launch offer bundling the Unlimited plan with Disney+ and Hulu for the same $29.99/month price for the first 12 months.
Subscribers, whether through the DTC platform or via a traditional pay TV provider, will also retain access to the network’s full slate of marquee studio shows including SportsCenter, Get Up, First Take, NFL Live, College GameDay, NBA Today, Inside the NBA, The Pat McAfee Show, The Rich Eisen Show, among others. ESPN Originals and the acclaimed 30 for 30 library will also be available on demand.
Accompanying the launch is a revamped ESPN App, which the company promises will deliver a “more personalized, dynamic viewing experience.” New features will include enhanced multiview options, integrated live stats, betting and fantasy content, and a personalized version of SportsCenter called SC For You.
The news of the official launch date comes a day after the NFL transferred ownership of NFL Network, RedZone Channel, and NFL Fantasy to ESPN in exchange for a 10% equity stake in the network. The network also announced a separate licensing agreement is also in place for the NFL to provide ESPN with rights to distribute additional league content and intellectual property.
Finalization of the deal remains subject to definitive agreements, various approvals including by the NFL team owners, and customary closing conditions.
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ESPN is having an incredible week. After striking a deal with the NFL for ownership of NFL Network, RedZone Channel, and NFL Fantasy in exchange for a 10% equity stake in the network, ESPN has now secured a five-year agreement with the WWE to bring the company’s marquee live events exclusively to the brand’s forthcoming standalone streaming service starting in 2026.
Under the agreement, ESPN will become the exclusive U.S. home for 10 of WWE’s top events. Among those events include WrestleMania, SummerSlam, Royal Rumble, and Survivor Series. The deal contains rights to air pre- and post-event programming. It also leaves the door open for select events to be simulcast on ESPN’s linear platforms.
“WWE is an extremely popular form of entertainment that has stood the test of time,” said ESPN Chairman Jimmy Pitaro. “This partnership helps us grow our audience — it brings in younger, more diverse, and more female viewers.”
Pitaro added that Disney and ESPN plan to explore additional content extensions around WWE. Those could include crossovers with NBA stars, ESPN/UFL partner Dwayne “The Rock” Johnson, or ESPN talent like Pat McAfee, who has a longstanding relationship with WWE.
The new ESPN streaming platform is expected to launch ahead of the 2026 NFL season. Similar to its approach with the UFC through ESPN+, ESPN plans to integrate WWE into its promotional strategy in order to create early momentum.
“We are proud to reinforce the ‘E’ in ESPN at such an exciting juncture in its direct-to-consumer journey,“ said TKO President and COO Mark Shapiro. “WWE Premium Live Events are renowned for exactly the type of rich storytelling, incredible feats of athleticism and can’t-miss, cultural tentpole experiences that have become synonymous with ESPN. Through our UFC relationship, we have experienced firsthand how transformational an ESPN presence can be. We know this will be an exceptional partnership at a time of great innovation for both companies.”
This isn’t the first time ESPN and WWE have worked together. ESPN aired archived WrestleMania broadcasts to fill its schedule during the pandemic. The brand also featured on-site programming to support WWE live events, conversations on SportsCenter, First Take and other ESPN programs, and articles on ESPN.com. The positive history between the two companies helped lay the groundwork for this expanded deal.
WWE President Nick Khan called the negotiations “quick” and “robust in spirit.” Company officials did not share exact figures, but according to CNBC, ESPN will pay over 1.6 billion over 5 years for the U.S. rights to WWE’s premium live events. NBCUniversal reportedly paid $180 million per year over its prior five-year partnership with WWE. ESPN’s new direct-to-consumer platform will cost $29.99 per month upon rollout.
Despite the ESPN agreement, WWE will maintain relationships with other major platforms. Monday Night Raw will continue streaming globally on Netflix, while Friday Night SmackDown and Saturday Night’s Main Event will remain with NBCUniversal and its Versant Media Group division. WWE’s partnership to air premium live events on NBC Peacock however comes to an end.
As ESPN’s rights deal with UFC nears its 2025 expiration, Pitaro confirmed discussions are ongoing about continuing the relationship. He added, “The track record is just too strong.”
Blonde-haired, blue-eyed mega actress Sydney Sweeney stepped in it. Her jeans ad for American Eagle has sparked a media meltdown, drawing thunderous criticism, with the coverage not limited to just CNN and Fox News. She set off what seems like half of the world against what is being called a “eugenics dog whistle” and “Nazi propaganda.”
Please. It’s an ad for blue jeans!
The controversy even reached the top of the political world. Donald Trump weighed in with an opinion about the Euphoria and White Lotus star, who most recently sold a soap for men infused with her own bathwater. He loves her now that reporters told him she’s part of the GOP.
“She’s a registered Republican?” asked Trump. “Oh, now I love her ad.” And he posted that it was the “HOTTEST ad out there.”
American Eagle stock rose 23% on Monday, and that can’t be all traced to the president’s sudden enthusiasm.
The offending line in the ad triggered minorities who believe it glorifies a racial ideal that white women are superior, and set the media abuzz. People began to accuse the company and Sweeney of promoting white supremacy. Some went so far as to say the video, which has racked up hundreds of thousands of views, promoted eugenics, a discredited white supremacist theory that the world would be better if humans got rid of less desirable traits.
As the camera moves across her body as she squirms while buttoning up her jeans. She narrates, “Genes are passed down from parents to offspring, often determining traits like hair color, personality, and even eye color. My jeans are blue.”
That’s all it took. It’s clearly just a play on words designed to sell jeans. The company defended itself by saying, “It is and always was about the jeans. Her jeans. Her story. We’ll continue to celebrate how everyone wears their AE jeans with confidence, their way. Great jeans look good on everyone.” But it admitted that it contained “clever, even provocative language” and was “definitely going to push buttons.”
The jeans display a butterfly on the back pocket, which the company says represents domestic violence awareness. All of the proceeds will be donated to Crisis Text Line, a charity that offers mental health services. It’s hard to make this point with a social media “race” meltdown on full blast.
On CNN, Ernie Suggs,an Atlanta Journal-Constitution reporter who writes about race and culture, said, “The fact that this happened is troubling. But it also sends a message to brown and black women, sends a message to queer people, sends a message to people who have different body types that our genes are not the same, you know, our genes are not perfect, or jeans are not good.”
And singer Lizzo, posted an AI-generated picture of herself in the ad saying, “My jeans are black.”
The controversy was heavily covered by Fox News. On Jesse Watters Primetime, anchor Julie Banderas commented that the company advertises size 24 jeans, “So what is wrong with advertising for a blonde, blue-eyed person?” She said it’s a double standard and makes no sense. “It’s so stupid.”
The HBO Real Time host, Bill Maher, defended Sydney Sweeney.
“According to the woke people, this means she’s a white supremacist,” he said.
The MAGA crowd weigh-in wasn’t just limited to President Trump, it captured the upper echelon of politics. Vice President JD Vance blamed Democrats for overblowing the meaning behind the ad. “So you have a pretty girl doing a jeans ad and they can’t help but freak out. It reveals a lot more about them than it does us. No question,” Vance said on the Ruthless podcast.”
White House Communications Director Steven Cheung said it’s “cancel culture run amok.” And Sen. Ted Cruz (R-TX) said, “the crazy Left has come out against beautiful women.”
Set “genes” aside. Is it hypersexualized? Yes. TikTok users — including my 17-year-old daughter and her friends — say Sweeney, who has two Emmy Award nominations, degrades women by showing off her buxom body and is just plain gross. Plus, they say the company knew jeans were not the primary message.
These are girls who loved the 27-year-old in the blockbuster hit rom-com Anyone But You. The jeans line was supposed to showcase flattering designs. But my tiny focus group agrees that they didn’t even notice the jeans because the message was designed to promote something else.
Listen, as a blonde-haired, blue-eyed woman, I’ve had my share of being viewed sexually in the workplace, and I know what that’s like. The difference is, unlike Sydney Sweeney, I wasn’t trying to draw attention to my body. She’s brought this charge of oozing sexuality for the cameras on herself, and many of the attacks are understandable.
So why did it unleash a political firestorm, the likes of which we haven’t seen in the advertising world for years? It mimics the extreme polarization of left versus right that has overtaken the country, which some say intensified when Trump first became president.
On CNN, fashion historian Emma McClendon says, “In the current political climate, and then with the invocation of genetics, it feels like it’s just playing on this broader, larger cultural-social grappling we’re having right now with what it means to be American.”
An MSNBC producer wrote, “Our entire culture has moved further right, allowing for this sort of behavior.”
The clear winner is American Eagle. The CEO of Crocs, Inc. — the parent of shoe company HeyDude — said the brand clearly reached its Gen Z audience. It’s been “performing really well.” Sweeney responded last week with a cryptic Instagram post of a photo of a bouquet of pink roses with a white heart sticker.
A close second are the media, whose incessant coverage caused their traffic to soar, all the while showing sexy pictures of Sweeney. It’s the story that nobody can resist.
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As the old saying goes: Imitation is the sincerest form of flattery. For generations, brilliant performers on stage and screen have made careers out of impersonations of others—from movie stars, musicians, and sports figures alike. The skill needed to execute a flawless imitation takes talent, discipline, and for Gordon Keith, a desire to find a reason to stay employed at The Ticket in Dallas, TX.
“I know nothing about sports, and I worked at that station. I kind of had to find a way to stay employed up there,” said Keith. “The other guys were all real sports guys, but they’re also really funny. I would just kind of do voices around the cubicle area and crack them up, and we decided to throw them on the air.”
Gordon Keith’s creativity has led him to craft a career for over three decades as a co-host and contributor on The Ticket’s longest-running morning show, The Musers. For over a quarter century, Keith has found different characters to imitate for the program, but none have stood the test of time like one of the most dynamic personalities in all of sports: Dallas Cowboys owner, president, and general manager Jerry Jones.
When ‘Fake Jerry’ Became Destination Radio
Keith recalled the origins of the impression dating back to 1994, when the Dallas Cowboys were amid a run of Super Bowl championship titles.
“Somewhere along the line, we had to interview Jerry Jones. Can anybody do a Jerry voice? So, I kind of did a half-ass Jerry voice, and we threw it on the air. It was just an endless source of entertainment because you could make Jerry say any crazy thing you wanted,” explained Keith. “At the time, they were winning Super Bowls, so it was great.”
The imitation became a fan favorite. Keith has continued to do the impersonation since 1994 and balances its use between in-season and off-season. Off-season appearances of what has been dubbed “Fake Jerry” are limited to when the Cowboys make news, while in-season appearances happen weekly following Cowboys games.
As with any imitation, there’s always curiosity about the subject’s reaction. Jones has not been shy about his approval of the impression.
“There have been several times where he and I have interfaced. He lights up when he realizes that I’m the guy who does the ‘Fake Jerry.’ He gets a big kick out of it,” said Keith. “That’s one of the crazy things about Jerry [Jones]. He is so showbiz savvy that he seems to welcome all portrayals of himself.”
Getting the Call From Cartoon Network
For Keith, the imitation of Jerry Jones as “Fake Jerry” has not only become a staple of The Ticket’s morning show—it’s soon to go national. Cartoon Network’s Adult Swim requested Keith’s impersonation for an upcoming series called Keeping Up With The Joneses, reportedly set to debut in spring 2026.
“I had gotten some emails from a casting director for Warner Brothers Animation, and they wanted to talk to me about a project,” noted Keith. “They were super nice and said, ‘We have this project with Jerry Jones as a character in it. We understand you do Jerry Jones. We’re really interested in you reading for the part.’”
Following an audition over Zoom, Keith landed the part after what he called a “very intimidating” audition. This was the first time Keith had auditioned for a role of this scale, reading for creators whose work he already admired.
“The only reason I wasn’t more nervous was because that’s not my regular job,” joked Keith. “If I get it, that would be wonderful. If not, and they need someone who’s better than I am, that’s fine.”
As a fan growing up idolizing Mel Blanc and David Letterman, Keith found himself in a role he once dreamed about as a child—recording a voiceover for a cartoon character he created in a professional studio in Dallas.
“I always wanted to do cartoon voices,” explained Keith. “The Ticket has been a crazy career turn that I never would’ve predicted and I never desired. It’s been a fantastic job. I’ve stayed with it, but I had to kind of make a place for myself up there because I didn’t have any of the skills that the other guys had.”
The Musers Branching Out to Podcasts
Keith began his career at The Ticket as an intern for Skip Bayless when he hosted mornings on the station. Shortly thereafter, Keith was paired up with George Dunham and Craig Miller to form The Musers.
While the morning trio has been entertaining Ticket listeners for over twenty years, The Musers launched their own podcast in July, simply called The Musers: The Podcast. The weekly episodes are the first time all three members of the program have collaborated on a podcast together, in partnership with the Cumulus Podcast Network.
“We were always caught in a hard decision of when do you decide to start competing against yourself. You have a changing landscape with podcasts on the ascend, but we still love broadcast radio,” explained Keith. “We are certainly aware that time spent listening to us on podcast is time not spent listening to our station.”
Keith noted the program is attempting to find the balance between giving their listeners more of the product they want and also appealing to those who don’t listen to them on the radio. He said he would have liked to start the project five years ago, but didn’t feel he had the time or energy to contribute then.
“This year was when we cut back our hours. We had been doing 4 ½ hours every morning of talk radio,” noted Keith. “We cut it back to three hours a day. That gave us a little bit more energy and time to do a podcast. I don’t think we could’ve been doing it [the podcast] five years ago and still also been doing our 4 ½ hours a day.”
The early returns have been positive. Keith noted that they’ve received up to 100,000 downloads through five episodes. While Keith stated he would have liked to begin podcasting sooner, the concept originated with the talent themselves.
“It was our idea to do it and when to do it. We talked to management and asked if they were interested in partnering with us on this. Fortunately, they said yes,” explained Keith. “I was glad that they partnered with us, because I also didn’t want to deal with any kind of headache or a conflict with another company doing our podcast. We don’t want to conflict with our terrestrial radio job.”
The partnership with Cumulus was welcomed by all parties, with the broadcast company having no reservations about the long-standing morning show venturing into the podcast realm.
“It’s making some little small dent that’s good to build on. We knew it was going to start slow and then build. I’ve been really happy with it,” said Keith.
With the success of a career built on his own unique creativity, Keith says he’s excited to see where the journey takes him next—building a new podcast platform with The Musers while awaiting the debut of “Fake Jerry” to the masses on Cartoon Network.
“I’ve seen some of the early animation with the voices. I love the other voices that the creators are doing,” said Keith. “I’m really excited for our people to see it, because I think they’re just going to get a real kick out of it.”
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Who doesn’t love a good self-help book? We all face our own personal issues with how to get through the day-to-day of life. Sometimes picking up a good book, putting on a motivational song, or reading a positive passage from time to time can lift spirits and spark the energy to keep going. When it comes to radio, I love to read how programmers motivate working talent to get through the struggles of the industry.
I came across a posting on my feed the other day which read, “The Motivation Tactics That Actually Work For Radio’s Top PDs.” I thought this would be some exciting stuff—real-time examples of how programmers get in the battle with their talent to win the day and strive for greatness.
What I left the posting with was a shrug of the shoulders and a blank stare. Have radio programmers given up on how to motivate their own talent?
In the posting, there were three submissions from programmers in which they described their best strategies for keeping teams motivated. The online post surmised that fewer meetings and more birthdays would do the trick.
Yes, more birthdays.
More Questions Than Answers
The first submission talked about being supportive—showing your support as a programmer in the talent’s drive to be successful in any way, while providing additional perspective and the occasional guardrails.
Let’s ask a question regarding this submission. Isn’t the job of the programmer to always be supportive of the talent who work under you? When did supporting your employees become a “strategy” instead of “the role of your position”? Of course you’re going to be supportive. It’s the job, it’s the role, and it should be the minimal expectation of the talent to expect that from your program director.
The second submission talked about being collaborative with new idea generation.
I like where this is going already.
The submission talked about always saying yes to make those ideas a reality. It could be on-air, an event, or a promotional idea to drive engagement and audience. Creating an environment that empowers and supports (there’s that word again) the air staff and the freedom to be who they are and to perform.
While collaborating with talent on idea generation is key, always saying yes is not the answer. This isn’t a square peg, square hole type of situation. Not every idea is a great idea. In my experience, most of the talent have ideas that benefit the talent first, station second. The job of the programmer is to think station first, talent second.
To simply “always say yes” is a lie. You can’t, as a programmer, say yes to every idea your talent brings you. The key is finding avenues to not say yes or no, but to work through ideas to where it benefits both talent and station.
The third submission is my personal favorite because I’ve been in the rooms for both the planning and execution of “internal celebrations.”
The programmer explains how always making sure you have contests and events going on with the radio station helps. Letting the on-air talent experiment with content and always reminding them of the impact the station has on their community.
Here’s the line: “Of course, always celebrating birthdays and special events in-house.”
Working in a building for over 20 years, I can’t tell you how many people wish they didn’t have to come into work on their birthday because of the Office Space-like feel a birthday has in-house. Sure, it’s fun to celebrate your teammate, but nothing says celebrate like “Hey, you’re a year older.”
I’d love to know as well how making sure you have on-air contesting motivates your on-air staff. Most on-air contesting is treated like throwaways on-air or pre-recorded bumpers or promos to ramp up excitement for the audience. Plus, if you have contests and events going on all the time, does your talent even have time to experiment with the content? Do you want sponsored or promotional content being experimented with when clients have pre-determined expectations?
Knowing What Talent Want
Call me old-fashioned, but these submissions leave me with more questions than lessons learned. Being supportive isn’t a strategy, and neither is “always” saying yes. Nor is the ability to have contesting and events that don’t come back to the on-air talent.
None of these speak to the true stresses of talent around the country that lead to lack of motivation. Let’s dive into some real-time feedback from on-air talent.
On-air talent want better work/life balance because the average air talent is wearing three hats already, with a third saying they’re wearing four or more.
Is being supportive of an on-air talent taking on another job role going to motivate them to do great work?
The average number of radio stations that on-air talent is providing content for is three, with 28% providing content for three or more stations currently.
When a talent is being tasked to provide multiple stations with multiple things, is a programmer honestly always “saying yes” to ideas? Is that a strategy?
Forty-two percent of those surveyed say they are now in debt or struggling financially, with 78% worried about layoffs with the station or company they work for. Nearly half of all surveyed have taken on a second (or third) job.
The worst metric of all: 83% of those surveyed feel like they are being taken for granted.
I guess celebrating birthdays isn’t working much anymore.
The simple fact is people are a forgotten metric in how radio operates currently. Programmers are no longer just down the hall; they’re being asked to operate stations not just down the hall but in another state. It’s hard to delegate time for even the average programmer to motivate talent anymore because of the duties and expectations now expected with the role.
There’s a simple way to motivate talent: keep them.
Show how much they are appreciated for their skill of being an entertainer by showing effort to address their stresses. Layoffs are now a norm. They have been, and unfortunately will continue to be.
Be open to allowing more work/life balance. Find avenues to get your sales team in a room with your talent, instead of on client calls for national campaigns that have no touch on your local talent. Anytime you can spring for a free meal for a family instead of your listeners—it works.
Showing empathy brings the human-to-human connection to the forefront. You’ll be surprised how creative and motivated people get with a sense of understanding, instead of another meeting or a cheap cake.
That’s a strategy that works.
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I was speaking with a respected former Urban programmer last week. Yes, the conversation leaned into the good old days. But what sparked my interest was the pivot they made — the core inspiration behind last week’s column.
When Experience Doesn’t Seem to Translate
I’ve often talked with radio and record folks about how the experience we gain in these industries doesn’t always seem to translate well into other careers. Somehow, the hours of strategy, planning and execution we’ve accumulated over the years don’t seem to correlate — at least in the eyes of others — to strategic roles in different fields.
Listening With New Ears
Now, I’m not a record promoter. I’ve never had the opportunity — or the necessity — to switch from defense to offense. To borrow a metaphor from my favorite sport. Ironically, I was listening to a podcast the other day where a record label marketing executive explained how promotional budgets for artists are calculated as a percentage of their projected revenue, allowing them to craft a strategy based on the budget. My radio ears initially heard, “blah blah blah, play my record.” But the 2025 version of me — the one who has pivoted — heard strategy and planning that fuels execution.
A Programmer’s Balance Sheet
When I think back on the responsibilities I held as a programmer and later as a brand manager, the entries on that balance sheet were all assets — none of which depreciated. That list includes:
Review ratings and analytics for company goals
Participating in promotional strategy and event ideation
Writing promos and liners
Critiquing and coaching on-air talent
Drafting perceptual research questions and presenting findings
Strategically choosing songs for music testing and implementing database updates
Preparing and participating in department head meetings
Leading staff meetings
Collaborating with sales and digital teams
Engaging listeners and interpreting brand perceptions
And I’m sure I’ve left out a few items, but you get the point.
Connecting the Dots — or Drawing the Line
What set me down this path was learning that the ex-programmer I spoke with had successfully pivoted into television, as a producer. I’ve always believed that becoming a TV producer is a natural next step for a seasoned radio programmer. Ideation, execution, talent development, coaching — it’s all there.
While I’ve never pursued a career in TV production, I’ve had trouble getting others in that space to see how the dots connect. But this ex-programmer didn’t just connect dots — they drew a straight line from their experience to the responsibilities of the position they desired. That’s the key.
The Hidden Asset: Reputation
Of course, one important step is landing a face-to-face with the person doing the hiring. And here’s something I’ve purposely saved to bring this home — something that should be at the top of your professional balance sheet: a good reputation.
Your reputation should precede you. It should be in the room even when you aren’t. When it is, it gives you equity with people you’ve never met. But here’s the catch: once you do meet them, you have to be the person they’ve heard about.
Prepare for the Moment
That initial meeting may be the hardest part — but it should motivate you to prepare. Be ready to draw those lines, to demonstrate the value of your experience, and make your pivot.
I’d love to hear about your pivot or plans to make one.
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