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Sales Automation With AI: Improve Operations and Reduce Spending

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Sales Automation With AI: Improve Operations and Reduce Spending

Sales automation using artificial intelligence helps companies speed up processes, reduce costs, and improve the accuracy of customer interactions. AI technologies allow you to analyze customer behavior, predict needs, and build personalized sales funnels. More and more businesses are turning to specialized AI development companies to implement such solutions and improve the efficiency of their sales departments.

What Is Artificial Intelligence and Neural Networks?

Artificial intelligence is a technology that allows computers to perform tasks that require human thinking. These are models and algorithms that analyze large amounts of data, identify hidden patterns, and make decisions and recommendations based on this.

Modern neural networks are one of the key implementations of AI. These are multi-layered mathematical models structured like a network of brain cells: multiple neurons continuously exchange signals and learn from examples. And so, over time, the neural network solves the tasks set before it more accurately.

Although the foundations of the technology were laid decades ago, a real breakthrough in the use of AI in business occurred relatively recently. Now we encounter manifestations of AI every day — from smart assistants in the phones to product recommendations in online stores. In the business sphere, AI is used to automate processes, analyze data, forecast demand, improve cybersecurity, and much more.

The sales department is one of the areas of business where the implementation of AI is especially promising. Sales are focused on human-to-human interaction and require developed communication skills. Therefore, the more routine tasks are automated, the more time and energy managers have to find individual approaches to clients and conclude deals.

Advantages of AI and Neural Networks in Sales

Using AI and neural network technologies in the sales department gives the company a number of tangible advantages:

  1. Increased process efficiency. Automation of routine operations (for example, collecting and processing data, generating reports) saves employees’ time and reduces the likelihood of errors.
  2. Accelerated interaction with clients. Thanks to chatbots and intelligent systems, responses to client requests are provided instantly, and the selection of the optimal offer occurs faster.
  3. Competitive advantage. The introduction of AI accelerates the digital transformation of the company. By freeing employees from routine and arming them with analytical insights, the business gets the opportunity to work on strategies and get ahead of competitors.

As a result of using artificial intelligence, teams sell more efficiently, focus on strategically important tasks, and strengthen the company’s position in the market.

What Can Be Automated in Sales Using AI?

Modern artificial intelligence in sales is capable of automating many tasks, especially those related to communication and information processing. One of the most promising areas is the automatic transcription of phone calls and meetings. Special services based on neural networks can convert audio recordings into text format and conduct their in-depth analysis. Let’s consider what opportunities this opens up and what benefits it brings to the team.

Automatic Transcription of Calls

Speech recognition algorithms allow you to quickly translate a conversation with a client into text. The finished transcript is saved in the CRM system, and it is easy to view and analyze.

Analysis of the Emotional Tone of the Conversation

Neural networks are able to determine the mood of the interlocutor by voice and words. The algorithm takes into account the volume and timbre of speech, intonation, speed, and on this basis, notes the emotional accents of the conversation. In the report, the AI assistant can show at what stages of the dialogue the client shows irritation or, conversely, interest. The manager can ask the system to evaluate the overall emotional tone of the conversation.

Search for Keywords and Phrases in the Dialogue

Intelligent algorithms can automatically scan speech and highlight important words or phrases in the conversation. For example, a neural network can note which questions the client asks most often. It can also highlight which filler words the manager uses, mentions of price objections, or competitors’ names. No significant marker of the conversation can escape the AI analysis.

Monitoring Compliance With the Script

Specialized AI services for the sales department can monitor compliance with the conversation script automatically. If the manager skips a step of the script, the system can notice and notify. Some solutions even suggest the course of the dialogue in real time. For example, if an employee skips the stage of clarifying needs and immediately goes on to the product presentation, the smart assistant can remind them to return to the skipped step.

Problem Analysis

Advanced call analytics systems can find the main problems in a dialogue that prevent a successful deal from being closed. A neural network can scan a conversation and highlight fragments where the company’s offer does not match the client’s request, there are price objections, or other misunderstandings that slow down the purchase decision.

Conversation Summary

An AI assistant can automatically create a short summary of a conversation with the main points and agreements. This saves the manager time on analyzing lengthy negotiations and helps to better prepare for the next contact.

Manager Training and Adaptation

AI is able to identify individual gaps in the skills of each salesperson based on the analysis of their calls. This allows the manager to set up personal training: someone can improve their knowledge of the product, and someone else can improve their ability to handle objections.

Classification of Customer Requests

AI is able to automatically classify requests by category (request topic, deal stage, etc.). This helps distribute requests to the right specialists and analyze request flows without unnecessary effort.

Wrapping It Up

AI approaches in sales are becoming the standard for companies seeking to scale and grow sustainably. Intelligent automation helps not only reduce routine tasks, but also increase conversion through smart recommendations and predictive analytics. Many businesses trust the implementation of such solutions to experienced development companies in the AI field, such as N-iX, which specializes in developing AI products for specific tasks. Cooperation with a professional team allows you to quickly realize the potential of artificial intelligence in sales and get tangible results.

Ozzy Osbourne’s Death Is a Personal Loss for Rock Radio

Keith Cunningham
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Ozzy Osbourne’s Death Is a Personal Loss for Rock Radio

The world didn’t just lose a rock star.

We lost Ozzy.

John Michael Osbourne, 76 — the Madman, the family man, the Iron Man. The one who outlived the bat, the drugs, alcohol, the tabloids, the PMRC, and maybe even our expectations.

Not this time.

Just three weeks ago, he commanded a throne in front of millions and reminded us what a legend looks like, sounds like, and does. He was saying goodbye. He knew it.

Formal tributes are coming. A docu-film will likely happen. The headlines will mention the numbers: over 100 million albums sold, two Hall of Fame inductions, a cultural icon.

But the numbers don’t tell Ozzy’s full story.

  • People who never met him are crying.
  • Vigils have popped up in cities that never booked Sabbath.
  • Even TikTokers and cable anchors who couldn’t name a single Ozzy track are sharing “RIP” posts.

This one — Ozzy — it’s personal.

If you have a beating heart, you can feel the loss.

What I’ve heard most in the past 12 hours is there will never be another one like Ozzy.

When a loss is this personal, those of us who are lucky enough to be in Rock Radio have a job to do.

This is when Rock Radio can — and must — stand at its tallest.

I’m often asked:

  • What should we do when crisis hits?
  • When a big artist passes, how should we program?

There are different answers for different situations – but make it personal.

Heads spin. There’s a lot that can be done or considered. Digging out interview clips, finding close associates to book, writing posts, playing more music than usual. How long should it go, even hitting the streets and organizing or joining gatherings — but ALL OF THAT takes a back seat to meeting a personal moment by being personal.

At RockTernative, we’re not journalists — we’re fans.

When we lose a hero, the rule book goes out the window, and a new game must be played.

Do you think a listener hears the breaking news, tunes into their favorite Rock brand and expects to hear Billy Idol followed by news on how they can win Fair tickets tomorrow morning?

No f****ng way!

I’m sure many across the RockTernaverse got the alerts and immediately refocused, called audibles, and did a great job paying tribute to the Prince of Darkness in their own ways.

At 95.5 KLOS, we’re fortunate to have decades of history with Ozzy and a staff of pros, so it was less of a mad rush to “program” and more like playing air traffic control with planes taking off and landing from all directions. So we all hopped into the tower. 

Most of the on-air team did special segments. “The Heidi & Frank Show,” Nik Carter, Greg Beharrell, Stew Herrera, Matt Pinfield, Full Metal Jackie, and we met the moment on every on-air level we could. Even airing an old special we produced. But it also stretched online, and onto the streets at Ozzy’s star on the Hollywood Walk of Fame and the Rainbow Bar & Grill on Sunset, where fans were gathering.  

It wasn’t rock science. It was more natural than flex.

No script, no run of show.

We opened the mic and made it personal. Some things were planned: who would call in when, which archives were best, but the rule book was tossed, and the music log was burned.

Listeners cried, laughed, shared stories and memories from their experiences with the “Tattooed Dancer” (if you know, you know). And we all raised our glasses and cranked up Ozzy and Sabbath.

What KLOS did wouldn’t have been right for everyone. But we didn’t make it about us. It was about the listener and Ozzy. It was also “Live and Local,” which gets touted as Radio’s advantage over other media.

And sure, sometimes “live and local” alone won’t beat slick alternatives.

But in moments like this, it can slay dragons.

I’d add a third piece to that phrase:

Live. Local. Personal.

Pandora, Spotify, Amazon and the others couldn’t do what local Radio did yesterday.

Not because Radio broke more news or played more songs. 

Radio felt it.

Radio shared it.

Radio met a real and personal moment by being real and personal.

Ozzy’s voice will echo forever, and even in his final days, he brought out the best in us. Not because he passed, because he meant something real. 

This was personal.

RIP John Michael “Ozzy” Osbourne

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.

What CBS Won’t Say About Cancelling ‘The Late Show with Stephen Colbert’

Lauren Ashburn
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What CBS Won’t Say About Cancelling ‘The Late Show with Stephen Colbert’

The motive for cancelling The Late Show with Stephen Colbert is truly unknown by all but a handful of people. Is it because, as CBS claims, his show was losing more than $40 million a year? Or is it because, as millions believe, that Colbert trashed the network on air for settling a lawsuit brought by Donald Trump?

Or is it both? 

Despite The Late Show having the highest ratings of network nighttime talk shows, CBS says there is an overall drop in revenue across the board, calling it “a challenging backdrop in late night.” And tried to dismiss all other possibilities. “It is not related in any way to the show’s performance, content, or other matters happening at Paramount.”

CBS claims the overall ad market has shrunk by half since 2018 and that the content has a limited shelf life, which means it doesn’t hold up for long-term streaming. One report says producing the program costs  “more than $100 million per season.” And another report says The Late Show began losing money three years ago. 

But if the numbers are as bad as we are led to believe, why did it take the company so long to cancel a show that was hemorrhaging cash in the tens of millions of dollars? And why did the announcement come after Colbert criticized CBS’ parent company, Paramount, for settling a $16-million suit brought by Donald Trump? The suit alleged that CBS News’ 60 Minutes deceptively edited an interview with Kamala Harris.

Here’s what Stephen Colbert said in an opening monologue just before he was cancelled: “I believe this kind of complicated financial settlement with a sitting government official has a technical name in legal circles. It’s big, fat bribe.” 

Because this all comes as Paramount’s owners are trying to get the Trump administration to approve the sale of the network to a new owner, Skydance.

Two days later, he was toast.

The timing prompted an outcry from fans and others who believe politics, not finances, is to blame. Trump haters jumped on the chance to believe the only reason Colbert was cancelled was so Paramount could curry favor with the president. The timing smells bad and raises red flags, but the financial argument holds some water, no matter what the actual numbers may be.

Trump weighed in, saying, “I absolutely love that Colbert was fired. His talent was even less than his ratings.” 

When news broke last week that Colbert would be canceled in May of 2026, he stayed above the fray. He told his audience, “It’s not just the end of our show, it’s the end of The Late Show on CBS. I’m not being replaced. This is all just going away.” He praised CBS for being a good partner and for giving him the chair. The crowd booed the decision. Colbert said he wished someone else was getting the job so at least the show would continue. Love him or hate him, that was classy. 

But by Monday night, the gloves were off. Colbert was back at it again, criticizing his parent company and taking a needlessly harsh and over-the-top potshot at Trump. “How dare you, sir?” he retorted. “Would an untalented man be able to compose the following satirical witticism: ‘Go f— yourself.’” 

But much of it was wrapped in satire. Colbert mocked the show’s financial explanation, saying that $40 million “is a big number…I could see us losing $24 million,” he added. “But where could Paramount possibly have spent the other $16 million … Oh wait.”

His friends and rivals, including Jimmy Kimmel, Jimmy Fallon, Anderson Cooper and John Oliver, either filled the audience or appeared in cameos on the show. Jon Stewart, on his Comedy Central show the same night, questioned whether this was “the path of least resistance” for Paramount, also his parent company, to close an $8-billion takeover by ending a treasured franchise that “rankled a fragile and vengeful president.”

In recent days, claws have been bared from all corners of the world. Prominent liberals, including Sen. Bernie Sanders (I-VT), said on social media, “Stephen Colbert is an extraordinary talent and most popular late-night host, slams the deal. Days later he is fired. Do I think this is a coincidence? NO.” 

Charlamagne tha God, radio host of The Breakfast Club, pulled no punches, saying, “Canceling Colbert is an obvious move to appease Donald Trump…This is textbook authoritarian rule. This is intimidation tactics disguised as legitimate legal actions. Paramount and CBS should be ashamed of themselves.”

And Kimmel, the host of ABC’s late-night show, condemned the cancellation, writing on Instagram, “Love you, Stephen. F— you and all your Sheldons, CBS.”

I’ve struggled to find a Republican who supports Colbert. Most hate his politics. Why wouldn’t they? For nine years at the beginning of almost every show — which boosted him to No. 1 in the ratings — Colbert said a lot of crude things about the MAGA/Trump crowd. Yet, publicly, most agree that ending the show was a financial decision. 

Stephen Colbert ushered in the era of hyper-partisan comedy by bashing Trump. The risk was always that he would alienate half his audience. You could argue that Colbert did it to himself. 

No matter where the truth lies in exactly why Colbert was fired, it seems that if you are an anti-MAGA bold-faced name, you have a big, fat target on you. Watch your back, Stewart.

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.

What Sports Networks Should Heed From the Cancellation of ‘The Late Show With Stephen Colbert’

John Mamola
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What Sports Networks Should Heed From the Cancellation of ‘The Late Show With Stephen Colbert’

Are sports television networks listening? When CBS pulled the plug on The Late Show with Stephen Colbert, it ended a franchise player of the network for over 30 years—a direct head-to-head competitor that the network created to challenge its rival at NBC and their Tonight Show franchise. For generations, the back-and-forth ratings battle was intense, as every night seemed like must-see television with the two sides doing anything to entertain audiences to grasp the biggest number of viewers possible.

Does the cancellation of The Late Show serve as a warning shot to professional sports networks such as ESPN and FOX Sports?

Many will scoff at the idea of sports television networks canceling shows surrounding their sports programming. I get it. However, the reasoning CBS gave behind the cancellation should be heard loud and clear by everyone, including sports television networks.

Political leanings aside, The Late Show with Stephen Colbert cost a lot to produce. Reportedly, the price tag to create the program was near $100 million a year, with advertising revenue reportedly down over 50% compared to 2018. The show may have had the highest viewership of the competing late-night programs currently, but the amount of viewership compared to 2018 had also dwindled.

The Old Model Is a Formula for Disaster

Reduced revenue, ratings, and high expenses spell a formula for disaster in any type of media—especially in Colbert’s case, where a media company on the brink of being sold was looking to cut expenses and improve its bottom line in preparation for sale.

Isn’t this exactly what FOX Sports just went through with Breakfast Ball, The Facility, and Speak? High expense, low viewership, and limited revenue?

What is happening to The Late Show franchise is exactly the same as what happened with FOX Sports last week, which resulted in a phone call to Barstool Sports.

FOX Sports decided to license out their programming time slots in a partnership with the digital sports content hub, where Barstool (not FOX Sports) will produce a two-hour program to air on FS1 in the mornings to compete with ESPN’s Get Up. The show will then (reportedly) repeat from 10 a.m.–12 p.m. to go head-to-head against ESPN’s First Take.

In FOX Sports’ mind, why pay the massive freight for talent, staff, and production if you can pay someone else to do it for you? What’s to say CBS doesn’t follow that model for their coveted 11:35 p.m. time slot in May—replacing a personality-driven talk show with one that already thrives digitally that the network doesn’t have to invest in like the current Colbert model?

ESPN Programming Questions To Ponder

Could ESPN be next?

The simple question all these networks need to ask when it comes to programming is: Is the juice worth the squeeze? Is the amount of money any network (sports or non-sports) is shelling out to produce its own programming worth the investment? Is the product driving influence, viewership, and revenue enough to keep around?

Let’s look at a couple of examples with ESPN.

Was Tony Reali too expensive to keep around at ESPN? They canceled Around the Horn and have yet to give a reason why. Assuming each of the four panelists were compensated in some fashion, the network was compensating five talents per day, five days a week, for nearly 5,000 episodes. The network also siloed Reali from any other ESPN programming focusing his talents only on Around the Horn.

Was the juice worth the squeeze? Reali is now the most-sought after free-agent in sports television.

Dan Le Batard hinted the other day that Michael Wilbon’s contract runs up in August. Tony Kornheiser and Wilbon have been hosting Pardon The Interruption for nearly a quarter-century. Both are among the highest-paid talents at ESPN—but are they drawing more than a million viewers per episode? Not necessarily.

Is PTI’s juice worth the squeeze? Was their lead in a sign of things to come?

Stephen A. Smith is the highest-paid talent at ESPN, having just signed a reported 5-year, $100 million contract. Quick math: that’s about $20 million a year, which is more than Kornheiser and Wilbon combined. Using Colbert as a reference point, if The Late Show cost $100 million annually to produce, Stephen A. Smith’s contract would account for 20% of that cost by itself. Sure, First Take is number one in sports programming during that time slot—but its viewership isn’t anywhere near what The Late Show was doing. Then add in the compensation for the rotating cast of characters like Shannon Sharpe, Chris “Mad Dog” Russo, Molly Qerim, and others. Pretty pricey—averaging around half a million viewers.

Is First Take’s juice worth the squeeze? Maybe this is why Stephen A. Smith is everywhere at all times, to ensure the lemonade still has taste.

ALL Networks Are Playing Catch up for Lost Opportunity

If your program is making more money than you’re spending on it, you’re safe. If not, heed the warning of what happened to The Late Show with Stephen Colbert.

With changing times come changing dynamics—and rising production costs. Talent is not going to magically become cheaper. Nor will the costs to create and distribute content.

While many believe sports content networks have a shield of Teflon from the struggles of network television, the challenges remain the same.

Sports rights agreements are more expensive than ever. Sports networks need those rights as the industry continues to face hurdles from cord-cutting and the fragmentation of live sports. It’s a proven fact that appointment television lives, breathes and survives on live sports play-by-play. Nothing else comes close, and nothing else may ever again.

However, could we see a day where sports networks battle each other for streamers, influencers, and podcasters to fill programming space at a cheaper rate?

It may already be here—for all we know.

Simply put, sports fans can now find entertainment far beyond just the television. The days of appointment viewing for shows like Around the Horn, Get Up, Pardon the Interruption, First Take, and others are over. With the click of a button, sports fans can access a buffet of content options on any app, website, or social network to get the entertainment value they desire. The old way of doing business and generating audience has shifted dramatically, and networks are pivoting their strategies as only they know how.

The eventual fall of late night television was not in the strategy of content direction, it was in the strategy of networks not adapting to changing viewing habits and where audiences are going.

Let’s hope sports networks don’t follow the same formula, before it’s too late.

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 Leila Rahimi Is Setting a New Standard at 670 The Score in Chicago

John Mamola
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How Leila Rahimi Is Setting a New Standard at 670 The Score in Chicago

Leila Rahimi knows of the the long and rich history of radio in the city of Chicago. Some of the most impactful talent to ever grace the public airwaves come from the Windy City. Sports radio also shares in that rich history as 670 The Score has dominated the market for over three decades. Names such as North, McNeil, Boers, and Bernstein all have entertained sports radio listeners for nearly three decades. For all the history that The Score has delivered to sports fans over the years, the station made its own history in April when it elevated Rahimi as the brand’s first full-time female lead sports radio host in the city’s history.

“I get goosebumps,” said Rahimi. “It’s a shame that unfortunately it took so long, but that doesn’t take away from my gratitude… I appreciate the fact that I am the first. Hopefully that means that it becomes less novel the next time around.”

Rahimi has been a part of 670 The Score’s content in some sort since 2017 as she arrived in the market beginning her work for NBC Sports Chicago. Her rise built on a foundation of hard work and dedication to her craft through her upbringing in Texas. She graduated from the University of North Texas with a bachelor’s in journalism with sights on working in sports media.

The sports radio bug took a bite into Rahimi early in her career. She began her broadcasting career as an update anchor for The Ticket in Dallas. Rahimi also doubled her workload in television, working as an anchor and reporter, building a skill set that nearly twenty years later now finds her holding court with sports fans daily in Chicago.

“In all those roles, I never dreamt in a million years that I would make some sort of Chicago sports media history,” said Rahimi. “Never thought that that would ever happen. It’s hard to put into words.”

Rahimi & Harris’ Similar Path to Success

Rahimi hosts middays from 10 a.m.–2 p.m. alongside co-host Marshall Harris. The two worked previously while they spent time in Philadelphia at NBC Sports Philadelphia. However, it was Harris who inspired Rahimi to consider hosting programs on sports radio.

“Marshall at the time was doing part-time work as a contributor for Angelo Cataldi’s show on 94 WIP. When I think of the elite shows and the examples in our business, Angelo is top of mind,” explained Rahimi. “Marshall was inspiring in that way, to be able to provide an example for people like me who are primarily of the TV background.”

While Harris and Rahimi both shared experience together in Philadelphia, the same would happen at 670 The Score years later. Both would find themselves at one point as a full-time co-host with Dan Bernstein on 670 The Score.

Rahimi was named co-host with Bernstein in January of 2021, only to step down from the position in March of 2022 to take a full-time sports anchor role with NBC5 in Chicago.

Harris would fill the same role as Rahimi in September of 2024 after Danny Parkins left The Score for FS1 and Laurence Holmes was elevated from his role as Bernstein’s co-host to afternoon drive with Matt Spiegel.

Dan Bernstein ultimately was let go from 670 The Score in March of 2025. He was let go following a social media incident in which he engaged in a heated back-and-forth with a follower. Ultimately Bernstein threatened the follower to a fight and potentially doxxing the individual. Following the incident, Bernstein was pulled off the air for a full week and then let go in a brief announcement from 670 The Score Vice President Mitch Rosen.

“I’m very grateful for that time that Dan and I had together,” Rahimi reflected on her time working alongside her former co-host. “That set me up to be in a good place when it came to stepping in [for Bernstein]. Does that make it easier for the listener? No, not necessarily. Even though I’ve been on the midday shift at that point for five years consistently. My main concern was acknowledging why they [The Score listener] were there and making sure that they knew that it wasn’t as much about me as it was making sure I was there for that.”

Learning on the Job While Achieving Instant Success

Rahimi noted she’s still learning some aspects of how to drive a sports radio program. She also notes the show is still developing with its timing. The early results of her efforts have been impressive. Rahimi & Harris finished third for the spring book in the key demographic of men 25–54. The daypart showed an increase year-over-year for the daypart of 29%, leading all weekday programs on 670 The Score. A large part of the success of the show, Rahimi feels, is the accessibility of it. The show can be consumed live on air and online through several different video platforms and audio distribution apps.

“My biggest job is to make sure the shows are good every day. I don’t want people to have to look for our show. I want to be able to be where they need us to be, or where they can find us,” said Rahimi. “That’s who I’m concerned about is the person who wants to find us. Can they find us? If so, then we’re doing our jobs.”

Challenging Stereotypes of Women in Sports Media

The pressure to perform is always a challenge that any talent must combat with over time, but Rahimi understands that not every listener deals with change the same. In her experience working in both television and radio, Rahimi spoke at this year’s Barrett Sports Media Summit about how women in sports media are “inherently disruptive.” Her reasoning surrounded what she said was a prescribed set of behavioral standards that are the expectation for women in sports media.

Leila Rahimi BSM Summit 2025

Expanding on that thought, Rahimi said her job is to lead the conversation with honesty and depth.

“As a woman who is not necessarily positive all the time. [Who] talks about a team or asks for accountability. [Who] questions leadership and management, it comes off as more caustic,” explained Rahimi. “A lot of the sports media consumer on all platforms want women to be positive, like that more cheerleader type of role. It’s uncomfortable for some of them, and we hear about it whenever we talk about the situation that I think require accountability. They require fact-based discussion. They require something that isn’t necessarily positive.”

In her experience working in television, she was encouraged to develop her own voice. Rahimi developed a knack for her own takes on topics, even if they weren’t of a positive nature.

“I am supposed to talk about the news of the day,” said Rahimi. “The topics of the day in the city. What my curiosity leads me to ask more questions about in Chicago. That is something, for whatever reason, can be a little bit harder for certain consumers to accept.”

With experience in both television and radio in Chicago, Rahimi has had plenty of experience, feedback, and evidence on the matter.

“Frankly, the expectation for a main anchor in TV and radio in Chicago is to cover the news of the day,” explained Rahimi. “Ask the topics that relate to the news of the day. In my case at 670 The Score, having an opinion on those topics and tell you why I think they’re important. But being a woman in those roles where nobody’s ever been in the city, I think that’s where a bit of the conflict was. When I was received in those roles, I was giving what I thought was the expectation of the role. For some reason, it’s not as easy perhaps for some people to hear it coming from a woman and not a man.”

Staying Ahead of the Game

Rahimi says while she’s solely focused on the role of leading Rahimi & Harris, she’s not closed the door to doing more work in television. She stated her ideal setup would be a combination of both and would not consider limiting herself. She also just recently added color commentary duties to her plate in a broadcast partnership with 670 The Score and the WNBA’s Chicago Sky.

“I was really excited to see that 670 The Score not only wanted to partner with the Sky. They wanted to do the two games that we’re going to be at the United Center against the Indiana Fever,” said Rahimi. “I thought of it as a huge challenge. I’ve gotten so much help from other broadcasters in town like Laurence Holmes and Adam Amin. I was in a good place as far as preparation was concerned to take on the new challenge.”

After a decade calling Chicago her home, Leila Rahimi is only scratching the surface. Building her legacy in a town built by legends. Taking the lessons of the past and carrying the torch to meet a new generation of sports radio listeners in the Second City.

“Boers & Bernstein inspired my favorite talk shows,” said Rahimi. “To be able to carry that DNA of the humor and having fun with sports, knowing that is something Chicago listeners want,” said Rahimi. “That means a lot to me as far as just being able to do both and try to balance that and do it well.”

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 AI Can Help Urban Radio Deliver Hyper Local Content

Ken Johnson
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How AI Can Help Urban Radio Deliver Hyper Local Content

I usually don’t name names in these weekly articles. And no, I don’t have names from the Epstein list — insert crying laughing emoji here. In a previous piece, I referred to a few program directors simply as PD 1, PD 2, and so on. But today, I’m making an exception. I’m going to name someone: Donnie Simpson.

And no — Donnie wasn’t one of the aforementioned PDs I worked under. By the time I first heard Donnie and what he was doing with 93 KYS in Washington, D.C., I already had an ear for what radio could do beyond the music. That awareness came from DJs like John Turk, Gene “The Rock Star” Phillips, and the late, great Wes “Party” Johnson.

Maybe I’ll write about those guys in the future, but this week’s focus, I wanted to mention Donnie. I remember telling a college professor that I admired Donnie. That he was one of the reasons I was even in “the business.”

One of the greatest blessings in my career is that this won’t be news to Donnie because I’ve had the chance to tell him in person. One of the best things that can happen in life is meeting someone you’ve admired from afar and finding out they don’t disappoint.

That same professor said, “Hey, I can introduce you to Donnie.” I’ll leave out my exact reaction, but I’ll say this. At that time, in D.C., there were a few people you could meet who would make life feel complete. For me, it was:

#1 – John Thompson
#2 – Marion Barry
#3 – Sugar Ray Leonard
#4 – Donnie Simpson

    I remember sitting across from Donnie at his desk at NBC Studios in D.C., and honestly, everything after that moment is a blur. But I do remember the one question I had practiced for weeks. It was about research.

    At the time, there was a lot of discussion about how research was damaging Black radio. (Side note: While researching D.C. radio for this article, I came across a Washington Post piece with Gene Phillips, where he discussed how radio should use demographics and research while still keeping the personal flavor that defines Black radio.)

    Donnie put it all in context for me. The way he positioned research as just one tool in the programming toolbox gave me the perspective I needed.

    Which brings me to this week’s thoughts.

    As I continue sharpening my AI tools, I’m amazed by what can be done with them. I’ve written about AI before, but I’m still learning new ways to use it. All based on the questions (prompts) I ask. This is your reminder: Don’t fear AI. Don’t run from it or dismiss it. Instead, challenge it. And challenge yourself to find out what you can do with it.

    Recently, I had an email exchange with an operations manager in a small market. They were walking me through the cluster’s priorities, and one station, a news outlet, stood out. It leaned heavily on national content and had very little local news. That got me thinking: What if you used AI tools to bring more local content to that station?

    Imagine using voices from the cluster, even your own, mixed with AI voices to deliver hyperlocal content. If that’s a scenario that applies to you, take it as an opportunity. Spend a weekend building a strategy. Pitch it to your GM. Cut a deal: If you boost ratings and drive more sales, they give you a part-time position to expand what the station can do.

    In the past, you might have seen yourself as a one-person band. With AI, you’re more like a conductor.

    I’d love to hear your thoughts.

    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.

    20 Brands In 20 Days: Krash Kelly,103.5 BOB-FM Austin

    Jeff Lynn
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    20 Brands In 20 Days: Krash Kelly,103.5 BOB-FM Austin

    Krash Kelly is Program Director for Adult Hits 103.5 BOB-FM Austin. He had been with the Waterloo Media station for 20 years, spanning various ownership changes. Kelly has customized BOB-FM to be hyper-Austin and a departure from the Jack model, making it unique for the market.

    103.5 BOB-FM is today’s featured brand.

    “What we did was take the Jack FM concept and try to customize it for our particular market,” Kelly says. “I think sometimes the Jack FMs have a little bit of an attitude and a coolness about them. We decided to take the self-deprecating, goofy sort of attitude and some of the humor that Jack has and adapt it a little bit more for our needs.”

    This means curating a playlist that includes pop and rock and infusing every element with a uniquely Austin flair.

    “We’re a hit-driven, adult hits radio station. We have a smattering of contemporary music. Whether it’s Taylor Swift or Benson Boone, just enough to keep things fresh and give us a little more contemporary feel.”

    The station keeps that Austin feel with content between the songs.

    “We try to keep all the stuff in between the songs very local and Austin-centric. We didn’t want to be just a jukebox.”

    The station has on-air hosts, but their roles differ slightly from other formats.

    “We have hosts, but we don’t talk a whole lot. We started off with just one daypart, then added another to be a more informative, warm presence on the station. We’re not trying to out-entertain anyone. We’re just trying to inform and be a companion to the music.”

    The station had to be cautious because it started with no hosts, and there was concern among the audience that it would morph into a talk-heavy morning show.

    “We had to be careful. Once they realized we weren’t going to break our promise of being a music-centric station and still delivering 13 or 14 songs an hour, they were okay with it.”

    The station had to pivot during the recent Texas floods while staying in BOB’s Lane.

    “We didn’t turn the radio station’s personality off. But we asked, how can we be a resource? We posted donation links, promoted animal fostering for shelters that were inundated, and helped people figure out how they could contribute.”

    “We weren’t going to become a wall-to-wall news station. We’re an escape for 75-80% of the audience who weren’t directly affected, but we still had to be aware of our surroundings.”

    Seizing on pop culture moments adds to the fun imaging, and BOB leans into topical humor.

    “We have fun with things like that on the air. We’re not artificial or intelligent, but we try to capture the moment. Sometimes we’ll run with it for a week or two and then move on.”

    Creating that branding, which also carries to social media, is a team effort. Kelly and his APD/MD Evan Shipe hold weekly meetings to brainstorm.

    “Some days we’ll get two pages of ideas, and some days we’ll get two things. We’ve found that too many cooks in the kitchen don’t work. It’s better to keep the creative team small and focused.”

    The station’s cause marketing is something that the ownership drives.

    “Veterans, animals, and musicians. Those are big hot buttons for us. We also do some work around food insecurity. Our parent company, Waterloo Media, has always been very cause-oriented, and we continue to grow that focus.”

    The Bob Squad is the station’s affinity club, and contests are primarily conducted online.

    “We run 99% of our contests via the website. It keeps the clutter off the air and gives us a way to track engagement. Our prize pickup percentage is the highest in the building.”

    And sometimes he is surprised that it isn’t always the most significant prizes that attract the most engagement.

    “You never know what’s going to hit. Sometimes, a $250 gift card gets more response than a major concert ticket. It depends on the audience and what they value.”

    Kelly believes radio still has a bright future and encourages the industry to have fun.

    “Radio needs to be fun. I hope we continue to keep having fun with this and don’t think too much about what you’re doing.”

    “Just have some fun and don’t get caught up in overly researching this stuff. Radio still has lots of legs left. I am still impressed by how many people I see on the street who mention things they’ve heard. Liners that they hear on our air, commercials that we’ve aired, things that we’ve done.”

    “People who would tell you in a heartbeat that they don’t listen to the radio anymore, but they’ve been caught by repeating liners to me.”

    “I just think that the industry needs to continue to be excited about what we’ve got and realize we’ve got a great product and we’ve got a great industry. Things are changing, but adapt to the changes, see what you can do with them.”

    Listen to 103.5 BOB-FM here.

    Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

    Why Triton Digital Exec Sharon Taylor Thinks Podcasting Is Losing Sight of Its Audio Origins

    Garrett Searight
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    Why Triton Digital Exec Sharon Taylor Thinks Podcasting Is Losing Sight of Its Audio Origins

    Video podcasting is on the upswing, with nearly every major podcast embracing the likes of YouTube, TikTok, Rumble, and the like. But can that go too far and alienate the audio-only fans who built the medium? Triton Digital Executive Vice President of Podcast and Content Delivery Sharon Taylor believes the answer is an emphatic yes.

    Podcasting has grown wildly on YouTube, with the company investing heavily in the medium. Additionally, it has created its own podcast charts to rival those released by the likes of Triton Digital and Podtrac — among others — as a way to cement itself in the podcasting medium.

    But those chasing after the higher CPMs of YouTube, or looking to capture those huge audiences available on the digital video platform, might be on a wild goose chase that could harm an already existing audio-focused podcast, Sharon Taylor argued.

    “If I go back a couple of years — when podcasting and video were just starting to be talked about — everyone was like, ‘Oh, it’s a flash in the pan,’ or, ‘Yeah, there might be some traction.’ But over the last couple of years, we’ve clearly seen there’s a really hungry video audience looking for this content,” Taylor said. “Whether it’s audio audiences switching to video or users who just like YouTube or Spotify video. I think the data still remains to be seen.

    “My cautionary tale — which I’m obviously trying not to frame like I’m Henny Penny saying the sky is falling — is this: as the video audience grows and the audio audience remains, my message to the industry is, ‘Hey, don’t forget that you’ve got a ton of people who love audio.'”

    Taylor added that there are simple tricks that hosts and podcast creators can implement to not isolate the audio-only faction.

    “If you’re on your podcast and talking about things visually without acknowledging that you’re also speaking to an audio audience, it can feel a bit alienating,” she said. “As we shift toward an audience that wants video, I just want to make sure we’re bringing the audio audience along for the ride and not making a hard left turn just to chase the video audience.”

    The size of the audience on YouTube is too great to ignore for the podcast genre. Just yesterday, Nielsen’s Media Distributor Gauge showed that 12.8% of all television viewing in the United States takes place on YouTube, expanding its lead over second-place Disney to its largest margin yet.

    The Triton Digital executive shared that the shift to video podcasting from the previous audio-only iteration isn’t dissimilar from another real-world example.

    “In the same way that people who write books started making audiobooks — because it’s an additional revenue channel — that’s what video is for podcasting,” Taylor analogized. “There’s a new audience that’s already been consuming video and might want to watch a video podcast.”

    However, she noted that the revenue generation for video podcasting hasn’t been as easy as perhaps many expected.

    “Ironically, monetization is the hardest part,” Taylor shared. “You’re operating in new playgrounds, where platforms like YouTube manage the revenue for you, instead of allowing you to bring your existing advertising model into the video space. I think it shows the power and draw of that audience — because all of us, all publishers — are moving into the video space and trusting that the monetization will eventually work itself out.”

    Sharon Taylor noted that performance-driven marketing in the audio space continues to be one that podcasting does better than any other for advertisers. She added that she believes that’s a story that the podcasting industry needs to tell.

    Furthermore, she shared that, in a perfect world, content creators would feature both video-specific content in addition to audio-focused programs for the podcasting space.

    But the Triton Digital executive knows that that’s easier said than done. Intentionality about remembering that there is still a large, audio-only audience out there is one way to rectify any potential issues of video-based programs.

    “I think that now that we’re putting cameras into studios, some of my favorite podcasts that have started doing it are talking about the location, the set, and those kinds of things. As an audio listener, I can come along for that journey, if it’s described well. That’s the power of audio: it’s descriptive, and it paints what you might call mind pictures,” Taylor said.

    “But I don’t think it’s intentional. I don’t think they’re saying, ‘Hey, the video audience is all we care about now,’ or that it’s more valuable. I think they’re just excited to have new viewers and a new audience, and they want to make sure they’re including them as well.

    “It’s a delicate balance to keep in mind. Once you’ve got a camera there and you’re looking at it — even though you’ve got a mic — your brain starts treating it like a show people are watching. That’s very different from what people originally loved about podcasting, which was that they could do it in their pajamas in a closet.”

    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.

    NBC Sports Viewership of The Open Championship Up 16% From Last Year

    BSM Staff
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    NBC Sports Viewership of The Open Championship Up 16% From Last Year

    NBC Sports scored a significant win over the weekend as its coverage of the 153rd Open Championship from Royal Portrush delivered the tournament’s strongest ratings since the landmark 150th edition at St Andrews in 2022.

    Anchored by Scottie Scheffler’s dominant four-shot victory over Harris English, the final round on Sunday averaged a Total Audience Delivery of 4.1 million viewers across NBC and Peacock. That figure marked a 21% increase from the 2024 tournament, according to Nielsen and Adobe Analytics. Viewership peaked at over 6.1 million during the 1:30–1:45 p.m. ET window as Scheffler closed in on his first career Open title and Rory McIlroy completed his round.

    The numbers were part of a weekend surge in interest. Saturday and Sunday coverage averaged 3.6 million viewers—up 24% compared to last year’s comparable windows—making NBC’s broadcast of the tournament the most-watched sports telecast of the weekend.

    NBCUniversal’s comprehensive presentation of the event spanned multiple platforms, including Peacock and USA Network, and benefited from a well-rounded cast of marquee players in contention. Coverage on Thursday and Friday averaged more than 1 million viewers on USA Network, up 18% year-over-year and ranking as the most-watched early-round coverage of The Open since 2022, when Tiger Woods competed.

    In total, NBC and USA Network averaged more than 2 million viewers across the four-day broadcast, representing a 16% increase from 2024.

    Peacock also posted streaming milestones for the championship. Simulstreams of NBC’s coverage on Saturday and Sunday became the two most-watched Open Championship windows in the platform’s history. Across Peacock and NBC Sports Digital, total streaming minutes rose 13% compared to last year.

    These gains arrive at a pivotal moment for NBC Sports, which has doubled down on multi-platform distribution and leaned into golf as a key part of its live sports portfolio. The results underscore the continued appetite for major championship golf and the drawing power of stars like Scheffler and McIlroy.

    The network’s ability to grow viewership across both linear and digital platforms bodes well as media companies increasingly look to demonstrate reach across streaming and traditional TV. NBC’s cross-platform success with The Open Championship provides a case study in how strategic distribution and star power can drive ratings momentum—especially in the face of a fragmented media landscape.

    With Scheffler’s breakthrough and strong competition throughout the field, NBC Sports proved once again that with the right talent, timing, and execution, golf can still deliver significant audiences on television and streaming alike.

    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.

    Audacy Launches Streaming ‘Remembering Ozzy Osbourne’

    BMM Staff
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    Audacy Launches Streaming ‘Remembering Ozzy Osbourne’

    Following the passing of rock icon Ozzy Osbourne, Audacy has launched “Remembering Ozzy Osbourne.”

    Osbourne passed away earlier today at the age of 76.

    The station is streaming now on the Audacy App and can be heard here.

    Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

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