The war of words between Candace Owens and Erika Kirk has continued, with Owens responding to comments made by the Turning Point USA CEO on Fox News.
On Wednesday, Kirk made thinly veiled references to Candace Owens, by sharing that she was fine with people being critical of her, until the criticisms involved family members and Turning Point USA employees.
“Here’s my breaking point on that: Come after me, call me names — I don’t care,” Kirk told Harris Faulkner. “Call me what you want, go down that rabbit hole — whatever. But when you go after my family, my Turning Point USA family, my Charlie Kirk Show family, when you go after the people that I love, and you’re making hundreds and thousands of dollars every single episode going after the people that I love because somehow they’re in on this? No.”
In her podcast on Wednesday afternoon, Candace Owens argued that Erika Kirk had what she labeled as “Meghan Markle Syndrome”, stating that the definition was “you want privacy when you want it, but you want publicity whenever you want it. And that just doesn’t work. It doesn’t work that way,” she reiterated.
Owens argued that it’s difficult to take calls for privacy from Erika Kirk after the way she has responded publicly to the death of her husband.
“This is the same person who had someone record her over Charlie Kirk’s casket,” said Owens. “That was not our business, truly, and I can say that decision was made by her. There is some credence to the idea that everybody grieves differently. I wouldn’t record myself over a casket, ever. Some people may want to have that memory. But the decision to publish that — her crying over her husband’s casket and to publish his body on Instagram — was a decision made by Erica.
“That is an incredibly personal and incredibly intimate moment — an intimate moment that she invited the public into,” continued Owens. “There was no reason to do that outside of wanting to share something very private with the public. And now, fast-forward three months, and it’s ‘Why does the public want to know where he’s buried?’ It doesn’t work like that. You have to make a decision: I want this always to be private, or I want this always to be public.”
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Pablo Torre and Nick Wright have had a mostly joking disagreement about whether or not Wright could conduct the type of investigative journalism Torre does on his popular podcast, Pablo Torre Finds Out.
That came to a head on Wednesday.
While appearing on The Dan Le Batard Show with Stugotz, Torre argued that there’s a difference in what he does every day and what Wright does on his FS1 show. But Wright, in Torre’s view, attempts to pass things off that aren’t as true as he’d like them to be.
“Nick is one of the best at making it seem like things that are not facts are facts,” said Torre. “It’s really a skill, and it’s happened so many times in this conversation.”
“Do you take issue with me using the turn of phrase ‘the fact of the matter’?” Wright questioned.
“No, no, no,” Torre responded. “You said ‘the fact that I could do (investigative journalism),” Torre said.
That led Wright to admit that he had missued the word “fact” throughout their conversation.
“Just drop in opinion for where I say fact,” said Wright. “Because you’re right. I use the word liberally in conversation, not as if we were in court. Because I am not the style of investigative journalist you are. I have said that repeatedly. You are 100% correct that when I say ‘the fact that I could’ is being fast and loose with that specific word. The belief that I could is what it is.”
“You’re nuancing in such a way that gives you the ability to have your cake and eat it too, which is fine,” Torre retorted. “What I’m saying is that you keep on saying that you could do it. I think that is factually incorrect based on the available evidence.”
Wright then pointed to a situation where — he believes — his reporting on the situation regarding former NFL running back Adrian Peterson and allegations of child abuse led to the reconvening of a grand jury as evidence that he could do the same thing Torre does, but that he chooses not to.
However, following the episode, Torre responded on social media, questioning Wright’s narrative.
“Quick (question regarding) your Adrian Peterson story on 9/12/14, which you said ‘led to them impaneling a new grand jury and his season-long suspension.’ I’m just curious how that’s possible if the grand jury already voted to indict Peterson on 9/11?”
Wright responded by saying “the short version is that during the course of my investigation the authorities got wind that the initial grand jury proceedings and alleged corruption at hand were going to be disclosed, and impaneled another grand jury in an attempt (in my opinion) to cover their asses.”
Torre then refuted Wright’s claim by showing a statement from the assistant district attorney in the case, who shared that only one grand jury had reviewed Peterson’s case, directly contradicting Wright’s comments.
Wright added in his message to Torre that he believes “the reaction to our discussion yesterday likely wounded you, and I’m sorry you’re struggling with that. But attempting to imply I was lying about an 11-year-old story because you’re embarrassed you asserted something that was categorically false & got called out isn’t the route to go here. I’d suggest you chalk yesterday up to the cost of doing business & just keep it moving.”
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
With Elle Duncan set to depart ESPN, that’s leading to an expansion for Christine Williamson.
Duncan’s contract with ESPN is ending, and she’ll move to Netflix to head up the network’s sports programming, which was announced earlier this fall.
However, Christine Williamson is set to take over Duncan’s position on the 6 PM ET SportsCenter, as well as her role as host of the women’s basketball version of College GameDay. Williamson — who originally joined ESPN in 2019 — will begin hosting SportsCenter alongside Kevin Negandhi in January.
“Christine has earned these high-profile roles on two of our most important content areas – SportsCenter and women’s college basketball,” said ESPN President of Content Burke Magnus. “Christine connects with fans through her energy, personality and knowledge of sports, and she’s proven throughout her ESPN career that she can anchor coverage at the highest level — both on SportsCenter and on the road with GameDay.”
Currently, Williamson works as an anchor of the Noon and 2 PM ET editions of SportsCenter. Duncan’s final SportsCenter broadcast is reportedly set for Tuesday, December 16th.
Malika Andrews is reportedly set to replace Duncan on ESPN’s WNBA host.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
The NFL has shared that the Week 17 game pitting the Green Bay Packers against the Baltimore Ravens will be broadcast on Peacock.
The game will be held on Saturday, December 27th at 8 PM ET. Noah Eagle and Todd Blackledge will make up the broadcast booth, while Kathryn Tappen will serve as the sideline reporter. Additionally, former Super Bowl referee Terry McAulay will be the rules analyst for the broadcast.
The Peacock exclusive game will be the fourth-ever NFL broadcast on the streaming platform. Other broadcasts include the first-ever regular-season game held in Brazil in 2024, the Bills-Chargers regular-season game in December 2023, and the Dolphins-Chiefs Wild Card Game.
Previously, that first-ever playoff game exclusively streamed on Peacock became the largest ever-streamed event in U.S. history, totalling more than 32 million viewers.
The game will be broadcast in local markets on WBAL in Baltimore, WGBA in Green Bay and WTMJ in Milwaukee.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Longtime talk radio host David Gold has died at the age of 75.
Gold rose to prominence in the 1970s, becoming one of the first recognizable conservative talk radio hosts. During his career, he worked in markets like Boston, Denver, Tampa, Miami, and Dallas.
Perhaps most notably, Gold worked alongside his friend Kevin McCarthy in Dallas at KLIF 570. He worked in the Dallas market for 26 years.
Later, he spent time working at KSFO in San Francisco, spending a decade working in the market. In total, David Gold spent more than 40 years in the news/talk format.
Former colleague Mark Davis, who now helms mornings at AM 660 The Answer in Dallas, remembered his friend in a post on social media Thursday morning.
“A giant loss in the talk radio family,” said Davis. “My friend, David Gold, a trailblazer in our format, a conservative warrior without peer, and the north star of the art form on KLIF when I arrived back in my native Texas in 1994. David has passed at 75. Rest in peace, my brother.”
A giant loss in the talk radio family. My friend David Gold, a trailblazer in our format, a conservative warrior without peer, and the north star of the art form on KLIF when I arrived back in my native Texas in 1994. David has passed at 75. Rest in peace, my brother. pic.twitter.com/fOgOwlkmrV
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Warner Bros. Discovery is going to need the approval of the Trump administration to push through a sale to either Netflix or Paramount Skydance in the coming months. President Donald Trump says he believes it’s “imperative” that CNN be sold as part of the deal.
While speaking with reporters on Wednesday, Trump shared that he viewed the bidders of WBD as “some good companies”, before stating that any sale, in his view, must include CNN moving to a new organization.
“I think the people that have run CNN for the last, long period of time are a disgrace,” Trump said. “I think it’s imperative that CNN be sold, because you certainly wouldn’t want to put people, just leave those people with some money, good money, and CNN, so that they can spend even more money spreading poison, because it’s lies. It’s a disgrace.
“So I wouldn’t want to see the same company end up with CNN, the same company with money, because right now, they don’t have too much money,” continued Trump. “But they have value, I guess, based on the bids … But I think CNN should be sold because I think the people that are running CNN right now … are either corrupt or incompetent.”
Under the proposed terms of a deal with Netflix, CNN and the other cable networks owned by Warner Bros. Discovery would be spun off into a separate entity, while streaming giant would take ownership of the WBD TV studio, HBO, and the HBO Max streaming platform.
Paramount Skydance’s bid, meanwhile, would include ownership of CNN.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
The 2025 F1 season was the final campaign broadcast by ESPN, before the series moves its U.S. rights to Apple TV. It ended on a high note.
The average race audience for the 24-race season ended with 1.3 million viewers. That figure eclipsed the previous high of 1.21 million set on ESPN in 2022.
The season-ending race from Abu Dhabi earned an average of 1.5 million viewers, peaking at 1.8 million, according to figures from Nielsen.
In total, more than 16 events set viewership records in 2025. 21 of the 24 races held in 2025 saw an uptick in overall viewers. Only races held in Miami, Singapore, and Brazil did not see increases.
Over the eight-year run of ESPN broadcasting F1 events, viewership increased from an average of 554,000 to 1.3 million. That marks a 135% increase in total viewers.
Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.
Creating conferences has been an annual focus for Barrett Media since 2017. What started with a small group of sports programmers inside the Audacy Chicago building in 2018 has grown to a theater-style show uniting hundreds of professionals each year across the media industry. I’m proud of our growth but I never want the show to get stale. It has to remain fresh, exciting, informative, and important enough to attend. Otherwise, there’s no reason to do it.
Remaining interesting though requires rethinking the content, retooling sessions, changing speakers, and sometimes even changing the venue. We’ve run two shows per year since 2023 and making them work takes a lot of time and effort. After our 2025 events in Chicago and NYC and our 10-year anniversary party (Barrett Bash), I knew we needed to start writing a new chapter.
So that’s what we’re going to do in 2026.
Our Purpose and Goal
The brand’s mission is to educate, celebrate, unite, and challenge the media business. We try to put those words into action when we gather the industry at our shows. We are not backed by a large corporation so everything we do for this event is out of our own pocket. Fortunately, we have great support from partners who share our love and passion for the media industry. Without them, doing this would be difficult. We are grateful for every company who takes the ride with us.
Though media folks compete, they also have a lot in common. Access to information and accomplished people helps others learn, connect, and hopefully become more successful. In some cases, it even opens doors to career advancement. If in the process we can reinforce Barrett Media’s value and make a positive impression on partners and attendees, then we’ve done our job.
Most professionals go to events hoping to see their friends, business partners, and others they wish to build relationships with. But no company in 2025-2026 is footing the bill for you to hang out at the bar or mingle in the hallway. There has to be a professional benefit for attending. That means we have to deliver exceptional speakers, quality information and attractive presentations. It’s why I obsess over every detail from what appears on the screen to what’s displayed in the hallway. Perfection is an unrealistic expectation, but I don’t have it in me to not continue chasing it.
Freshening Up
As we look ahead to 2026, we’re making some changes to keep things fresh. First, the 2026 show will specifically focus on issues of importance to the Audio industry. We have tried for years to tackle everything for everyone and because the multiplatform universe has exploded, it’s made it easier to cross over into other lanes. I love that and plan to do more of it, but we must be laser focused on what matters to most inside the room. We’ve had internal conversations about creating future events around video, social, sales, etc., and that may be something we explore down the line. If we do, those will have a different focus. Until then, I want to super-serve those connected and committed to the Audio business. Podcasting is very much a part of that, just like radio.
Since 2023 we have run two separate conferences, one for sports media, and one for news media. We’ve had great attendance on Day-1, but Day-2 tends to get lighter. To expect executives, programmers, and other media pros to spend two-full days in a theater when business issues linger is a tall order. So rather than stretch out the show and ask folks to do what’s difficult, we’re going to prioritize the best stuff and focus on delivering one great day of content for each area of the industry.
Mark Your Calendars – June 30-July 2, 2026
After months of meetings, site visits, and weighing our options, I’m excited to announce the Barrett Media Audio Summit is coming to the SVA Theatre on West 23rd Street in New York City. The dates of the show are Tuesday June 30th, Wednesday July 1st, and Thursday July 2nd. Information about the conference will be updated on BarrettMedia.com. Just click the Summit tab up top. We’ve shut down the individual conference websites since it’s much easier to keep everything in one place, our main website.
Next year’s show will start with a full-day of news media sessions followed by an After Party on Tuesday June 30th. Wednesday July 1st will feature a full-day of sports media, followed by an After Party. We then cap it off on Thursday July 2nd with our very first Music Radio conference, and another After Party. This makes it easier for format pros to get in and out. If they prefer to stick around for multiple days to learn new information and meet new people, that’s an option too.
We know that 2025 has been an up and down year for many financially. We want it to be an easy decision to join us at our show. So to help, we’re lowering ticket prices to make attending more affordable. Folks will be able to buy a 1-Day Pass for $199.99, a 2-Day Pass for $324.99 or a 3-Day Pass for $399.99. Tickets go on-sale Monday December 15th. A special holiday sale will run December 15th thru December 31st. Tickets during those 16 days will cost $174.99, $299.99, and $374.99. This is the lowest they will be leading up to the conference.
I want to thank Premiere Networks for continuing to support our conferences. With music now included, awards ceremonies are planned for all three-days. They will close out each day of the show. Be advised that the Barrett Media Audio Summit is strictly for media industry professionals. The general public is not eligible to attend. However, we do welcome students to join us who are looking to work in the broadcasting business.
What Comes Next
A newsletter email blast will go out today to our database at 12pm ET. It will contain information about our speaker submission process. Though you may send in a request to speak, please understand that we can not accommodate all requests. It may also take a bit for us to follow up. We’re not going to rush decisions.
Each day’s event will feature 10 sessions and the Premiere Networks Awards ceremony. Those interested in exploring sponsorship opportunities can reach Stephanie Eads at Stephanie@BarrettMedia.com. She can share what’s available and pass along our conference sponsorship deck.
If you haven’t attended one of our shows before, I hope you’ll consider it in 2026. I’d encourage you to ask someone else who has attended. I think most would tell you it’s worth your time. You can also visit the Barrett Media YouTube page to see video recaps of prior shows.
Putting these events together is hard. There’s a reason shows like this were less available when I was coming up. It’s a year-long process that involves scouting venues and hotels, selling sponsorships, booking speakers, finding and editing content, and creating presentations. We have to do that while simultaneously consulting, making sales, publishing daily content and newsletters, creating Top 20’s, hiring staff, managing payroll and collections, social media scheduling, building digital shows, etc..
How we manage to pull it off I don’t know, but we love this business. It’s why we sacrifice so much to do this. Showcasing the industry in strong fashion while tackling important issues is needed. We all want to be part of a business that continues to prosper. The best way to do that is by examining issues and identifying solutions with the best and brightest.
The focus shifts now to researching the right topics, securing partnerships, and lining up a stage full of talented and informed speakers. We’re excited to unite the industry again, and welcome our music radio friends to the show. The only bad part, now I have to get to work!
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.
Gary Bryan has spent more than two decades waking up Los Angeles with humor, heart, and an unmistakable pulse on the city he serves. But his path to K-EARTH 101 began long before he opened the mic in Southern California. “I came to K-EARTH in June of 2002,” he says. “Jay Coffey and Pat Duffy hired me, and Kevin Weatherly, who was Senior VP of Programming, had a big hand in it too.” A month later, Lisa Stanley joined him on the air, and the instant chemistry between the two became the foundation of one of L.A.’s most enduring morning shows.
Bryan’s résumé includes impressive major-market stops, KJR-FM in Seattle, KFRC in San Francisco, Z100 in New York. And Lisa brought her own pedigree after delivering entertainment news for Rick Dees on KIIS. “Lisa knows everybody in Hollywood,” Bryan says with a laugh. “Her dad wrote for Gilligan’s Island, so showbiz is in her DNA.”
Broadcasting in Los Angeles means playing on one of the biggest stages in American media, a market Bryan calls “the ADD Capital of the World.” With 15 million people in range of the K-EARTH signal, there’s always competition for attention. “From beaches to mountains to theme parks, you name it, there’s always something happening,” he says. “You have to fight for every second of focus. But the audience? They’re incredible. L.A. listeners are warm, funny, and family-oriented. Especially our Latino listeners. They’ll embrace you in a heartbeat—and once they do, they’re with you.”
Orange County also makes up a huge portion of their audience, bringing in a predominantly white and Asian listenership. “It’s a beautiful mix,” Bryan says. “If you can speak to everyone here, you’re doing something right.”
The show’s dynamic has remained one of its greatest strengths. “I’m the driver of the bus,” Bryan says, “and Lisa brings the attitude and everything happening in the entertainment world. She’s fearless.” Their producer, Brandon Castillo, adds the spark that keeps the energy bright. “Brandon’s in the studio with us all morning, tossing in punchlines and hitting drops,” Bryan says. “He keeps things loose.” Meanwhile, Crystal Zahler handles the phones and jumps on-air when the moment calls for it. “Crystal’s one of those people listeners just instantly like,” he adds.
The audience connection goes well beyond entertainment. K-EARTH has become a true community partner, something Bryan takes seriously. “We’re a working-class station,” he says. “The music is comfort food, but the companionship, that’s what keeps people coming back.” Every year, the team puts that mission into action with two major charity events: the July 4th USO Salute to the Troops at The Laugh Factory and the heart-tugging Knock Knock It’s Christmas holiday surprise for a deserving family. “Broadcasting live from a family’s home as we surprise them with gifts, a Christmas tree, Santa—it’s emotional,” Bryan says. “You hear the reaction in real time. It’s why we do radio.”
Prep for the show comes from both experience and curiosity. “Brandon and I write Radio Genius Show Prep together, it’s syndicated across the country,” Bryan explains. “We dig through dozens of sites, social media, and audio clips, and I write punchlines for everything. It’s a great workout for the brain.” Lisa, he says, “lives in the TMZ world 24/7,” ensuring the show is always plugged into the latest in entertainment and celebrity culture.
When major news hits, the show doesn’t hesitate to shift gears. During the Southern California wildfires, Bryan leaned on the strength of the entire local media ecosystem. “We pulled KNX reporters on the air live. They were fantastic,” he says. Later, the team hosted a Valentine’s Day event in Altadena called “Buy a Firefighter Breakfast,” drawing crowds of first responders and even musicians Mandy Moore’s husband and brother-in-law, who performed “I Love L.A.” live for the firefighters. “That was one of those moments where you go, ‘Yeah, this is why local radio matters.’”
Ask Bryan what radio is missing right now, and he doesn’t hesitate. “There aren’t enough crazy people in the business anymore,” he says, shaking his head. “Consolidation has made companies scared to take risks. Everyone’s so financially fragile that one wrong move can sink a whole company.” Still, he believes innovation is possible. “Radio has always thrived on new versions of old ideas. The ’80s were just a reinvention of the ’60s. The question is—what’s the next version? What can we do right now that no one’s thought of yet?”
Social media has become a surprising bright spot for the show, particularly considering K-EARTH’s adult audience. Bryan says the key is showing up consistently and tapping into moments that genuinely matter to listeners. “We had a ton of fun during the Dodgers postseason run. Brandon and I dyed our beards blue,” he laughs. “That blew up online. People want to feel like they’re part of the joke.”
As for attracting younger listeners, Bryan believes the industry needs to rethink its assumptions. “Young people want positivity,” he says. “Hope, energy, a future. But a lot of programmers are in their 40s, 50s, 60s, and they forget what that feels like. Don’t be afraid to program for young ears. If you build something fun and hopeful, they’ll come.”
Looking ahead, the show is gearing up for its annual Knock Knock It’s Christmas campaign, one of the most emotional parts of the year. “It brings the whole city together,” Bryan says. “We’re just lucky to be the ones who get to tell the story.”
You can follow Gary on X at @GaryBryanShow and on Instagram at @GaryBryan101.
Very often, the best lessons come from situations that didn’t work out exactly as planned. Twenty years ago, at Clear Channel (now iHeart), we had the vision that talent was the key to radio being a meaningful companion. Elvis Duran was crushing it in New York and being spread to Miami and other markets. Delilah was on nearly all of the company’s AC stations every night. Sean Compton was handling talent acquisition (he is now one of the most powerful people in television) and wanted a household name for female targeted morning radio. The decision was made to sign Whoopi Goldberg.
We launched the show with great fanfare and even better affiliates, New York, Chicago, San Francisco, Philadelphia and more. After all, Whoopi was an EGOT (Emmy, Granny, Oscar, Tony) winner. Who wouldn’t want an award-winning household name in morning drive on their station?
Whoopi had a storied stage and screen career. And while she earned an Oscar nomination and Golden Globe win for her role in the 1985 film Color Purple, most of the radio audience was expecting the Whoopi that made them laugh in Sister Act. However, her vision was a show more in line with what you see her doing today on The View. I can tell you from sitting in the studio most mornings, the audience wasn’t expecting that.
Oh, there were funny moments, and some great interviews and amazing stories. However, as we have come to learn, in a 9-minute listening occasion you have to be true to your brand. The number of listener calls that began “You’re so funny, Sister Act was my favorite movie of all time…” made me weary. Whoopi may have been the most talented person that I have ever worked with, but that was not enough to give her the ratings success that was expected.
No matter what kind of show you are doing, you need to ask “what is the listener expectation?”, and “what is MY brand?” In the same manner you would not expect Stephen A. Smith to host love songs, Charles Barkley to do Shakespeare or Delilah to emulate a shock jock, all 3 of those personalities have a brand, or expectation when you tune in to watch or listen to them.
So what’s your brand? What’s the basic plot of your show? If you are part of an ensemble, what role do you play? Once you’ve successfully answered those questions, you need to run all content through that filter. The guidelines are clear if you’re the “funny” show, or the “feel good” show. Things like politics are totally off the table.
On the other hand, shows like “The Breakfast Club” thrive on political issues and strong opinions. The show that put the great WFAN on the map was Mike and the Mad Dog. It just wasn’t the same after Chris went to SiriusXM. Mike screaming at listeners wasn’t as much fun as his rants at Chris who would scream back. The conflict between them drove New Yorkers to tune in. They knew their brand, their roles and fulfilled listener expectations every day.
I can’t tell you how many shows I’ve worked with where the personalities are unsure of their role, and what their on-air relationship should be with the other players on the show. Look at any long running successful TV show, the audience knows how each character will react to situations. Think about it, from “I Love Lucy” to “Everyone Loves Raymond”, the conflict between characters created great comedy. If you’re part of an ensemble show, or overseeing one, use this time at the end of the year to make sure each character is clearly defined and that they know their roles.
Sometimes as people work together over a period of time they adopt some of the same opinions and mannerisms of the others in the studio. Re-evaluation is needed. Did the young single change after marriage and parenthood and lose their edge? Shows like Elvis Duran and Dave Ryan have changed co-hosts over the years to stay relevant which keeps them winning. The great Kidd Kraddick was obsessed with show evolution to the point that when he passed away the show endured for years at the top of the ratings in Dallas.
Radio shows are just on the air for 20 hours a week. If your brand is strong though, you will stay on your listeners minds even when you’re not broadcasting. I assure you, people think about Howard Stern, Charlemagne Tha God, Delilah and Elvis Duran beyond their show times.
So…what’s YOUR brand?
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.
