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The Industry According To: Damizza

Keith Cunningham
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The Industry According To: Damizza

Thank you for checking out The Industry According To. Every Tuesday we speak with a different expert or leader from somewhere in the vast music industry — label executives, artist managers, programmers, talent, artists, consultants, and beyond. To appear as a future guest, email me at keithblackboxgroup@gmail.com.

Today we sit down with someone who has lived multiple lives inside the music industry — and he isn’t afraid to share his opinion and tell the truth. Damion Young, better known as Damizza. He has been a major market programmer and a producer for artists like Mariah Carey, Ludacris, Lil Wayne, and Bone Thugs-n-Harmony. He’s worked alongside artists like Jay-Z and Eminem. Additionally, he is a vocal cultural commentator with deep roots in both radio and the label world.

When we spoke earlier this week, he was in an airport lounge between tour dates with Chris Brown and a trip to New York City for the Barrett Media Summit — which tells you everything you need to know about the pace he keeps.

So, let’s dive in.

*Editor’s Note: Answers have been edited for clarity and length.*

Damizza Origins

Keith: You’ve lived a wild career — radio, producing, labels, artists, performing, culture. What was the moment when you felt your life trajectory really change?

Damizza: I got my first job in radio when I was 12 years old as an intern for Michael Newman, the night DJ and Music Director at my hometown station in Santa Barbara. Steve Smith (RIP) was the Program Director. That experience gave my passion for music a purpose at an early age.

While I was doing nights and going to high school, I was living inside my target audience. That became one of the biggest lessons of my career: surround yourself with your core audience and listen to them.

At 17, I became a Program Director in Alternative radio without really knowing the format. That turned out to be a blessing because I couldn’t rely on convention — I had to build the station around what the audience actually wanted.

I carried that philosophy to Los Angeles. Whether it was creating intimate performances with Garbage, No Doubt, and Collective Soul before “exclusive content” was even a term, or programming Power 106, I always trusted the audience more than industry trends.

When everyone else was chasing the *NSYNC and Backstreet Boys era, our audience wanted Dr. Dre, Snoop Dogg, and gangsta rap. We immersed ourselves in East Los Angeles, stayed out of Hollywood, and built the station around our hottest ZIP codes. That eventually led to projects like the Hawaii show with Dre, Snoop, and Eminem, which helped build the momentum that became the Up In Smoke Tour. That’s when I realized we weren’t just programming radio anymore — we were helping shape culture.

Radio vs. Labels vs. Streams vs. Live

Keith: You’ve lived in all four worlds — radio, labels, streaming, and live performance. Each has value, but which one moves an artist’s career the most today, and why?

Damizza: I’d say live performance. Nothing replaces real fan interaction. Streaming creates discovery. Social media creates awareness and amplifies it. Radio still creates credibility — and frankly, pays better royalties than streaming in many cases.

But live performance creates superfans. When people can see you, feel your energy, and experience your music with thousands of other fans, they’re emotionally invested. Once someone buys a ticket and gives you their time and money, you’ve created a relationship algorithms can’t replace.

That’s where long-term careers are built.

Content, Revenue & Downsizing

Keith: You’ve been outspoken about radio’s recent layoffs and the need for evolution. From your vantage point, what does real radio evolution look like — the kind that grows revenue and stops the cycles of mass downsizing?

Damizza: Radio didn’t lose because of Spotify. Radio lost because it stopped being radio.

Somewhere along the way, we replaced personalities with automation, local culture with voice tracking, and spontaneity with pre-recorded breaks spread across an entire week. Entertainment moves in real time. If you’re talking about a story a week later, social media already won.

Ironically, I think AI can help save radio — but not the way it’s being used today. AI should eliminate backend costs so stations can invest more in talent, local programming, and personalities.

Imagine Big Boy broadcasting worldwide, but every market hearing relevant local information because technology customizes those elements in real time. That’s using AI to enhance talent instead of replacing it.

When Pamela Anderson was making headlines, she was on Power. When the North Hollywood bank robbery happened, people turned on Power 106 for live updates. We broke records, announced concerts first, had exclusive tickets, and people talked about what they heard on the radio at work the next morning. You can’t automate that feeling.

Today’s stations often spend more on consultants and layers of programming than they do investing in personalities. Furthermore, many programmers are no longer living inside the culture they’re programming for.

The future isn’t choosing between radio and the internet — it’s combining them. Simulcast from the internet to the tower, reduce legacy costs, and create one global signal with local relevance. Radio wins when it feels local, spontaneous, and human — and now, thanks to technology, it can do that on a worldwide scale.

Labels and Artists

Keith: Today’s artists may not even need a label deal. If you launched Damizza Records tomorrow, what would you do differently to attract artists compared to what labels are doing now?

Damizza: I’d build a company around partnership instead of ownership.

My goal would be helping artists maximize the value of their intellectual property across music, touring, publishing, licensing, merchandise, brand partnerships, and media. I’d rather own a small piece of something huge than all of something small. I also think labels have forgotten they’re supposed to develop artists — not just distribute files.

I’d combine artist development, promotion, touring, digital marketing, and radio into one modern ecosystem. That’s essentially what we were doing in the early 2000s. Today I’d simply upgrade the technology.

People hear the word “radio” and think analog. I think the internet is the biggest radio stick ever built. Simulcast from the internet to terrestrial radio — not the other way around. Work smarter, consolidate operations digitally, and spend your money developing artists instead of maintaining outdated infrastructure.

What Is A “Hit” in 2026

Keith: When you’re working with an artist, how do you define a hit in 2026? Sales, longevity, a cultural moment, or something else? What’s a real hit in your world?

Damizza: A hit today is intellectual property.

Great songs don’t just stream — they create culture. They sell tickets, generate licensing opportunities, inspire creators, become memes, show up in movies, commercials, and video games, and continue creating value for decades.

Virality is great. Longevity is better.

Streaming Speed

Keith: You came from radio, but your work embeds you in streaming — and the speed difference is real. Can radio realistically keep up with how fast music moves today, or is that era long gone?

Damizza: Absolutely — but not by trying to beat Spotify at being Spotify. Radio wins by doing what technology can’t: creating personalities, telling stories, connecting communities, breaking artists, and creating moments people remember.

Technology should enhance radio — not replace what made it special in the first place.

State of Hip-Hop Today

Keith: Some people say hip-hop has stalled or hit a rut. Is that true? What’s the real state of hip-hop today?

Damizza: I don’t think hip-hop is in a rut. I think the promotion model is.

We’ve become obsessed with creating viral moments instead of timeless records. Artists are chasing clips instead of catalogs. Eventually, those records burn out because they weren’t built to last.

Hip-hop isn’t dying — it’s evolving. Every genre reinvents itself. We’re simply between generations right now, and that’s exciting. The next superstars probably won’t sound like the last superstars — and that’s exactly how culture is supposed to work.

Artist Development

Keith: You’ve said artist development is a lost art. What broke it — the labels, the platforms, or the artists?

Damizza: I think everyone owns a piece of it.

Labels shortened development cycles. Platforms reward constant content. Artists feel pressure to feed algorithms instead of perfecting their craft.

As a result, the industry became focused on finding the next viral record instead of building the next iconic career.

Are Artists Getting Ripped Off?

Keith: The debate about streaming compensation isn’t slowing down. Are artists getting ripped off? If so, what needs to change?

Damizza: Streaming is one of the greatest distribution systems ever created, but it’s a difficult business model for most artists to survive on by itself.

Out of millions of creators uploading music, only a small percentage earn enough from streaming alone to make a full-time living.

That’s why artists have to think beyond streams. Touring, publishing, licensing, merchandise, fan communities, brand partnerships, and ownership of their intellectual property all have to become part of the business plan.

Chasing ‘The Moment’

Keith: One viral moment can change an artist’s life — but those rarely last and don’t guarantee longevity. If you’re advising a young artist, should they put a lot of effort into trying to create “that moment,” or should their energy be focused somewhere else?

Damizza: Don’t chase moments. Chase mastery. Study the craft.

Michael Jackson didn’t invent everything — he studied everything. Bob Fosse. Steven Spielberg. Walt Disney. Sammy Davis Jr. James Brown — then he combined the best of each into something uniquely Michael.

Look at Chris Brown and Usher today. That tour isn’t just current hits. It’s decades of legendary intellectual property combined with incredible choreography, technology, production, musicianship, and showmanship.

Every overnight success I’ve ever met spent years becoming good enough for people to finally notice.

Labels in 10 Years

Keith: Look ahead 10 years — do labels as we know them still exist? Why or why not?

Damizza: Yes — but they’ll look very different.

Labels won’t be gatekeepers anymore — they’ll become service companies. Artists have more options than ever, so labels that provide real value through marketing, capital, global infrastructure, artist development, and strategic partnerships will continue to thrive.

The Reality of AI

Keith: Some version of AI has been around for decades — samples, effects, dubbing, remixing, beat matching — but now it’s front and center. Will AI artists with real catalogs and fan bases become a real thing in the industry?

Damizza: Yes, but I don’t think they’ll replace human artists.

AI will become another instrument, another production tool, and another collaborator. The challenge isn’t the technology — it’s transparency, ownership, consent, and making sure creators are compensated when their likeness, voice, or work is used.

Like every major technology, the hype will eventually settle down. When it does, people will remember what they’ve always connected with: authentic human stories. AI can enhance creativity, but it can’t replace lived experience.

What the Public Doesn’t Know

Keith: You’ve been in rooms most people will never see. What’s the one thing about the music industry that the public would be shocked to learn?

Damizza: The biggest secret is that behind many of those boardroom doors, nobody has all the answers.

Most people are looking around to see what everyone else is doing, because making the wrong decision is often perceived as riskier than making the same decision as everyone else. Technology has completely changed distribution, but relationships still drive this business. Your reputation often opens more doors than your résumé.

The Blank Slate

Keith: Last question. Blank slate — say anything you want to anyone or any sector of the music industry. What do you want them to hear?

Damizza: Be curious. Be different. Think outside the box.

Don’t be afraid to fail, because that’s where the best lessons come from. The biggest opportunities in this business have always come from people willing to challenge conventional thinking instead of copying everyone else.

Technology will keep changing. Platforms will keep changing. Algorithms will keep changing. Great songs, great stories, great relationships, and ownership of your intellectual property never go out of style.

Build something people remember — not something they scroll past.

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

Why Radio Should Stop Chasing 25-54 and Own Its Market

David Hill
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Why Radio Should Stop Chasing 25-54 and Own Its Market

Radio has spent the better part of the last 20 years trying to prove it is still young. Maybe that is the wrong fight.

There are markets all over America where the population is getting older, where a large percentage of the money is controlled by people over 50, and where radio remains a powerful part of the daily routine. Yet somehow, the industry still acts embarrassed by those listeners.

We chase 25-54. We worry about 18-34. We sit in meetings talking about how to make radio relevant to younger audiences, while sometimes ignoring the people who are actually using the product.

Stop Apologizing for the Audience You Have

I am not suggesting radio should give up on young people. Quite the opposite — the industry desperately needs younger talent, new ideas, and a pipeline for the future. But there is a big difference between building for the future and pretending the present does not exist.

Some markets are older. That is reality. And in those cities, radio needs to stop acting like a strong audience over 50 is some kind of failure. If your listeners own homes, buy cars, travel, attend concerts, and spend money in the community, that audience has value.

Now, there is an obvious business reality here. Buyers are still heavily attracted to the 25-54 demographic. That has been the currency for a long time, and radio is not going to wake up tomorrow and convince the advertising world to throw it out. But as America gets older and purchasing power moves with it, the definition of a valuable consumer may have to evolve. Does 35-64 become a more important buying category? Radio should be part of that conversation instead of waiting for somebody else to define it.

Market Dominance Is Still the Goal

For stations, the more immediate question is simple: Are you relevant? Not, are you cool in New York? Are you important in the city where you broadcast?

I have lived and worked in enough markets to know the difference between a station that has ratings and a station that owns a city. You can feel it. The personalities are known. The station is at the major events. The audience trusts the brand. When something happens in town, people turn to it.

That is market dominance. And it should not suddenly become less valuable because the people listening are 58 instead of 38. In some older markets, radio may actually have an advantage because the relationship is already there.

Local Relevance Remains Radio’s Best Weapon

The problem is, too many stations take that relationship for granted. Serving an older audience does not mean dusting off the same 300 songs, putting the station on autopilot, and assuming listeners will stay forever. They won’t. Older listeners still want personality, information, humor, and connection. They still want someone on the radio who understands where they live.

Spotify can play the song. A national podcast can be entertaining. But none of them are built to own your town. They are not going to show up at the local charity event, explain why traffic is backed up, or talk about the restaurant everybody suddenly has an opinion about. Local relevance is still radio’s best weapon. The industry just needs to use it.

We also need to stop thinking innovation only means chasing teenagers on TikTok. A classic hits station can have a strong social presence. A talk station can build podcasts and video around personalities the audience already trusts. None of that requires pretending your core listener is 27.

Know Your Audience — And Own It

Radio has allowed itself to be put on the defensive for too long. We apologize for our audience being older. We apologize for being local. We apologize for not being the hot new thing. Why? There are stations across America with powerful brands, loyal listeners, and deep community relationships. That has value. If you have a dominant position in an older market, stop apologizing for it. Serve those listeners better. Show up. Sell the value of the audience. And dominate the market you actually have.

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

Understanding The Shifting Economic Culture of Americans

Bob Lawrence
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Understanding The Shifting Economic Culture of Americans

There’s been an undeniable shift in public sentiment toward big business, corporate success, and even individual wealth. When SpaceX went public a couple of weeks ago, criticism came quickly. Politics aside, there is a noticeable change in attitude toward those whose income reaches new, unprecedented levels. We now have the world’s first trillionaire. Even some in government have suggested limiting the potential value of any one person’s wealth.

Distrust toward individuals and companies with power has always existed, but the current environment often goes beyond healthy scrutiny. It sometimes crosses the line into concerns about personal safety. This isn’t a new issue, though. Back in the 1960s, groups like SDS and the Weathermen threatened acts of domestic terrorism. Those were, however, relatively small groups.

Criticism on social media and increasing anger surrounding record corporate profits have forced some to focus on success itself. Despite the fact that 60% of the workforce participates in company-sponsored 401(k) programs that depend on the growth of corporate success, many view those profits with suspicion. While legitimate concerns about economic and corporate accountability exist, examining the broader consequences seems worthwhile.

To Believe What You See

Real economic challenges are partly responsible for the frustration. Housing affordability, high debt, inflation, and concerns about wages have left many feeling abandoned by leadership. When people struggle to make ends meet while seeing executive compensation packages worth millions, a level of resentment is understandable. Large corporate actions can sometimes reinforce the perception of a system that favors the wealthy and well-connected.

Social media, without a doubt, amplifies these issues. Algorithms often lean into outrage. Highlighting stories about corporate mistakes, excess, and controversial decisions because negativity and divisiveness drive engagement. These stories tend to receive far more attention than stories about innovation, job creation, or philanthropy. As a result, our perceptions can become distorted. We often believe everything we read without adequately separating fact from fiction.

Growing hostility carries considerable risk. Businesses responsible for creating jobs, investing in communities, funding innovation, and generating economic opportunity increasingly become the villains. When society criticizes success rather than celebrates it, it can discourage the entrepreneurial spirit and risk-taking that have long fueled economic growth. Next-generation business leaders may become less willing to invest, expand, or pursue new opportunities if they believe doing so will only invite criticism.

The same challenge applies to individual wealth. Throughout history, economic progress has often been driven by people motivated to build businesses, create new products, and improve lives. While wealth should never excuse a lack of accountability, many increasingly view financial success as a form of exploitation.

To be clear, I pass no judgment on how people feel. I am simply pointing out the dichotomous nature of our culture. For example, many who criticize Apple for building products with inexpensive labor in China are reading this on their iPhones. I fear that scores of successful entrepreneurs who have created thousands of jobs and generated significant value for society may become less inclined to do so in the future.

An Approach For Improvement

The impact extends beyond economics. If our culture increasingly views success negatively, it may foster greater division rather than aspiration. Instead of asking, “How can I achieve similar success?” people may begin asking, “Why should they have what I don’t?” I worry about any mindset that risks replacing “ambition” with “resentment” and “potential” with “cynicism.”

To be clear, none of this means individuals or corporations deserve a free pass. Transparency, strong ethics, fair employee treatment, and responsible leadership remain essential. Public scrutiny serves as an important check on corporate power and greed. My concern is that we may lose faith in accountability and instead come to believe that success itself is inherently wrong.

The challenge for all of us is finding the right balance. A swell of frustration is building within our belief systems and core values. We must encourage businesses to operate responsibly while also recognizing the value they create. We should continue addressing inequality without demonizing achievement or confusing equality with equity. In turn, we should celebrate innovation and entrepreneurship while demanding ethical leadership.

Every healthy economy depends on both oversight and aspiration. If either disappears, the long-term consequences may be far greater than intended.

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

FIFA’s Balogun Decision Should Encourage Sports Radio To Break More Rules

John Mamola
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FIFA’s Balogun Decision Should Encourage Sports Radio To Break More Rules

The FIFA World Cup has been nothing short of the greatest story in sports this calendar year. My apologies to the New York Knicks, Team USA men’s ice hockey, and the Seattle Seahawks. The tournament has given American sports fans a first-hand view into the geopolitical nature of the event while also providing storylines of interest in nearly every match.

There’s an old saying that goes: “Rules are meant to be broken.” No phrase better matches the vitriol that came with FIFA’s decision to overturn a one-game suspension for United States striker Folarin Balogun. No decision like it had ever been seen by such a large segment of the American audience. A true home-field advantage was provided to Team USA, one that sports radio can learn from.

Last week at the Barrett Media Audio Summit, Audacy CBO Chris Oliviero accepted the Jeff Smulyan Award. In his acceptance speech, Oliviero spoke about taking risks, becoming comfortable with failure, and being proud of the failures that led to greater success stories.

We can learn a lot from failure, but in order to achieve failure or success, you have to try. Too often, we let rules get in the way of trying new things in the first place.

For instance, take a couple of extra minutes past the top of the hour to finish a point. Throw away the rules for engagement in how you connect with your listening audience. Toe the line on social media. Cold-call your local organization to demand answers live on the air. Remember the days of the on-air bit that, by today’s standards, wouldn’t be allowed but made for lean-in listening in a previous era?

Oliviero’s speech recalled a conversation I had with 97.5 The Fanatic’s John Kincade, where we discussed how radio had lost something over time: the creative spark to take risks, be funny while slightly risqué, and break rules if need be. Remember never asking for permission, but always asking for forgiveness? Where has that sports radio gone?

Making Memorable Moments

The point of breaking the rules was to gain attention. Be unique. Act differently, and beat your competition while doing so. Today, attention is the currency that determines success. With attention comes engagement, following, reach, and, in turn, revenue. That’s the ultimate currency in sports radio.

However you may interpret how FIFA handled the overturning of Balogun’s one-game suspension due to a red card, it got attention. Why? Because FIFA broke its own rule.

The end result was a massive flood of reactions worldwide. Many called the decision “unfair,” “blasphemy,” and “injustice.” Others, mainly Americans, called it “justice” and a “correction” for a poor judgment on a red card. What were the deciding factors in making such a decision? Who were the power players involved? Was this all because of President Donald Trump’s thumb on the scale with FIFA President Gianni Infantino?

FIFA is the governing body of the tournament. It broke its own rule and earned every bit of the attention that followed. Sports radio can surely do the same.

Winning In The Attention Economy

If there was one thing to take away from the Barrett Media Audio Summit, this was the central point: Sports radio isn’t competing with sports radio anymore. It’s competing with every sports podcast, YouTube show, TikTok clip, streaming platform, athlete, league, and influencer fighting for the same fan’s time.

That’s the game now. In a world where attention is the most valuable currency, playing by yesterday’s rules is a losing strategy.

That doesn’t mean abandoning good judgment or creating controversy for controversy’s sake. It means having the courage to challenge convention, trust creative instincts, and occasionally make people uncomfortable if it produces compelling content.

Even breaking a few rules from time to time can help. Because the biggest winners in today’s sports media landscape aren’t always the loudest. They’re the ones people can’t stop talking about. Barstool Sports took risk, broke rules, and now dominate the attention of 18-40 year old men. The Pat McAfee Show started out to be Bob & Tom on sports, and now it’s a sports media mecca housed on ESPN. Sports radio once owned sports conversation, but it’s going to take risk and chances to keep their remaining share of it. Meaning, it’s time to break some rules once again.

The stations, talent, and brands that embrace calculated risks will be the ones that cut through the noise. Those that continue protecting old rules simply because “that’s how we’ve always done it” will keep watching audiences drift elsewhere.

The World Cup controversy didn’t just entertain sports fans. It reminded sports radio that winning attention sometimes requires having the courage to break a few rules. Sports radio has never needed permission to be great. It just needs the confidence to break a few rules again.

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

How Storytelling By News/Talk Radio Hosts Can Transform Endorsement Spots

Peter Thiele
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How Storytelling By News/Talk Radio Hosts Can Transform Endorsement Spots

A struggle that most radio stations must suffer through is bad copy. Your cluster’s creative team is likely not to blame — the poorly conceived puns, clichés, and wasted verbiage are usually written by someone in sales or, frighteningly, by the client. Of course, there is awful commercial and promo copy being written by seasoned radio professionals. If you are writing a lot for your station, you are likely to type out some idiocy now and again.

I have spoken with imaging voices and asked them about copy. I have been told some program directors cannot write themselves out of a paper bag. Okay, how do we help solve this problem, especially when it comes to endorsement copy?

Maybe you have been handed copy that reads like a middle school creative writing assignment: packed with clichés, weak analogies, and forced, unfunny jokes that do nothing to help the business grow. You know the phrases: “locally owned and operated,” “we are your neighbors,” “let our family serve yours,” and so on. In 30 or 60 seconds, you have to create a need and inspire distracted drivers to contact the company that can install their new vinyl siding.

I once worked in a market where a longtime advertiser and his family performed remarkably unfunny commercials for carpeting and flooring. I also had to pull an ad the client supplied to the cluster because it used the term “Olympics” — a lawsuit waiting to happen. Crazy. Account executives are bred just to get money out of the client.

It’s also the job of a good salesperson to consult the client on what would help them maximize the impact of their advertising campaign.

When Clients Fight the Creative Team

Heaven knows, most of us are pumping out a lot of content daily. Being creative and unique can be a real struggle. How do we create memorable moments in our commercials, endorsements, and imaging? It really comes with creating an emotional reaction. The wacky roofing guy who believes that he is Shane Gillis needs to be tamed.

I am sure that you have noticed that the most successful clients allow the creative team to build great commercials. It is like me, a radio guy, telling a plumber how to do his job. I know nothing about plumbing, but I can turn a wrench. I don’t care how many YouTube videos you have watched. You probably couldn’t complete a plumbing job either. Small business owners are usually fairly stubborn. This is because these amazing people built a successful business against all odds. When the small business owner started, they likely had doubters and roadblocks. If you speak with your account executive team and ask about the challenges they face, it is a difficult job.

I worked with a sales guy who was working on a meeting with an HVAC company. The owner handed off the sales guy to the “marketing director,” who was the owner’s 18-year-old son. I would have left that appointment because it was a waste of time, but this account executive gave the son the pitch. No sale ever happened.

Account executives struggle for each sale. Getting commitment is only a small part of the job. Getting the copy right and approved is the next step. Ask your cluster’s creative services department — clients turn down an awesome campaign and want a series of superhero spots.

The superhero angle in commercials is as tired as your grandpa after his 3 p.m. dinner at Golden Corral.

Selling the News/Talk Endorsement

Okay, let’s get to endorsement spots and the copy. Depending on what you are pitching, nearly every customer is motivated by emotion. The garage door is stuck. What do you do? Your fans are panicky, and for good reasons. They are missing part of their workday. It is an unanticipated expense. The wonderful listener calls your client because they trust you.

The news/talk host endorsement is the most impactful of any piece of advertising that can be sold in any form of media. If your team has not sold out your endorsements, you need to be an active participant in making sure that the spots are booked. Remember a couple of weeks ago when there was a big reduction in force? I bet it is a fair assumption that the riffed news/talk hosts were not sold out on their endorsements.

If you like hosting a show, be very mindful of your show’s financial success. Yes, hosting 15 to 20 hours of radio each week is tough. Likely between prep and hosting, you are working 50 to 60 hours a week. But if you love what you are doing to make a living, you must provide more to your company. I guarantee there are people in the radio industry who believe that you roll out of bed, take a shower, and come in to host a show. The sales manager, market manager, and salespeople don’t see your daily work, because you are not in the building.

Make the endorsement copy personal and relevant. Ignore the clichés. Make that spot personal and experiential for your listener. Tell a story about that broken garage door and a lady who is at home alone with the kids. There have been home burglaries in that neighborhood, and now she doesn’t feel safe. Her husband is out of town on a business trip.

Explain the emotion to solve a real-world problem. Make that commercial very personal. Storytelling is an underutilized skill in our business. Do it.

A Word on AI

A note about artificial intelligence: I sometimes use it for idea starters. I prompt ChatGPT for a unique angle on news coverage that would target my station’s target demographic. Sometimes, it is a miss. For my creative promos, I usually come up with a funny yet realistic scenario and expand upon it.

Like all creative promos, some work great, and others are not that fantastic. If I get a note from Jim and Dawn Cutler saying the copy was funny, I usually feel pretty good about it.

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

When Will Other TV Networks Copy Fox News’ YouTube Strategy?

Garrett Searight
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When Will Other TV Networks Copy Fox News’ YouTube Strategy?

Fox News is quietly running away with YouTube, and the numbers back it up. The network pulled in more than 1 billion video views on the platform during the second quarter alone.

Break that down, and you’re looking at roughly 10 million views a day. That’s not a fluke — it’s a strategy executed at scale, and it’s paying off in ways that go beyond simple exposure.

Let’s talk revenue for a second. Social Blade estimates Fox News could be earning as much as $1.1 million per month from YouTube, and that’s on the low end. Even more notable, that figure doesn’t include the network’s separate Clips channel. So the real number is likely higher. Add it all up, and you’ve got a media brand printing money on a platform most cable news networks still treat as an afterthought.

That’s what baffles me. Fox News figured out the blueprint years ago, yet plenty of competitors still haven’t picked up the playbook.

The Front Porch Theory

Clips aren’t just filler content. They’re the front porch to everything else a network produces. A well-placed clip welcomes a viewer in, and if that viewer likes what they see, they’ll walk through the front door. From there, they might stick around for a full hour-long show. They might subscribe to a podcast built around that same personality. The clip is the invitation. The longform content is the destination.

Fox News understands this better than almost anyone in the industry. Its clipping strategy isn’t complicated, either. It just takes real investment — someone has to build the workflow, assign the duties, and commit to posting consistently. That’s it. There’s no secret sauce, just discipline and follow-through.

I won’t pretend Fox News’ YouTube dominance is translating into some massive linear ratings boost. It probably isn’t, at least not directly. But that’s not really the point.

Winning the Next Generation

Younger audiences aren’t finding cable news through a cable box anymore. They’re finding it through their phones, and increasingly, through YouTube. Fox News is exposing that demographic to its brand earlier than any of its competitors, and that matters more than people realize.

The earlier a network converts a young viewer into a fan, the better its long-term outlook becomes. That’s true across nearly every industry, but it’s especially true in cable news, where the audience skews older by the year. Networks that ignore younger viewers now are setting themselves up for a painful reckoning down the road.

So why aren’t more outlets copying this approach? I keep coming back to that question, and I still don’t have a great answer. Maybe it’s a resource issue. Maybe some executives still view YouTube as a lesser platform, unworthy of real investment. Either way, the hesitation makes little sense given what’s at stake.

Fox News isn’t hiding its strategy. Anyone paying attention can see exactly what the network is doing and why it’s working. Meanwhile, competitors keep ceding ground in a space that’s only going to grow in importance. YouTube isn’t a side project anymore. It’s a battleground, and Fox News is the only outlet showing up to fight for it every single day.

Eventually, the rest of the industry will have to adjust. Consumption habits aren’t reverting back to appointment television, and pretending otherwise won’t change that. The networks that build real YouTube strategies now will be the ones still standing when the next generation of news consumers picks a brand to trust.

Fox News has already made its bet. The only question left is how many more years pass before everyone else follows suit.

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

Fox News Leads MS NOW, CNN in 2nd Quarter YouTube Views

Garrett Searight
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Fox News Leads MS NOW, CNN in 2nd Quarter YouTube Views

Cable news’ YouTube dominance took a step back in the second quarter of 2026. Every major television network posted a decline in video views compared to the first quarter. Fox News led all outlets during the window.

What We Know: While Fox News led all outlets in second-quarter YouTube video views, its total dropped sharply from the first quarter. MS NOW held onto second place, followed by CNN, ABC News, NBC News, and CBS News. Meanwhile, every network on the list saw its numbers fall.

What the Numbers Show:

NetworkQ2 ’26 YouTube Video Views
Fox News1.1 billion
MS NOW763 million
CNN511 million
ABC News337 million
NBC News310 million
CBS News136 million
NetworkQ2 ’26 ViewsQ1 ’26 ViewsChange
Fox News1.1 billion1.5 billion🔴↓ -26.7%
MS NOW763 million974 million🔴↓ -21.7%
CNN511 million707 million🔴↓ -27.7%
ABC News337 million440 million🔴↓ -23.4%
NBC News310 million364 million🔴↓ -14.8%
CBS News136 million194 million🔴↓ -29.9%

What’s At Stake: YouTube has become a critical distribution platform for news brands chasing younger, digitally native audiences. Therefore, a sustained decline could signal weakening relevance at a time when traditional viewership already skews older. Additionally, advertisers increasingly rely on video view counts to gauge a brand’s reach and influence. If the slide continues into the third quarter, networks may need to rethink their content strategies and posting cadence.

What It Means: The across-the-board drop suggests broader audience fatigue rather than a problem unique to any single network. However, NBC News posted the smallest percentage decline, which could hint at stronger retention strategies. Ultimately, the numbers reflect an industry still searching for stability in a fragmented media landscape. Networks that adapt quickest to shifting viewer behavior will likely fare best moving forward.

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

Marcellus Wiley Released, Denies Allegations Following Arrest Over Holiday Weekend

John Mamola
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Marcellus Wiley Released, Denies Allegations Following Arrest Over Holiday Weekend

Marcellus Wiley is speaking out. The longtime NFL veteran and broadcaster addressed his July 4 domestic battery arrest for the first time.

What We Know: According to reports, deputies responded to the World Marriott in Orlando on July 4 at 4:47 p.m. ET, per the arrest affidavit obtained by ProFootballTalk. Then, Wiley’s wife told officers he threatened to kill her and had poked her cheek the previous morning. Meanwhile, their seven-year-old daughter reportedly heard the couple arguing but did not witness physical contact. Annemarie reportedly told law enforcement that she wanted her husband removed from their hotel room at the World Marriott because she was afraid that he would follow through on his alleged threats.. Eventually, Wiley was released Sunday night after posting a $1,000 cash bond. Monday afternoon, Wiley addressed the allegations in a post on social media.

What They Said: Marcellus Wiley (via X): “I’m deeply grateful for the love, prayers, and concern for me and my itty bitties. Your support is fully appreciated. I completely and unequivocally deny these allegations, and I’m certain the truth will prevail. As you know, I’m usually the first to break down the truth and separate facts from fiction. But because this is now a legal matter—and because my greatest responsibility is protecting my babies, who have already been impacted—I have to handle this differently. When I can speak freely, I absolutely will. Until then, thank you for your patience, your prayers, and for continuing to stand with me. Much Luv.”

What Remains Unclear: The affidavit notes no visible injuries, and Wiley’s wife declined medical attention. Still, Wiley denied any physical altercation and pointed instead to her plans for divorce. Whether prosecutors pursue formal charges remains unclear.

What It Means: Overall, this arrest adds fresh turmoil to an already difficult stretch for Wiley, who also faces separate sexual assault allegations. For now, his statement suggests he’ll stay quiet while the case unfolds. Wiley has built a significant digital following since working for both ESPN and FOX Sports. As to what his future with his personal media projects will be, we shall see.

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

Audio Podcasts Have Higher Trust Levels Than Video Podcasts, New Sounds Profitable Data Shows

Garrett Searight
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Audio Podcasts Have Higher Trust Levels Than Video Podcasts, New Sounds Profitable Data Shows

New research from Sounds Profitable shows audio podcasts dominate the hands-busy, on-the-go moments of the day. Video podcasts, meanwhile, hold steady in the lean-back, dedicated-attention moments that call for a screen.

What We Know: The Sounds Profitable study surveyed people who consume both audio and video podcasts. It found that 78% of listeners use audio during at least one hands-busy or on-the-go moment, compared to 55% for video. Audio also leads while exercising or walking (46% to 22%), doing housework or chores (46% to 25%), commuting (38% to 20%) and cooking (41% to 27%). Video, however, wins out when people are relaxing with dedicated attention (50% to 39%) and eating or drinking (42% to 38%).

What the Numbers Show: Audio podcasts also lead in trust. Among top platforms, audio rates highest for being “accurate and factual” at 58%, edging out video’s 55% and topping YouTube, TikTok, Instagram, and Facebook. Additionally, audio ties video and YouTube for the lowest rate of “bad experiences” at 21%, well below TikTok’s 35% and Facebook’s 29%. So while TikTok edges ahead on “never misled” at 41%, audio still lands near the top of that list at 39%.

What Remains Unclear: The report doesn’t specify how these habits shift across age groups or listening devices. Nor does it break down whether smart speakers, phones or cars drive audio’s mobile advantage.

What It Means: For advertisers and podcast networks, the takeaway is straightforward. Audio remains the format that travels — into cars, kitchens, and gyms — while video still owns the couch. As a result, buyers who skip audio risk losing reach during the commute, the workout, and the chores that fill most people’s days.

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

97.1 The Drive Lands Rock Personality Lauren Elwell

David Hill
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97.1 The Drive Lands Rock Personality Lauren Elwell

Hubbard Radio Chicago has hired Lauren “Lern” Elwell as an evening host at 97.1 The Drive (WDRV). The Chicago-area native joins the station’s award-winning on-air team effective immediately.

What We Know: Elwell brings humor, relatable storytelling, and a deep connection to the rock format. Brand and Content Director Keith Hastings made the announcement today. Meanwhile, she joins a talent roster the station considers among the strongest in the Chicago market.

What They Said: “Lern is a tremendous rock ‘n’ roll lifestyle talent whose authentic delivery, engaging storytelling, and passion for the format are a perfect fit for The Drive,” Hastings said. “She understands the audience, loves the music, and brings the kind of personality that listeners will connect with immediately.” Elwell added that she is thrilled to return to the state where her radio journey began.

What Remains Unclear: The specific shift hours for Elwell’s evening role have not been disclosed. Additionally, no details emerged about her previous market or station. Her start date beyond the July announcement also remains unconfirmed.

What It Means: Landing Elwell strengthens WDRV’s competitive position in Chicago immediately. The Drive continues building a roster around authentic rock voices. Furthermore, that move reflects a broader Hubbard Radio strategy — investing in talent that connects beyond the music. Ultimately, personality-first hiring separates winning rock stations from the rest.

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

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