With FOX Sports pulling the plug on three of its weekday programs on FS1 yesterday, there was little reaction to the news from any of those involved with the programming on social media. While details on exactly who will go and who will stay remain unclear, former NFL running back LeSean McCoy is taking the cancellation of his FS1 show The Facility in stride.
Posting to his social media account on Monday night, McCoy responded to the news of the cancellation of The Facility.
“Damn fired on my day off, well put me on the trading block,” tweeted McCoy. “Speak and Facility was a blast. I got some announcements coming soon but one thing I do know from football is TALENT & DEDICATION always wins. See you soon.”
On Monday, FOX Sports officially pulled the plug on The Facility, Speak, and Breakfast Ball as part of a major shakeup to its FS1 weekday lineup. As a result, the network will retain The Herd with Colin Cowherd and First Things First, while pivoting away from shows that struggled to generate consistent viewership since launching in August and September of last year.
McCoy, the former NFL All-Pro running back turned TV analyst, was a co-host of The Facility alongside former NFL players Emmanuel Acho, Chase Daniel, and James Jones.
“My last year with Buffalo, we couldn’t see eye to eye on a pay cut so I asked to be released,” tweeted McCoy. “All my brothas I know ya pain now.”
Notably, the FS1 shakeup comes less than a year after network executives, under the guidance of then-EVP Charlie Dixon, reshaped the daily lineup to appeal to younger and more digitally engaged viewers. Consequently, this swift course correction highlights the volatility of sports television programming in an evolving media landscape.
McCoy, who joined FOX Sports shortly after retiring from the NFL in 2021, had emerged as a rising media voice with strong takes and unfiltered opinions. While no official next steps have been announced, McCoy’s name remains a recognizable one with appeal both inside and outside the sports media ecosystem.
For now, the former Pro Bowler seems content with how things played out—acknowledging the realities of the business while leaving the door open for what’s next. Ultimately, his optimistic tone signals that he may not be off the airwaves for long.
Damn fired on my day off , WELL put me on the trading block 😂😂😂😂😂😂
Speak and facility was a blast I got some announcements coming soon but one thing I do kno from 🏈 is TALENT & DEDICATION always wins see u sooooon
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NBC Sports is turning to a familiar voice for its highly anticipated return to NBA coverage. Veteran broadcaster Terry Gannon, best known for his Olympic and golf commentary, will join the network’s NBA play-by-play roster beginning this fall.
Gannon, who has been with NBC Sports since 2010, will be part of the network’s broadcast team as the NBA returns to NBC and makes its debut on Peacock. He is expected to call games alongside a group of high-profile analysts that includes Reggie Miller, Jamal Crawford, and Grant Hill.
“The first 25 years of my life were consumed with basketball and it’s where I got my start as an announcer,” Gannon said. “I am absolutely thrilled to return to calling hoops at the highest level and be a part of the legacy that is the NBA on NBC.”
Gannon’s resume spans more than three decades and includes extensive experience in basketball. He began his broadcasting career as a college basketball analyst for Raycom Sports and Jefferson-Pilot Sports in North Carolina before moving to ESPN in 1993. There, he served as a college and NBA play-by-play voice and was the lead announcer for WNBA broadcasts from 2004 to 2012.
Since joining NBC, Gannon has become one of the network’s most versatile commentators, working seven Olympic Games and regularly contributing to golf coverage, including this week’s Open Championship. He recently earned a Sports Emmy as part of NBC’s broadcast team for the 2024 Paris Olympics.
Beyond the booth, Gannon brings firsthand basketball experience. He was a key member of North Carolina State’s 1983 national championship team under coach Jim Valvano. That same year, he led the nation in three-point shooting in conferences experimenting with the line and remains NC State’s all-time leader in free-throw percentage.
“Terry’s love for basketball runs deep and his NCAA Championship ring with NC State in 1983 is a testament to his long-standing connection with the game,” said NBC Sports Executive Producer Sam Flood. “He made it clear he wanted back in the mix, and we’re excited to have him on the call.”
NBC and Peacock’s NBA coverage begins in October with Tuesday night games. In 2026, Sunday Night Basketball will follow the conclusion of the NFL season, with exclusive Monday night games streaming on Peacock starting this year.
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If good things come to those who wait, FOX Sports has no patience. Yesterday, in a massive shakeup at FS1, the network canceled three programs after inserting sweeping changes to its daily weekday lineup made just under a year ago.
The Athleticreported that Breakfast Ball, The Facility, and Speak were all canceled as the network is keeping the simulcast of The Herd with Colin Cowherd and First Things First in place. The three canceled programs were all the brainchild of former FOX Sports EVP and head of content Charlie Dixon. Dixon was released from FOX Sports in April of this year following allegations of sexual battery by two ex-employees at the network.
On its face, this seems to be a simple unplugging of programs that the network saw as tied to Dixon. However, was the plug pulled too soon?
Without question, when the programming lineup was released, it was (and still is) an uphill climb to compete with FS1’s direct competitor at ESPN. The hope was to provide an alternative to sports fans, using large-market sports radio personalities as the utility to drive more viewership over time.
“FS1 is evolving around a dynamic roster of sports talk personalities, and we couldn’t be more excited for what’s ahead,” shared Charlie Dixon in August of last year. “From early morning to late afternoon, viewers can look forward to an array of compelling sports discussions, expert analysis, and exclusive interviews, all designed to keep sports enthusiasts informed and entertained throughout the day.”
I love a good plan as much as anyone, but the execution is what matters most. Let’s look at these one by one.
Planning and Execution Is Paramount
Breakfast Ball had three outstanding sports radio personalities guiding the morning sports conversation. Mark Schlereth didn’t bring just a wealth of television experience from his 16 years at ESPN, but also from his sports radio acumen in Denver. Danny Parkins was an instant sensation at Chicago’s 670 The Score and rose to afternoon drive in record fashion. Craig Carton’s resume in New York speaks for itself as a dominant personality on WFAN for many years.
The problem was in the execution.
Breakfast Ball was thrown together in just weeks ahead of the show’s premiere on the network, and they appointed Schlereth as the A-talent to drive the program. Schlereth spoke about the difficulties he had to overcome for the role as late as April of this year.
Putting three A-talents in a room and trying to figure it out doomed the show from the start, and it never recovered enough to keep it around.
The Facility was a podcast that FS1 tried to make into a television show. Throwing four former NFL players in a room and hoping for quality content was a reach to start. All four talents can be strong B- or C-type co-hosts, but to not have a strong A-talent to lead the conversation and direct felt like a missing piece the entire time. Also, putting four football players together doesn’t automatically mean NBA, NHL, MLB, and fans of other sports are looking for compelling conversation from this group. If the show was on NFL Network, then the format and content style would have probably worked.
Speak was in the toughest position possible, as it went head-to-head against the one-two combination of Around the Horn and Pardon the Interruption. It’s tough for any startup to take on the heavyweight champion, no matter how much star power you put behind it. Keyshawn Johnson had difficulties standing out on ESPN, with nothing changing on FS1. Paul Pierce’s perspective only revolved around one sport, and Joy Taylor played a better moderator with Skip Bayless and Shannon Sharpe instead of pundit on Speak.
Simply put, while the potential for growth was there, the planning on the front end and execution thereafter lacked. The results showed in the viewership, which was low for the amount of assets and money invested.
Timing Is Everything
So, was the plug pulled too soon?
If FOX Sports wants to cut into ESPN’s viewership with daytime programming, there may be no better time than now to pull the plug.
The easy focus for FOX Sports should be on Tony Reali, who is now a free agent beginning next month. After a 25-year career at ESPN on its two biggest programs in Around the Horn and Pardon the Interruption, Reali would be a massive add to a network that needs energy.
Reali hasn’t been shy about talking to everybody and anybody about his next steps, and audiences know the energy and excitement he brings to television.
When I discussed Tony Reali’s exit from ESPN with Dan Le Batard earlier this month, he didn’t mince words about the lifeline ESPN gave to Reali.
“I have told Tony that ESPN did him a favor because they have unlocked the four-and-a-half-minute box that he was in daily,” said Le Batard earlier this month. “A five-minute cue for Tony Reali is like putting Houdini in a straitjacket underwater in a very small safe. He’s been limited there [at ESPN]. His personality is much bigger than the space filled with confinements that television is.”
Another name that recently stepped back into the spotlight is Max Kellerman, who took a role in the telecast of the upcoming Canelo vs. Crawford super welterweight championship fight. With no non-compete to stop him, could FS1 create some buzz putting Kellerman up against his old partner in Stephen A. Smith?
That would draw eyeballs, as I’m sure the two shows would trade some interesting and impactful barbs.
Former FS1 commentator Jason Whitlock floated the concept of the podcast All the Smoke joining the lineup following the news of the cancellations. He’s pretty plugged in at the network—would that be a solid add with their growing digital audience?
The network has some quality talent in the programs that were cut, and there is plenty of quality talent that the network can bring in. They also could still utilize some of those talents from the cut shows in a different model of what’s to come where gains can be made.
Approaching the Next Steps
FOX Sports’ growth on FS1 can only go up, because there isn’t much more to go down.
The game for FOX Sports moving forward is not about just providing an alternative—it’s about providing an alternative that accomplishes two things.
The first is better planning and execution. Cut talent that don’t move the needle and bring in ones that do. Find talent that can drive conversation with impact and a strong digital presence. Allow time to build rapport ahead of time and prepare better for your execution.
The second is in expansion. One piece that ESPN does a really good job with is connection between the programs. No one lives on an island; all shows are connected to one another—watching one another, talking with one another. FOX Sports has a fantastic partnership with Major League Baseball. Why not work some of your daytime talent into those broadcasts, expanding reach with those audiences?
Cross-promotional opportunities create community, which is what the viewer desires to become a part of. To be the alternative, you need to win over and welcome the viewer into the community.
The fact is the changes implemented in August of last year were poorly planned, executed, and change needed to happen as football season arrives.
Was the plug pulled too soon? Not at all.
Should FOX Sports give up entirely on daytime television? Not at all.
The possibilities are endless, and there could be no better time than the present to build something lasting for the future.
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It’s been 29 years since MSNBC launched as a joint venture between Microsoft and NBC News. And it’s safe to say the channel has undergone a massive transformation since then.
While CNN and Fox News found their identities early on, MSNBC’s identity took time to develop. But in recent years, its evolution has been complete and intentional. MSNBC isn’t trying to be for everyone. It’s proudly liberal, unapologetically partisan, and doesn’t want to be anything else.
That identity has proven to be both MSNBC’s strength and weakness.
In today’s media world, MSNBC has carved out a powerful niche. It speaks directly to progressives, coastal elites, and those who believe Fox News is a threat to democracy. The channel has turned its primetime lineup into a who’s-who of Democratic Party cheerleaders. Rachel Maddow — who now only appears weekly — remains a cornerstone. Meanwhile, names like Chris Hayes, Lawrence O’Donnell, and now Jen Psaki carry the torch daily.
It’s no coincidence that MSNBC surged in ratings during the Trump years. Donald Trump may have called CNN fake news, but it was MSNBC that became his most consistent opponent. Night after night, viewers could turn to the channel for scathing critiques of the former President. The network didn’t just cover Trump. It tried to hold him accountable. Or, at the very least, that’s what its loyal audience believed.
Even when Trump was out of office, MSNBC didn’t let up. Actually, it doubled down.
The indictment coverage? Wall-to-wall. January 6th hearings? Treated like a must-watch mini-series. The Supreme Court? Portrayed not just as conservative, but dangerous. The channel’s editorial choices reflect its values. And those values are unmistakably aligned with the modern Democratic Party.
To MSNBC’s credit, its audience appreciates the clarity. The channel isn’t trying to please both sides. It doesn’t pretend to be centrist. It leans left and owns it. Compare that to CNN, which has spent the last few years desperately trying to reclaim the middle. The result? Confused messaging, mixed ratings, and leadership turnover. MSNBC — which has also seen its fair share of leadership turnover, ratings struggles, and concerns about its direction as parent company Comcast prepares to spin it away from NBCUniversal and its longtime NBC News family — knows what it is.
But clarity doesn’t always equal credibility.
MSNBC’s critics argue the channel has become an echo chamber. They say the network no longer informs but affirms. There’s a grain of truth to that. Hosts like Joy Reid and Mehdi Hasan haven’t exactly been bastions of journalistic neutrality. Often, their shows feel more like progressive pep rallies than serious news analysis.
The network’s embrace of former Republican operatives has also raised eyebrows. Nicolle Wallace, a former George W. Bush communications director, is now a darling of the left. Steve Schmidt, once a senior advisor to John McCain, became a regular contributor. MSNBC isn’t just hiring journalists — it’s hiring people who used to craft political messaging. That says a lot about its mission.
Then there’s Psaki. The former Biden White House Press Secretary now hosts a primetime show on the network. For some critics of the network, they would argue that that wouldn’t fly on most serious news outlets. MSNBC doesn’t seem to care, which has to feel somewhat liberating. If anything, the network sees Psaki as a smart, strategic voice. Viewers don’t mind, either. While her ratings have been a work in progress, her segments often go viral. That’s the world MSNBC lives in now — the social media world.
A single viral clip can drive more engagement than a whole hour of programming. MSNBC understands this better than most. The network’s shows are built for shareability. Whether it’s Ari Melber quoting rap lyrics or Maddow delivering a 12-minute monologue, the content is tailor-made for X, TikTok, and YouTube. That’s smart — and it’s working.
But while the network thrives online, it’s also vulnerable.
There’s a ceiling to being “the liberal network.” MSNBC’s ratings have sagged in recent months. The channel often trails CNN in the 25-54 demo. That’s despite CNN’s well-documented internal chaos and ratings issues. The reality is the network struggles to expand beyond its base. It also features the oldest average cable news audience between it, CNN, and Fox News. Meanwhile, Moderates and independents don’t see it as trustworthy. Conservatives, unsurprisingly, never even consider it.
When Fox News stumbles — like after Tucker Carlson’s firing — MSNBC doesn’t pick up those viewers. They go to Newsmax. Or OAN. That tells you all you need to know. While the network may have loyalty, it doesn’t have broad appeal. And in cable news, that matters.
Still, it’s hard to deny MSNBC’s cultural impact.
The channel has helped redefine political media. It’s made liberal opinion journalism mainstream. Its top personalities are now household names. MSNBC doesn’t just reflect its audience. For better or worse, it shapes it. And in a polarized country, that influence is still powerful.
Cable news won’t be around forever. Streaming is already changing the game. But for now, MSNBC remains one of the three pillars of the format. It’s not the biggest, and it’s certainly not the most balanced. But it’s focused, disciplined, and speaks directly to its audience’s worldview.
At 29, MSNBC knows exactly what it is. And in today’s fractured media landscape, that alone is a major accomplishment.
Love it or loathe it, MSNBC has earned its place.
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Live sports rights are good for business. Everyone knows that’s true in television. From NHL to NFL, if you work in radio, you have no doubt heard many times that it’s true in our business too.
People don’t want to miss the biggest sporting events, but they also have lives. It’s why Westwood One is locked in on things like the Super Bowl and the Final Four, and why ESPN Radio is married to the NBA Finals, the World Series, and the College Football Playoff. They know they are products that bring stations real value.
On the local level, the story can be a little bit different. Sure, plenty of teams have broadcasts they put real effort into, but others, not so much. The St. Louis Blues recently joined that latter class. The franchise is doing away with its dedicated radio broadcast and will instead simulcast a single call on FanDuel Sports Network for viewers and on 101 ESPN for listeners.
Who Cares About ‘Good’?
St. Louis is not alone. Hockey fans in Buffalo, Carolina, Dallas, and Los Angeles have to deal with it too. It sucks, because radio and TV play-by-play are very different things.
Have all of the decision-makers in this process lost sight of that?
Chris Kerber and Joey Vitale will simulcast games on @FanDuelSN_MW and @101espn; John Kelly departs amid strategic realignment and expanded pre and postgame coverage. #stlblues
Hundreds of thousands or even millions of dollars can go into a radio broadcast crew each year. You need competent people everywhere, and that costs money. The best play-by-play talent can be derailed by a bad producer, and a great producer can only do so much to elevate mediocrity on the mic.
But what if the goal is not to elevate mediocrity? What if a sports team or an owner doesn’t care about quality? It’s not far-fetched. So many businesses are invested in delivering products that aren’t good, but simply good enough.
If journalism from iconic brands like Sports Illustrated can be reduced to AI-generated articles, and NBC can build its entire NBA product around “hey, remember this song everyone likes!”, why shouldn’t a team have one broadcast that airs on both TV and radio?
It’s Everyone Else’s Problem
A team owner that looks at each of their two distinct broadcasts as afterthoughts won’t think twice about cutting one. The owners aren’t the ones that feel the consequences of a decision like this after all.
Fan outrage and advertiser dissatisfaction aren’t ideal, but they are problems for broadcasters and radio stations. Do you know how many layers an angry fan has to go through before the team owner even hears what they have to say?
How can a single broadcaster serve two very different masters? Kevin Harlan, one of the best to ever do this, has made the point before that TV play-by-play and radio play-by-play are two very different jobs. Listeners need the broadcaster to do so much more than viewers do.
A radio broadcast can sound too busy on television. A television broadcast doesn’t provide a full picture of the action to radio listeners. The broadcaster charged with being the voice of a simulcast is going to have to pick one group to focus on and prepare himself to hear from the other group about how much he sucks.
Radio stations also bear the brunt of the decision. They are the ones that are going to be stuck airing an inferior product. Maybe their advertisers are just happy to be associated with the team, but if the team’s diehard fans hate the broadcast, there will be plenty of advertisers that reevaluate the decision to be associated with it.
What Should Radio Do?
So many radio stations, be they locally owned or part of major conglomerates, are terrified of spending money, but they might have to in this case. In fact, I would bet that a market manager or a programmer that thinks about the payout over the price tag would see that there may be a benefit to grabbing this proverbial bull by the horns.
Most teams own their play-by-play rights outright. The stations they are on pay for the privilege of airing the games. What makes more sense when a team eliminates a dedicated radio broadcast—being bullied into accepting an inferior product or being willing to take on some risk to protect your investment?
I don’t own any of the radio stations that carry play-by-play simulcasts of the Blues, Hurricanes, Kings, Sabres, or Stars. If I did, I could wave a magic wand and solve this problem. I’m also not behind closed doors at Audacy, Cumulus Media, Capitol Broadcasting, Hubbard Radio, or iHeartMedia (the companies that do own those stations). I don’t know how they have reacted to being told that what is on their airwaves now is going to be worse. What I do know is, through no fault of their or the broadcasters’ own, the product is SO MUCH worse.
Could those companies turn back the clock a bit and find a compromise between the old days of a radio station owning broadcasts entirely and the present, when they have to take whatever scraps the teams are willing to give them? Take on some risk and invest in a dedicated radio broadcast.
Find a way to make it a win/win for the radio station and the team. If a valuable piece of your on-air product is in jeopardy, the least you can do is not let it go down without a fight. Every flagship station and affiliate is a partner of the team. Show the team what kind of impact that play-by-play has on its partners. Show them what it means to the audience and invest in making it work.
We hear all the time about sports teams and owners that don’t care about their fans. Usually, these accusations hit their peak when something drastic happens, like the A’s announcing a move to a city that doesn’t seem to want them. But teams show that same contempt in smaller ways all the time.
There are plenty that fans can do nothing about. Their complaints are shouted into a void. But when it comes to team broadcasts, the team doesn’t create that product alone.
Radio does a good job of advocating for itself with bloviating studies about how many people are listening and how we were the first social media—real smelling-our-own-farts nonsense. What if stations and media companies took action beyond just issuing press releases and recording promos this time?
Maybe your gut is to say that everything I have written has no impact, because it isn’t my money and that radio is lucky this is only happening in the NHL and hasn’t spread to Major League Baseball. I get that, but if local play-by-play is important to your business, you owe it to all your employees, advertisers, and listeners to make every effort to put out a product that matters and represents your brand well.
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102.7 KIIS-FM in Los Angeles is one of the most iconic radio stations in the country. Its call letters have long stood for star power, cultural relevance, and Top 40 domination. Leading that legacy is Beata Murphy, the station’s Program Director and CHR Brand Coordinator for iHeartMedia.
102.7 KISS-FM is today’s featured brand for 20 Brands in 20 Days. We started with how it feels for Murphy to lead 102.7 KISS-FM.
“A dream come true and amazing. To be able to follow John Ivy, to see where he’s brought the legendary KISS. Then, to be able to put my spin on it and build on top of what was already here. It’s truly just a dream come true.”
Continuing KIIS-FM’s legacy means more than just curating hits. It’s about cultivating culture, both on and off the air. At the core of her programming philosophy is a deep commitment to fostering a team culture that feels more like a family.
“I feel that if there are big family elements, we move as a family. We do everything together, and we support each other like a family. And we have fun like a family, that automatically is going to translate across the airwaves and our socials.”
“That’s probably the biggest thing that we work on, just really making sure that we keep that kind of family mentality here at KISS. In addition to that, we have gone full speed into the new things that radio has and the fun things that we have at our disposal now that we didn’t have years ago.
“Including social, having KISS on an app and being on your phone and on your TV and on Alexa. Having that technology that we didn’t have before, and leaning into that technology. Being able to continue to build our brand, not just over the airwaves, but everywhere that the technology allows us to be.”
Ryan Seacrest
Any conversation about KIIS-FM inevitably leads to Ryan Seacrest, whose morning show is a staple for millions of Americans. For Murphy, working with Seacrest has been nothing short of inspiring.
“I’ve never seen somebody work so hard and so dedicated to his craft. He’s constantly engaged. He loves radio. He loves the staff. And he’s got great ideas. He comes up with some really fun things. And the big thing is just his passion for radio. He’s got a passion for radio that I don’t think I’ve ever seen before.”
“He’s got a passion for the team. He loves the team. If anyone thinks it’s Ryan Seacrest, he’s unavailable or he’s a star and he comes in and he does what he does, wrong. He loves the team.”
“When we do team outings, we’ll do stuff to go to him. We did something fun where the team went out to Idol. Then he took everybody to dinner afterwards. He’s such a wonderful human and just such a hard worker. It’s really special.”
Murphy agrees that Top 40 is cyclical and KISS-FM has to be agile. So, where is it musically now?
“I see it getting out of the Top 40 phase. It goes Rhythmic into a Top 40 like straight pop. Or it goes straight pop into a Rhythmic into an Alternative. I feel that we’re sliding into that kind of Alternative, which will then go into Hot AC.”
“I think the next one is going to be dance. You’re going to start seeing dance music again, but that’s still a little way out. Dance will be the next one after alt.”
Ratings and Promotion
In a city as vast and diverse as Los Angeles, being on the streets remains a vital strategy—albeit a strategic one.
“That is something that radio has that the streaming services don’t have. In addition to having the live on-air personalities, and having that friend in the car with you. You can touch us, you can see us, when we’re out on the streets.”
“Our jobs are on socials, really trying to engage with the audience. That is an important touch piece. We need to remind people that radio is still here, just like every other medium. Radio’s not dead.”
“There is a pie, and as new things come up, the pie doesn’t get bigger. Everybody’s slice of the pie gets a little bit smaller. There are a lot of things for people to look at and get absorbed in. Their attention span is so short. Part of being out on the street is a way to remind people that, hey, we’re still here. And don’t forget how much fun we are and how much you love us.”
As the industry grapples with shifts like the three-minute qualifier in Nielsen ratings, Murphy admits the full impact is still TBD.
“It’s still too early. I mean, overall, the cume has gone up. They’re like, ‘Oh, CHR is going to see this massive increase’. I haven’t seen anything other than the number of people that we’re getting credit for now. But as far as share goes, nothing’s really changed yet. It still could, and we have adjusted our strategy slightly when it comes to clocks and how we’re teasing things based around that three-minute qualifier.”
I asked if I could toss out the names of a couple of KISS-FM legends and get her reaction.
Rick Dees
“Legend. When I became the Program Director of KISS, he sent me a handwritten note congratulating me on the job. I’ve never met the man, and one of the first things I got was a note congratulating me on the job. Which was really special.”
Ellen K
“Amazing. I love her more than anything. I knew Ellen before I came back to radio, when I worked as a national for Jive Records. I’d come in and bring artists into KISS all the time. So, I got to meet Ellen and Ryan before I even got to KISS. She’s just such a wonderful, caring person.”
Wrapping Up
When it comes to difficult moments—like wildfires or political unrest—Murphy believes in striking the right balance between information and escapism.
“When it comes to politics, I stay away from it. Every piece of research that comes out, people do not want politics from me. I think the radio is supposed to be their escape. They come to us to laugh, smile, and just escape.”
“On the other hand, when it comes to something that affects our community, like the fires, there are so many people affected. Fourteen thousand homes, over 100,000 people are displaced, and the city is burning. That’s where radio comes in. And we’re here for the community because that’s all the community is talking about.”
As she looks ahead, Murphy is focused on nurturing talent, evolving the brand, and staying nimble in an ever-shifting media landscape. She remains energized by the opportunity to lead KIIS-FM into its next chapter while honoring everything that’s come before.
“I want to shout out my amazing KISS staff. I have the best staff, hands down, of any radio station. I’ll put up any one of my jocks against any other jock around this country. I don’t care the format. They are the most supportive, amazing group of people. I couldn’t do what I do without them.
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Last week, this column covered the concept of response rates for Nielsen radio ratings and how to understand them in the context of the diary service. Since July is a great time for radio people to be reading about basic survey concepts (is there ever an ideal time?), let’s move on to PPM which uses an entirely different metric to calculate response rate.
As anyone in a PPM market knows, the service utilizes a panel to create estimates. Unlike the “one and done” diary service (which is not truly “one and done” but we’ll save that for another time), panelists can stay in the PPM panel for up to two years (technically 26 months, but why quibble?). While I haven’t seen an updated figure in recent years, the average tenure of a panelist used to be just short of a year.
Measuring response rate in a panel is not a straightforward exercise, but then again, the diary service response rate is convoluted, too. PPM adds even more twists.
First, Nielsen must identify potential panelist homes. The sample frame is the same as the diary service, that is, all addresses in the metro minus dorms, military barracks, prisons, businesses, etc. Phone numbers are added to the addresses when available.
Once Nielsen has all the information, they pull a “pool” of potential PPM households and from this pool, households are selected for something called “sample prep”. This is where it gets interesting, which depends greatly upon your personal definition of “interesting”.
In the sample prep process, Nielsen Audio designates each household as either a “Basic” or an “Alternate”. Getting Basics into the sample is the key for reported response rates.
For example, if the vendor can add a phone number to an address in the PPM sample frame, a Nielsen interviewer will call and ask for demographic information. If the Basic household refuses, that household stays in the sample pool. If an Alternative refuses, see you later. By the way, Houston is handled differently from the other 47 PPM markets.
When PPM measurement began nearly 20 years ago, Arbitron reported a true response rate with no Basics or Alternates. Although I may be off just a bit as I was heavily involved in the diary service at the time, the response rate metric was essentially the average daily intab divided by all the estimated people that Arbitron had tried to reach to be in the panel. The problem was that response rate was a very important statistic for the Media Rating Council, and single-digit response rates didn’t help in the quest for MRC accreditation for the PPM service.
There was another option which Nielsen TV had used for some time, a concept called the Sample Performance Indicator. The MRC had blessed SPI and the suggestion was made that perhaps Arbitron should consider using SPI instead of a true response rate.
Here’s how SPI works at a very high level: Take the number of persons from Basic households and divide by the number of persons in the panel for that month. If it were only that simple.
There are many ways you can make your head spin, some of which are illegal. If you’d like to try a legal one, go to a Nielsen E-book and pick a PPM market. Click on “Market Summary”, then “Population Estimates & Sample Summary” and then “Sample Summary”. Now scroll down to the heading that says, “Sample Performance Indicator Results”. The first metric, the “Unified Persons Sample Performance Indicator” is straightforward. You’ll see an average daily and total monthly Unified Persons SPI (in bold print). It may be in single digits or somewhere in the teens.
Further down the page is where the head-spinning part resides. In the spirit of disclosure and probably MRC requirements, you will find all the components that comprise the SPI metric. Unfortunately, you probably won’t understand how Nielsen calculated these numbers even if you read all 31 footnotes (hello Baskin-Robbins!) that explain how Nielsen arrives at the results in the tables. And don’t ask your Nielsen rep because he or she won’t know either. For that matter, I probably can’t explain all of them, but I’d get close.
I’ll return to the same question as last week, which is “Does this matter?”. Yes and no. No, if the panelists generally behave like the people who suggested various anatomical places that the Nielsen interviewer could put a meter. If the panelists have very different behaviors than the refuseniks, then yes.
Survey response rates in today’s world are lousy. It’s not just Nielsen, but everyone, public and private. Government agencies spend billions on surveys and get better response rates than the private sector due to more time and money, but even those surveys are having problems.
For example, the Consumer Expenditure personal interview survey conducted by the US Bureau of Labor Statistics had a response rate of 67.9% in April 2015. In March 2025, the response rate was 39.1%. That’s a decline of 42% over ten years.
Nielsen could probably do a bit better on the SPI, but the cost and effort wouldn’t be worth it. Most of us can offer ideas of better ways for Nielsen to invest in the audio service (or not invest and lower their pricing). But now you have an understanding of response rate and what it means. Let’s meet again next week.
In an age of shrinking attention spans and countless entertainment options, the most successful radio personalities understand one crucial rule: get to the point, and get there fast!
You still need to be human and emote, which is something AI has not yet mastered. You can bet they are working on that! Talent who can instantly connect with listeners is far more likely to build loyalty, drive ratings, and create memorable moments that stand out in a crowded landscape.
We all know too well that radio is no longer the only game in town. Podcasts, streaming, social media, and short-form video all compete for the same ears and eyes. Plus, all of those platforms have one thing in common: they respect time.
If content doesn’t grab attention immediately, it gets skipped. Radio is no different. A meandering break, slow setup, or overlong anecdote can mean the difference between a listener leaning in or tuning out. Great on-air breaks begin with a hook.
That’s the headline, the tease, the grabber that says, “This is going to be worth your time.” It could be as simple as: “She found something shocking in her husband’s glove compartment…” or “Here’s the artist whose biggest hit almost didn’t get released…” A compelling setup sparks curiosity, and curiosity is sticky.
The first seven to ten seconds of any talk break are critical. That’s where listeners subconsciously decide: Do I keep listening or bail? If the opening is vague or padded with filler, the moment is lost.
Yes, station business, such as the call letters and on-air positioning, should still happen, but it certainly does not need to happen to open or close every break. Listeners aren’t rude, they’re just busy.
TikTok and YouTube have trained their attention to expect something fast and meaningful. Talent must meet that expectation by respecting the listener’s time. But this isn’t just about speed. It’s about clarity.
Rambling can signal uncertainty. While clear, focused delivery shows confidence and purpose. Listeners pick up on that. A tight, well-structured break that starts with a compelling point communicates that the host knows where they’re going and that it’s worth the ride.
It’s not enough to just “be entertaining.” Talent must position the entertainment upfront, so people know what’s coming and why they should care. That’s especially important in formats such as Hot AC, Top 40, Country, and Classic Hits, where listeners often tune in for music but will stay for personalities who feel relatable and worth their time.
I would say the average listener gives you about 15 seconds before deciding whether to stay with your station. That’s the length of a short tease or the start of a break. Talent who understand this can weaponize brevity.
They know or learn to frontload their content, whether it’s a personal story, a trending topic, or a funny observation. It also makes content more shareable. A strong opening makes clips more likely to be replayed, posted, or turned into social content.
Quick, impactful breaks are also easier for PDs and imaging teams to package and promote. In other words, a good beginning not only holds the moment but multiplies its value. There’s still room for nuance and storytelling—but only after the audience is locked in.
You don’t start a movie with ten minutes of backstory. You drop the viewer into the action. Then you explain the details. Radio breaks should follow the same structure: hook first, details second, wrap clean.
So, Hot AC programmers and managers, be sure your teams know that talent who want to stand out in 2025 must think like great headline writers and compelling storytellers. Every word counts.
Every second matters. When you start strong, you earn the right to keep going. When you don’t, you’ve lost them—and they might not come back.
In the battle for attention, brevity is power. Say it quickly, say it clearly, and say it in a way that makes the listener want more. Getting to the point isn’t just good practice, it’s survival!
Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox
It’s hard to believe that it was one year ago today that I sat down at this very desk and we launched Music Radio coverage for Barrett Media. I came on board after being Country Format Editor for All Access until it shut down in August of 2023.
I learned pretty quickly that Barrett Media’s vision for Music Radio differed from the model of All Access, but there was a void to be filled, just from a slightly different perspective.
Covering music radio—across formats as varied as Top 40, Country, Rock, Urban, AC, Classic Rock and everything in between—requires a different set of muscles than what Barrett Media has exercised in the world of sports and news talk radio.
Music radio isn’t just about playlists or ratings; it’s about culture, lifestyle, nostalgia, and personality. It’s about the listener’s emotional connection to sound and the people behind the mic.
I’m proud of the features we have presented. 20 Brands in 20 Days, Meet The Music Directors, Consultants Corner, and others set a good tone for the first year.
Right now, columnists Mike Stern, Kevin Robinson, Ken Johnson, Keith Cunningham, and Jim Ryan are providing some of the most insightful expertise you will get anywhere.
Charese Fruge brings a deep programming background that allows her to relate to and profile some of the industry’s biggest.
Since there was no clear blueprint, we experimented with some success, and some things were a learning curve. But Jason Barrett isn’t a businessman who will just follow a path already traveled. I have admired his willingness to take some chances. Again, some that paid dividends and some that didn’t.
With each piece, we continue to dial in on what the industry is looking for.
We’ve learned that there is an appetite for content that goes deeper than press releases and surface-level stories. Programmers, talent, and executives want to be understood, not just quoted. They want to talk about creativity, risk, strategy, and even failure.
Do our readers prefer deep dives or quick hits? Do they want to hear from air talent or executives? Are they more interested in ratings analysis or behind-the-scenes stories about format flips, promotional strategies, and local engagement?
The truth is there’s no one-size-fits-all answer. But we’ve made it a priority to listen to our audience, learn from their feedback, and evolve accordingly.
I am very appreciative of the Program Directors, air talent, consultants and many in the C-suite who are willing to take my call and contribute, be it with a feature or just providing an opinion or idea to a column.
We want to celebrate the personalities driving music radio forward, but we won’t shy away from asking tough questions either. We want to be a platform where the industry can not only see itself, but also be challenged, encouraged, and inspired.
As we embark on our second trip around the sun, we invite your feedback and thoughts on what you’d like to see more of or what we’re missing.
Barrett Media is committed to making year two even more focused, engaging, and essential for professionals across the format spectrum.
Music Radio matters. We are here with you.
You have our sincere thanks for reading Barrett Media.
Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox
There was a time—not that long ago—when every radio brand had a look and sound. Disc Jockeys were recruited for their special sound, and we surrounded the shows with fantastic imaging.
Talent wore sharp suits, wild scarves, even goofy hats. Not just for fun, but because it meant something. When you saw the air talent team, you knew them and their brand.
They had style. And they had a presence. They had an identity.
Think in the Way-Back machine:
• WMCA Good Guys – Harry Harrison was The Morning Mayor of New York City
• Boss Radio Jocks – The Real Don Steele and his kinetic character energy
• WLS Swinging Seven – Led by former colleague, The Wild I-talian Dick Biondi
You could spot the entire crew in a group photo and instantly connect them to the station.
Now, when you travel our country, Adult Contemporary brands typically present a homogenized, safe and unremarkable presentation.
Also, today, the visual branding identity has faded. Talent consistently appearing at events wearing station-branded apparel, holding a logo mic flag, or standing in front of a banner is increasingly rare.
The professional group photo for your lobby or social platforms? Virtually nonexistent.
Just because you’re in an Adult Contemporary format does not mean your brand needs to be placed in the background.
• Custom imaging and jingles – every talent needs custom branding
These elements work together to build powerful brand recognition.
Even with limited funds, you can build your own Complete Package:
• Think The WNBA – sell logos and sponsorships on your gear to help fund the uniform. The same goes for your station vehicles
• Like Netflix’s Tudum or Intel’s Bong, create a signature sound that plants in every piece of imaging. After a few seasons, you won’t need audio to accompany your sound. Simply the sound alone. SiriusXM’s Radio Margaritaville does this with a steel Drum piece
• No need for a prep service when you have virtually everything at your Internet Keyboard. Sites like Refdesk.com and Songfacts.com will serve your talent well
• Meet with your talent individually each week. Not simply an aircheck session, but for a personal connection. Have audio at the ready for examples. No audio logger? Get your brand to stream at DAR.FM and record audio logs for free
• If custom jingles are not in the budget, at a minimum, have your voice talent record custom lines for talent in each daypart. Listeners mostly cannot recite talent outside of your Morning Show
Before we size up and critique our competition, evaluate how we’re showing up visually to the listener.
• How is our talent representing our brand at events and appearances, and do they have the tools to make the look pop?
• When people see us, do they know from the uniform look who we are?
The human brain has around seven slots of short-term memory at any given time. Your brain also has about 22 seconds before it decides to burn the short-term memory slots in a new brain file or discards those slots.
We need to create brand awareness that grabs a slot in that short-term memory with our sound AND our look.
Some say it’s a pipe dream in 2025. However, in the years to come, we dream of a drive through our country and hearing local radio stations filled with passion, true communication and vibrant life – the reason we were drawn to this business!
The real reason we are losing audience to other audio media is that our content between the records is remedial, station branding sound is not unique, we’re invisible on the street, and coaching is nearly non-existent.
We can’t afford to be forgettable.
Let’s focus on being remarkable.
Barrett Media produces daily content on the music, news, and sports media industries. Stay updated by signing up for our newsletters to receive the latest information directly in your inbox.
