FCC Chairman Brendan Carr is facing new scrutiny as the Freedom of the Press Foundation has filed a formal complaint seeking his disbarment, claiming he misused his authority in politically charged ways—particularly when responding to media criticism of former President Donald Trump.
The watchdog organization submitted its complaint to the D.C. Court of Appeals’ Office of Disciplinary Counsel, accusing Carr of violating legal ethics and abandoning the impartiality expected of someone in his position.
Among the group’s grievances is Carr’s push to resurrect long-dormant “news distortion” investigations targeting CBS, NBC, and ABC. These cases had been largely ignored for decades, until Carr chose to revive them.
The Foundation, led in this effort by advocacy director Seth Stern, alleges Carr’s moves amount to an abuse of his position as a licensed attorney and public official. Stern argues Carr’s conduct shows a pattern of bias and a willingness to use his platform for partisan objectives rather than upholding the FCC’s mission of fair and neutral oversight.
The complaint also references Carr’s vocal opposition to corporate Diversity, Equity, and Inclusion (DEI) programs and his public commentary around the Paramount-Skydance merger as examples of politically motivated actions. According to the Foundation, Carr not only crossed professional lines but attempted to “force an unwarranted settlement of a private lawsuit.”
A more recent flashpoint is Carr’s formal investigation into 13 NPR and PBS member stations, reviewing whether their underwriting practices stray too close to commercial advertising—something prohibited by law. That probe has sparked pushback, including from Democratic FCC Commissioner Anna Gomez, who called the move “another Administration effort to weaponize the power of the FCC” to chill the work of public broadcasters.
So far, Chairman Carr has not issued any public response to the request.
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The New York Giants are keeping their long-standing radio partnership intact, announcing an extension with WFAN that will keep the Audacy-owned sports station as the exclusive radio home for all Giants games.
WFAN will continue to broadcast all preseason, regular season and postseason Giants contests. The agreement also calls for enhanced year-round content and gameday programming to further deepen the team’s footprint across the station and the Audacy app.
“WFAN and The New York Giants are two of the most successful sports brands in the tri-state area, and we’re honored to continue this long-standing partnership for the fans of Big Blue,” said Chris Oliviero, Chief Business Officer and New York Market President, Audacy. “More programming, exclusive experiences and of course Tiki, will make the seasons ahead all the more special.”
To launch the new season, WFAN will host a full day of coverage from Giants Training Camp on July 31 at the Quest Diagnostics Training Center. The station’s morning drive duo Boomer & Gio will kick things off at 6 a.m. ET, followed by Evan & Tiki in the afternoon at 2 p.m. ET. Both shows will feature interviews with players, coaches and team executives.
Former Giants running back and current WFAN host Tiki Barber will expand his role on gamedays, joining Giants.com’s John Schmeelk as the new co-host of the pregame and postgame shows. Barber, named one of the “Top 100 Giants” of all-time, has been with WFAN since 2022 and will complement the broadcast team of Bob Papa, Carl Banks and Howard Cross, who return for in-game duties.
“I am really excited to be joining the Giants gameday radio broadcast team on WFAN. This organization has meant so much to me, professionally and personally,” Barber said. “The Giants have a long history of legendary broadcasters and Wellington Mara always told them to call it like they see it because our fans know better. I look forward to providing analysis and insight that Giants fans appreciate.”
The station will also continue airing Big Blue Kickoff Live presented by Cadillac on Saturday mornings during the regular season from 7–8 a.m. ET. Hosted by Schmeelk and New York media personality Marc Malusis, the call-in show will feature interviews, analysis and fan interaction. Additional episodes will be available on Giants.com and the team’s YouTube channel.
“Our mission is to provide our fans with the best Giants coverage across all content mediums,” said Nilay Shah, SVP of Marketing & Brand Strategy for the Giants. “Adding Tiki’s voice to our already talented roster enhances what we can deliver on gameday and beyond.”
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The longest-running morning show in Dallas-Fort Worth sports radio history is now expanding its reach into the on-demand audio space. Cumulus Media announced that The Musers: The Podcast has officially joined the Cumulus Podcast Network.
Hosted by long-time KTCK “The Ticket” morning personalities George Dunham, Craig Miller, and Gordon Keith, the podcast marks a new chapter for a trio that has dominated the airwaves in North Texas for more than three decades.
A staple on 96.7FM & 1310AM The Ticket, The Musers has led the morning drive ratings in the Dallas-Fort Worth market since 1995, while maintaining its original lineup. The show has earned numerous accolades, including the National Association of Broadcasters’ prestigious Marconi Award for Best Major Market Radio Program. Locally, it has also been named Best DFW Radio Show by the Dallas Morning News, Dallas Observer, and the American Women in Radio & Television.
Now, through The Musers: The Podcast, fans of the show will have access to exclusive content not available on the traditional broadcast. The podcast promises to deliver the same offbeat observations, signature humor, and unfiltered banter that have defined the show’s success—only in a more flexible, podcast-native format.
With proven on-air chemistry, a loyal fan base, and a reputation for balancing sports talk with absurdist humor, The Musers now look to make their mark on a new platform—one podcast at a time.
New episodes will drop weekly on Wednesdays and are available on all major podcast platforms, including Apple Podcasts and YouTube. As part of the Westwood One portfolio, the Cumulus Podcast Network will handle distribution, marketing, and monetization for the show.
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DAZN is expanding its footprint in the global sports streaming market, announcing it will become the exclusive international home for NHL.TV starting with the 2025–26 season. According to a report in the Sports Business Journal, The move marks a significant partnership with the National Hockey League as DAZN continues to diversify its content portfolio and broaden its appeal among global sports fans.
The NHL’s direct-to-consumer streaming platform will transition to DAZN’s infrastructure, where it will be available in nearly 200 countries and territories outside the U.S., Canada and the Nordics. Fans will have the option to subscribe to the service as a standalone product or as an add-on to an existing DAZN subscription.
Financial terms of the deal and its duration were not disclosed according to the report.
DAZN will offer complete access to every NHL game, including the Stanley Cup Playoffs and Final, across all compatible devices. However, fans in Germany, Austria and Switzerland should expect limited live access to some games due to local blackout restrictions—though those games will be made available on demand shortly after they conclude.
The change signals the end of the NHL’s previous international streaming setup with Sportradar, which provided the technology backbone for NHL.TV. While the league managed certain elements of the platform independently—including marketing and outreach—the move to DAZN suggests a more integrated global strategy, leveraging DAZN’s infrastructure and international subscriber base.
While the NHL does not operate NHL.TV in North America, media rights in the U.S. remain with ESPN and TNT Sports, while Canadian coverage is held by Sportsnet and Prime Video. The Nordics, including hockey hotbeds like Sweden and Finland, are also excluded from the new deal.
Though DAZN has not been traditionally synonymous with hockey, the company has steadily acquired streaming rights to several high-profile properties. It already holds international distribution for NFL Game Pass, PGA Tour Pass and FIBA’s Courtside 1981. In hockey, DAZN has streamed Austria’s ICE Hockey League and previously carried the Kontinental Hockey League in Russia, Belarus, Kazakhstan and China.
Current NHL.TV subscribers will receive additional details in the coming months, as the league prepares for the transition ahead of the 2025–26 campaign which begins in October.
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We need to think of a new term for what sports radio describes as a podcast. The term itself was born during the rise of Apple’s iPod, combining iPod with broadcast to make ‘podcast.’ Since the early 2000s, consumption, production, and digital revenue have all risen to heights never imagined when you used to bootleg MP3s on your favorite peer-to-peer sharing platform. The podcast has simply become more than it ever has been, or maybe ever thought would be.
For years, podcasts have been the go-to way of finding audio-first content for the younger generation. Today, podcasts are all grown up as YouTube is fully embracing podcasting and smart TVs becoming a bigger source for podcast listening. Now, Netflix is reportedly preparing for its own push into the podcasting world. The worldwide video streaming platform is quietly searching for an executive to lead its podcast initiative, according to a report in Business Insider.
What began as a simple download to your iPod has now morphed into a content giant—where Netflix and YouTube are becoming the major players as opposed to Spotify, iHeartRadio and Apple. Does this positioning for podcasting with video consumption taking over completely knock out any concept of local sports radio being a player in the podcast space?
Let’s be honest first and foremost. Very few local sports radio options become big-time players in the podcast space to begin with. There’s almost an argument that if local radio stations wanted to be more of a player in the podcast space, they should look to do licensing deals with podcasters with built-in audiences instead of hiring a traditional radio broadcaster.
That’s basically what ESPN and FOX Sports have gotten into the model of already with their deals with Pat McAfee, Rich Eisen, and Barstool Sports. Why wouldn’t iHeartMedia, Audacy, Cumulus, and others simply copy the formula to keep their radio business alive?
The Game Has Changed, Have You?
Too often, local sports radio talent consider the on-demand portion of their show as their podcast. As a former radio talent, I can understand the notion.
I put in my prep time, executed my game plan to a live audience, and recorded it for those to consume later. Why would I give more of my time and energy to crafting out something different than what my audience already knows me for?
I get it—fair question.
The issue is in how the content is packaged and how it’s viewed by the younger generation of consumers. It’s also in how people find it in the first place. If you don’t model or market your product to a younger demographic, how can you expect your content to be found by them? If you don’t have a video component first and foremost, how can you even compete where more young people are discovering podcasts today than ever before? This affects discoverability, longevity, and revenue if you plan on making it more than a hobby.
The game has changed.
However, when you look at the podcasting space, video presentations for consumption are becoming more the norm than the exception. Many podcast companies such as Locked On, Barstool, The Volume, and Sinclair all deliver a video element to accompany the audio presentation. Digital giants like Jomboy Media are not only creator-first but video-first before audio.
Why doesn’t traditional sports radio think this way when it comes to podcasting?
From YouTube to Netflix to What’s Coming Next
Here’s some data to chew on: YouTube says viewers watched over 400 million hours of podcasts monthly on living room devices last year. That figure means that YouTube now gets more consumption on television sets in the United States than on mobile devices.
The CEO, Neal Mohan, calls podcasts on YouTube “thriving” and is investing in more tools to support podcasters, improve monetization for creators, and make it easier to discover podcasts than ever before.
The latest Nielsen data shows YouTube leading in share of TV streaming for June with a 12.8% share of TV, and Netflix at 8.3%. Streaming television consumption is up 6% year over year, while cable and broadcast are both down. Streaming television consumption continues to rise, and now it’s angling to play into the podcasting space to drive more viewership.
While there is a lane for the old, reliable audio methods of consuming podcasts, follow the trend. How much longer can audio survive in a video age of podcasting?
Earlier this year, the Share of Ear study showed that 67% of podcast listening was done in the home. If you were to wager how that podcast listening was done, would you lay it on a smart speaker or a smart TV? Most people aren’t reliant on their mobile devices when they’re not mobile.
Those figures will grow over time, while consumption of traditional methods of audio content will continue to dwindle. Much like cable and broadcast television, sports radio faces the same challenges.
Now Netflix is getting involved.
Another worldwide audience on another streaming platform to take away attention and focus from how your local sports radio station can market your on-demand content. Advertisers will now have a new shiny object that they will throw their marketing dollars toward, leaving many podcasts based only in audio to die on the pike.
The podcast pool may already be too big to play in for local sports radio. If YouTube isn’t already in the podcast development business, they will be. Netflix too. And what’s to say Amazon Prime, Disney+, and others aren’t next?
Get in the Game Before It’s Too Late
A simple truth for local sports radio talent is this: if you haven’t developed a strategy to get on video and create outside of your show, the hourglass is running out of sand. If sports content television networks can cut talent only to lease out broadcasting time to creators with built-in audiences, sports radio isn’t far behind.
If YouTube and Netflix are going to be on the hunt for talent, you need to find a way to get into the playground. The on-demand game that’s been played isn’t a long-term play for growth, and traditional radio ratings are becoming less significant in the advertising age.
Sports radio is—and has been—the underdog in the podcast fight. It’s the tenth round in a twelve-round battle for survival. Sports radio is bloody, beaten, but not throwing in the towel just yet.
Can it make one last gasp and follow the trend—investing where the audience is going and how content is consumed?
Or is it time for traditional sports radio to throw in the towel on podcasting altogether?
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President Donald Trump is mired in a mess of his own making. The media, and more importantly, his base, are clamoring for answers and information about his relationship with convicted pedophile Jeffrey Epstein. And for the first time in the history of his presidency, he can’t stop the bleeding.
He’s always been able to change the subject. Scandals come and go, and nothing has scratched his status as the Teflon president. His media mastery always works. Until now.
So why can’t Trump stop the drumbeat, especially on TV news which is covering the story 25 hours a day, day after day? Think of the Russia hoax and the Mueller investigation, the Stormy Daniels conviction, and the “Access Hollywood” tape. Those scandals were nowhere near as all consuming as this one is.
The story launched into the stratosphere when the Department of Justice said that it would not be releasing any of the Epstein files despite an earlier buildup. Trump repeatedly promised during the campaign to release the files. It became a rallying cry with his MAGA base, who believed there was a list of pedophile clients along with various conspiracy theories.
No attempt at diverting attention has worked. Calling it a “hoax” didn’t tamp down the media’s furor. Neither did blaming it on the Democrats. He’s tried to shift the conversations by declaring Barack Obama as guilty of “treason,” attacking Oprah, Beyonce and Kamala, even insisting that Washington’s football team should restore its old name of the Redskins .
Every day, every channel, there are mounting questions about the man who died six years ago. When Trump was boarding the plane on Friday to head to Scotland, he couldn’t escape the story. The deputy attorney general, a former Trump lawyer. had just spent two days questioning Ghislaine Maxwell, Epstein’s accomplice, who is serving 20 years for sex trafficking and helping groom underage women for him. A reporter asked if he would pardon Maxwell, and Trump said he “hasn’t thought about” it.
When he landed in Scotland, he was asked again: “A lot of people are asking me about pardons. Obviously, this is no time to be talking about pardons.” He didn’t say no.
The next day, during the European Union press conference on tariffs Sunday, a reporter hit him with another Epstein question: “Mr. President, was part of the rush to get this deal done to knock the Jeffrey Epstein story [out of the headlines]?”
He avoided Epstein questions, while golfing at his Turnberry resort, by cranking up the music including “Memory” from “Cats.”
Trump dismissed calls for transparency and attacked the media.
“I’m not focused on conspiracy theories that you are. I mean, I watch you people — it’s so sad. You ought to talk about the success of our country instead of this nonsense you talk about over and over again,” he said.
“You’re making a very big thing out of something that is not a big thing….What we should be talking about is that we have the greatest six months in the history of a presidency.”
His scattershot, sometimes contradictory answers fuel the story and give TV, in particular, an endless supply of red meat.
In mid-July, he said Attorney General Pam Bondi gave him “a very quick briefing” in the spring about the Epstein matter. This time, when asked by a reporter if Bondi told Trump that his name appeared in the records, he said, “No, no.” The press had a new lead.
On Friday, The Wall Street Journal reported that Bondi told Trump during a White House meeting in May that his name appeared multiple times in the Epstein files. Of course, this may or may not be meaningless–others like Bill Clinton are undoubtedly in there as well–which is why a federal judge has rejected Trump’s request to release the grand jury transcripts.
Trump said earlier that he’d received a “very quick briefing” from Bondi about the files. Which made it odd when, on Sunday, Trump told reporters, “No, I was never briefed, no.” The White House has not walked back the contradiction. Was he lying then or now?
Two weeks ago, the Journal reported that he allegedly sent Epstein a card 20 years ago wishing him a happy birthday with a crude drawing of a naked woman. He sued the paper for $10 billion, and included its parent company and Rupert Murdoch, his on-again, off-again confidant, who he had called to squash the story. Trump insisted that he doesn’t draw pictures of people, but copped to sometimes sketching buildings.
His messaging dissonance is triggering a backlash from supporters.
Joe Rogan has turned on Trump. FBI Director Kash Patel came on his podcast and promised to disclose the full video from Epstein’s jail cell where he died. But when the DOJ released it, there were minutes of footage mysteriously missing, which the government blamed on a nightly reset of one minute per hour.
The top-rated podcaster came out swinging. “Do they think we’re babies?” “The Epstein stuff is so crazy, because when Kash Patel was on here and he was like, ‘There’s nothing,’ and I was like, ‘What are you talking about?’,” Rogan said. “Yeah, I didn’t even know what to say.’”
“People were like, ‘Why didn’t you push back more?’ My thought was like, ‘I’m just gonna put this out there and let the Internet do its work,’” Rogan said. “The guy’s saying there’s no tapes, there’s no video. That doesn’t make any sense. Everyone knows it doesn’t make any sense.”
Mike Johnson, the House speaker, broke with the president. He pushed back on the idea of Trump pardoning Maxwell after Trump refused to rule it out. On Meet the Press he said,
“Not my decision, but I have great pause about that, as any reasonable person would.” He’s right, it would be a terrible idea both legally and politically.
Even Laura Loomer, a staunch Trump supporter and prominent figure in the MAGA movement, has criticized him. “Obviously, this is not a complete hoax given the fact that Ghislaine Maxwell is currently serving 20 years in prison in Florida for her crimes and activities with Jeffrey Epstein…”
But in yesterday’s Washington Post poll, 24% of Republicans disapprove of Trump’s handling of the files, with 38% approving and 30% having no opinion. That compares with 9 out of ten Democrats and more than six out of ten Independents who disapprove. For nearly a quarter of Republicans to break with Trump on this volatile issue is remarkable given his usual grip on the party.
And, of course, liberals are having a field day. Comedian Jon Stewart skewered the president for his past statements and actions about women. “Trump bragged about busting into the dressing rooms in Miss Universe contests, and was accused of busting in the dressing room at Miss Teen USA pageants. And told a couple of 14-year-olds he’d be dating them in two years.”
This is a fight between Trump and his people of a magnitude we haven’t seen before. With inadvertent help from him, they are trying to hold him accountable. And the controversy will continue to haunt Trump until the inescapable narrative plays out, and the public is satisfied that the administration has been truthful about his connection with Epstein.
When you come down to it, this kind of inside-the-Beltway Kabuki theatre may well turn more of the base away from their leader for a long time to come.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
How many times have we asked ourselves: Who made that decision?
Now, I’ve been let go a time or two in my career—and ironically, I was at the top of my game each time. Meaning: the station had great ratings and was doing well.
A few years back, a celebrity friend (I don’t like name-dropping) said, “There are many PDs that are great at what they do. Unfortunately, in radio today, mediocre is OK.”
Those weren’t my words, but they came rushing back to mind with the recent decision by Paramount and CBS to cancel “The Late Show.”
One of the great advantages of television is that it researches almost everything. But this most likely wasn’t one of those times. Financial reasons? Political reasons? I’ll save that for my Facebook page. But the outright cancellation of a major, successful brand will make you scratch your head.
It got me thinking about how many Urban brands have been stifled due to ego or ignorance.
When I was a corporate PD, a new GM came into one of our markets to manage the stations. During a regular check-in with the market manager, something I always did, he asked me what I thought about changing the format of the heritage Urban AC station and making it Jazz.
In my head, I had a very sarcastic answer.
There were a few reasons for that answer. First, I knew the value of the brand to listeners and advertisers. Second, I knew how much revenue that station contributed to the cluster, second only to the mainstream Urban station. And third, I knew how my boss would respond to that suggestion: because of reasons 1 and 2.
So my answer? “That’s above my pay grade.”
And it was. I appreciated that my boss would ask my opinion in those situations, but I also knew when something wasn’t my call.
The Late Show has all the traits of a solid, legacy brand. The original host, David Letterman, was the overlooked heir apparent of NBC’s “Tonight Show”.” And CBS made a great choice in bringing him on. His show gave “The Tonight Show” a run for its money and its ratings.
Letterman was a master at making a meticulously planned show feel like he was winging it. I used to call it “organized chaos.” He was also a brilliant interviewer—ruthless with questions but always able to put his guests at ease.
Then came a change of host. And once again, CBS made a strong, drama-free choice.
Stephen Colbert was a solid successor to David Letterman and a case study in preparation. His commitment to staying in character on “The Colbert Report” carried into his approach on “The Late Show.” His multicultural awareness served him well, as his smart, satirical voice did.
Yet someone decided that ending his and “The Late Show’s” run was the answer to the company’s problems.
In Urban radio, we’ve experienced this all too often. If there’s a sales problem, some decision-makers believe that cutting the quality of content will somehow fix it.
Here’s the final lesson from this late-night brand:
Stephen Colbert is extremely prepared for what’s next. Whether it’s another network, a streaming platform, or something independent, he’s got a great reputation. He’s relevant. He’s established.
Are you prepared for what’s next?
I’d love to hear your thoughts.
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Philadelphia’s 105.3 WDAS has been a cornerstone of the community for 75 years. Deeply rooted in Black music, culture, and history. More than just a radio station, it’s a trusted voice and cultural institution.
Derrick Corbett, Senior Vice President of Programming for iHeartMedia Philadelphia and Program Director for both WDAS and Power 99, carries that legacy forward with pride and a strong sense of responsibility.
“DAS is a brand that is 75 years old. It’s one of a kind in that it is an iconic—and I hate using that word because I think it’s so over-saturated now—but you could say elite brand in the world of radio,” Corbett said.
“It’s been able to overcome many different owners, many different formats, many different evolutions in music, and it has still withstood the test of time because it’s an institution in the city of Philadelphia.”
Corbett gave me a goosebump moment when he shared a part of the lineage that makes it special. WDAS is one of the rare stations in America that has hosted the voices of Martin Luther King Jr., Malcolm X, and Barack Obama.
“That tells you about the type of lineage and history that stands behind those call letters,” he said.
Building the Soundtrack of Philadelphia
Musically, WDAS is anchored in R&B, a format that Corbett says spans generations.
“It’s 50 years’ worth of R&B richness every hour. So, you’ll hear something from the ’70s, the ’80s, the ’90s, the 2000s, and the 2010s, and then you’ll hear something current as well.”
The library reflects deep reverence for Philadelphia’s musical contributions.
“Philadelphia has an incredible heritage of music. All of those Gamble and Huff records were birthed at WDAS with legendary program director Joe ‘Butterball’ Tamburro helming the ship. You think about the O’Jays, Harold Melvin and the Blue Notes, Teddy Pendergrass, Patti LaBelle, and Billy Paul. All of those records started at WDAS-FM.”
That legacy didn’t stop in the 20th century. The station has also been a crucial platform for contemporary R&B artists like Musiq Soulchild, Jill Scott, Bilal, and Kindred the Family Soul.
“That’s home for them. That’s where the majority of them were broken and continue to be played on a daily basis.”
The Weight of Stewardship
For Corbett, shepherding such a legacy is not something he takes lightly.
“It’s been an honor and a privilege. I can’t put it any plainer than that,” he said. “It’ll be 13 years, and I have the longest tenure as program director in the history of the station behind Butterball.”
Corbett gives big credit to his airstaff.
“We were the second station in America to put the Steve Harvey show on, behind WBLS in New York. Then we go to Patty Jackson, the only female broadcaster on the Philadelphia Music Walk of Fame. She’s 43 years in the game, with the last three decades at WDAS.”
Patty Jackson Source WDAS Website
Frankie Darcell anchors PM Drive.
“I knew what she brings to the table,” he said. “She’s been a pillar of knowledge and information for over three, four decades.”
Evenings are helmed by Ademo Colon, an Emmy-winning broadcaster with a background that includes BET’s Teen Summit.
“He had very big shoes to step into with the loss of Tony Brown, and he’s taken that challenge and run with it.”
The emotional bond with the audience is something Corbett doesn’t take for granted.
“People don’t just listen to WDAS—they feel it. It’s the soundtrack to their lives. I can’t tell you how many people have come up to us at events and said, ‘My grandmother listened, my mother listened, and now I do too.’ That’s a legacy you can’t manufacture. That’s earned, every single day.”
A Digital Mentality
WDAS doesn’t just live on the dial. It’s thriving on digital platforms as well.
“When I got here, there were people saying, ‘Don’t worry about DAS, they’re too old to focus on social media,’ and the staff took that as a challenge.”
That challenge has turned into massive digital engagement.
“We just had a situation with the unfortunate passing of Malcolm Jamal Warner, and Frankie Darcell was able to post an interview with the Cosbys. That interview hit 4.3 million views.”
The station’s summer partnership with The Dell Music Center has also helped push social metrics.
“We had Fantasia here to open the season and Southern soul singer 803Fresh. That view of Fantasia and 803 on stage gained us about two million views.”
“Digital is just as important almost as the on-air presentation. You have to have something that mirrors what you’re doing online on air.”
Beyoncé, Tickets, and the Value of Experiences
Corbett’s passion for the craft extends to the artists who inspire the station’s audience. He doesn’t hide his admiration for Beyoncé, especially in light of her Cowboy Carter tour and last weekend’s on-stage reunion of Destiny’s Child.
“She is the essence of what our industry is all about. She has learned from the elders and ancestors, and she has taken it to another level. There are very few artists where I will buy tickets to the show. I never ask anyone for tickets to see Beyoncé. I buy my tickets to see her.”
That touches on another growing reality in radio promotions: experiences are sometimes more valuable than cash.
“Philadelphia is a music city, so the demand for shows is high. Cash is king. I don’t think cash ever hurts, but concert tickets are a very close second. It depends on how much cash. Nobody’s moving for $100 anymore.”
What Matters Most
Whether it’s celebrating local icons, covering issues that matter to the Black community, or offering a trusted platform for prominent voices, the station has consistently prioritized relevance and connection.
“We have an obligation to inform, educate, and entertain. And that means showing up every day with purpose and consistency.”
That approach also shapes the way Corbett views programming decisions. Balancing legacy with innovation, and instinct with data.
“We listen to our audience, both formally through research and informally through community feedback. You have to stay open to what people care about right now, while still honoring what brought them here in the first place. That’s how you keep a station like WDAS not just alive, but meaningful.”
As Corbett reflects on the station’s place in the city, he returns to one central theme. Trust.
“We’re happy to still be in a place where people come to us on a daily basis for information and to be entertained. We don’t take our stance in the city for granted.
Corbett believes the community aspect of radio can’t be matched.
“From a community standpoint, there’s nothing bigger than the power of radio. I’m lucky enough to have two heritage brands, DAS and Power 99. When DAS and Power say something, it’s biblical. It has to be the truth. It has to be correct. People bet on it.”
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Earlier this month, Netflix CEO Ted Sarandos raised eyebrows when he admitted that the company would be open to bringing YouTube creators onto its platform, including video podcasters.
During the company’s earnings call, the Netflix CEO said that it makes sense for the next stage in the company’s evolution.
“We want to be in business with the best creatives on the planet. Regardless of where they come from,” Sarandos said on the earnings call. “Not everything on YouTube will fit on Netflix. But there are some creators on YouTube, like Ms. Rachel, that are a great fit,” adding that there are “a wide variety of” video podcasters “that might be a good fit for us.”
The idea that Netflix could get into the creator space in an attempt to rival YouTube feels like a natural progression for the streaming platform.
In June, YouTube marked the largest lead it had featured in the Nielsen Media Distributor Gauge since its inception. More than 12% of all television viewing in the U.S. was with YouTube during that month, while Netflix climbed back into the top three by garnering 8.3% of viewing during the month.
Barrett Media spoke with two separate podcasters who utilize YouTube to gauge their interest in being on Netflix rather than YouTube. We granted the creators anonymity to not hinder them in any potential or current negotiations with the streaming platform.
Podcaster A utilizes a variety of platforms — like Substack and YouTube — to distribute their content. They are somewhat early in their YouTube journey, but routinely surpasses tens of thousands of views on their videos.
“If Netflix came to me with the right deal, I’d seriously consider it,” Podcaster A said. “YouTube is great for discoverability, sure, but Netflix brings a level of prestige that’s hard to ignore. It’s not just about views, it’s about impact.
“On Netflix, you would not just be another face in the algorithm — you’d be the headline. The platform has shown it’s willing to invest in storytelling. If they’re ready to let me keep my voice sharp, let me keep my reporting fearless and make it to where I don’t have to worry about their interference, and amplify my show to a global audience? That’s a conversation worth having.”
Podcaster B works as a producer of a major podcast that utilizes YouTube in a variety of ways, including live shows and YouTube Shorts. The program features more than one million subscribers. And that is why Podcaster B thinks that it wouldn’t be such an easy decision.
“Walking away from several million YouTube subscribers isn’t a decision you make lightly, especially when you’ve spent years building that audience brick by brick,” Podcaster B said. “On YouTube, there’s a direct relationship with your viewers. Comments, analytics, feedback. It’s hard to say no to that. You know what’s landing and what’s not. YouTube rewards consistency, authenticity, and independence, and we’ve found value in that. That kind of direct access to your community is incredibly rare in traditional media models.”
Podcaster B weighed the pros and cons of striking a deal with Netflix by questioning what exactly would come with that affiliation.
“With Netflix? Sure, you get access to a massive audience, and our brand is elevated just by the association. But there’s a trade-off. You probably give up that daily engagement, you probably lose the ability to pivot quickly, and you’re in someone else’s ecosystem,” Podcaster B shared.
“So the idea of giving that up — even for a splashy Netflix deal — creates tension. Because at the end of the day, are you building a legacy through reach? Or is it your content and the connection you’ve made? That’s the question. It’s not rhetorical, by the way. It’s the kind of thing you think about right before you hit publish.”
On the subject of trading away a free and accessible platform like YouTube for a platform like Netflix that requires a subscription wasn’t lost on Podcaster A.
“On YouTube, you’ve got reach, you’ve got virality, and more importantly, you’ve got access. Politicians, operatives, insiders — they’re watching and texting you about what you just said. It’s fast and easy, and it keeps you in the bloodstream of the conversation.
“Netflix would be less immediate. You lose some of that Beltway buzz, that real-time backchannel feedback. You’re not part of the daily churn anymore. It’s not the same. I’d have to ask: are the stories I want to break better served in the moment, or in the long arc? YouTube gives you the room to own a lane. That kind of access is hard to give up.”
Podcaster B shared similar sentiments, noting that the idea of moving away from generating revenue from views and advertisers — which their show controls — would be difficult to pass up in favor of a check from Netflix.
“With Netflix, you’re looking at a lump sum. And it might have strings attached—creative notes. It’s a paycheck, not a partnership. That changes the dynamic. You’re no longer tweaking content based on audience feedback. I think — at least for now — we value the independence of working with advertisers directly and having the control of who does — or maybe more importantly doesn’t — advertise with our show.
“Independence is something that you don’t know you value until you have it. We have it, and I think it would be unlikely we’d give it up unless (the company) was floored by an offer (from Netflix),” Podcaster B concluded.
A video podcasting division could be on the horizon for Netflix sooner rather than later. A report from Business Insider shares that the company is searching for an executive to lead the initiative and is looking to capture some of the more than $2 billion in podcast advertising forecasted to be spent on the medium in 2025 alone.
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Veteran sports journalist and broadcaster Kelly Crull is officially joining the lineup at Dickey Broadcasting Company as a full-time team member, the company announced Tuesday. The move strengthens 680 The Fan’s on-air talent roster and signals a continued investment in multiplatform content development.
Crull will serve as co-host of The Buck Belue Show, airing weekday evenings on 680 The Fan. She’ll join Georgia football legend Buck Belue to offer listeners a fresh and dynamic take on the latest stories in college and pro sports. In addition, Crull will be a regular contributor to the station’s popular morning drive program The Locker Room, bringing her sports acumen and magnetic on-air style to a flagship show with a devoted audience.
“We couldn’t be more excited to bring Kelly on board full-time,” said David Dickey, President and General Manager of Dickey Broadcasting Company. “She’s the kind of multi-talented broadcaster that elevates everyone around her. Whether she’s behind the mic, in front of the camera, or developing digital content, Kelly brings a passion and professionalism that align perfectly with our mission.”
Beyond her responsibilities on the mic, Crull will also take the lead in bolstering the company’s digital initiatives. That includes the development of original podcast content and storytelling designed to broaden the station’s reach and deepen its connection with sports fans across Georgia and beyond.
Crull’s resume includes high-profile work with Major League Baseball, college athletics, and the NBA. Most recently, she served as a sideline reporter and host for Bally Sports South and Southeast, covering the Atlanta Braves and Atlanta Hawks. She also previously held on-air roles with the Chicago Cubs and Oklahoma City Thunder.
Crull’s reputation as a versatile and engaging media personality made her an ideal fit for the Fan’s evolving multimedia strategy. Her first official appearance as co-host of The Buck Belue Show is set for this week, with expanded roles across the station’s platforms to follow.
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