Country Radio Hall of Famer Rowdy Yates has announced plans for a litany of special Christmas programming for country radio stations.
Yates will produce “A Really Rowdy Christmas”, as well as “A Lone Star Christmas” as long-form programming options for stations around the country.
Additionally, he’ll produce “Ridin’ With Rowdy” for any daypart over the holiday period.
Furthermore, for the first time, he’ll produce “Rowdy on the Rise”, his daily morning show, as a free program for stations seeking content in morning drive as hosts take time off around the nation.
“All with no contracts, no barter, no fee, no joke,” said Yates.
To learn more about the content and availability, reach out to Yates by clicking here.
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ESPN has unveiled its commentator pairings for the expanded 2025–26 College Football Playoff, outlining a broadcast plan that spans four networks and features many of the company’s most prominent voices. The announcement comes on the heels of Sunday’s reveal of the 12 teams advancing into the second year of the new CFP format.
The Playoff begins Friday, December 19, when No. 9 Alabama visits No. 8 Oklahoma at 8 p.m. ET on ABC and ESPN. First-round action continues Saturday, December 20, with a tripleheader across multiple platforms. ABC and ESPN will open the day at noon with No. 10 Miami traveling to No. 7 Texas A&M.
Meanwhile, TNT Sports will carry two games as No. 11 Tulane faces No. 6 Ole Miss at 3:30 p.m. and No. 12 James Madison meets No. 5 Oregon at 7:30 p.m. Viewers will also be able to stream ESPN’s coverage on the ESPN App, while TNT’s matchups will simulcast on truTV and HBO Max. Despite the involvement of outside partners, ESPN will supply commentary crews for every game of the postseason.
After the first round, ESPN networks will air all four Quarterfinals, both Semifinals and the 2026 College Football Playoff National Championship. This season’s title game is set for Monday, January 19, at Hard Rock Stadium in Miami.
Chris Fowler, Kirk Herbstreit and Holly Rowe will anchor ESPN’s lead team, calling one television broadcast in each round. Their coverage begins Friday night in Norman alongside Laura Rutledge. Additionally, Molly McGrath will rejoin the trio for the national championship broadcast presented by AT&T. The Miami title game will mark the 12th CFP championship assignment for Fowler and Herbstreit, who have been the voice of the event since its debut in 2015.
Sean McDonough, Greg McElroy and McGrath will handle Saturday’s noon broadcast featuring Miami and Texas A&M. Taylor McGregor will join the crew on the sidelines. The trio is also slated to work one Quarterfinal and one Semifinal, giving ESPN a steady second team throughout the Playoff.
TNT’s first-round telecasts will also feature familiar ESPN voices.
Joe Tessitore, Jesse Palmer and Katie George — joined by reporter Quint Kessenich — will call one matchup. Bob Wischusen, Louis Riddick and Kris Budden will handle the other, with Stormy Buonantony contributing on the sidelines. ESPN’s presence on the TNT games underscores the network’s commitment to maintaining consistent production quality across the expanded field.
Looking ahead to the Quarterfinals, Tessitore, Palmer and George will return to call one of the matchups. Dave Pasch, Dusty Dvoracek and McGregor will work the other, rounding out a deep roster of broadcast teams assigned to navigate the largest Playoff field in college football history.
As the college football playoff begins, ESPN’s talent lineup reflects both continuity and scale. The network is betting that familiar voices paired with broader distribution will help deliver the most ambitious College Football Playoff to date.
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Bari Weiss is the unexpected face of CBS News this week, whether the network planned it that way or not. The company is set to host a primetime town hall with Erika Kirk on Saturday evening. It should be a notable moment for CBS, but the headline is less about the guest and more about who will hold the microphone.
Will Margaret Brennan lead the conversation? No. Norah O’Donnell? No, even though CBS said she would take on these types of assignments after stepping away from the evening newscast. What about a seasoned hand from 60 Minutes like Lesley Stahl, Bill Whitaker, or Scott Pelley? No, no, and no.
It’s Bari Weiss. The new Editor-in-Chief of CBS News, hired earlier this year after Paramount Skydance acquired her outlet, The Free Press. She now sits atop the editorial structure of one of the most recognizable names in American journalism. Now she’s going to be out front on a major primetime special. That’s a remarkable shift in both newsroom culture and audience expectation.
Why is Weiss leading the discussion and not one of the other established voices inside the building? Your guess is as good as mine. CBS has not offered much explanation, which leaves plenty of room for speculation. That’s never ideal for a news division that has spent years trying to reestablish trust with audiences who have far more options and far less patience.
Truthfully, the simplest explanation is comfort. Erika Kirk likely feels more at ease with Weiss than with the traditional faces of the network. Weiss built her brand on direct, candid conversations with high-profile guests. She doesn’t carry the institutional weight that often makes national television interviews feel stiff or adversarial. If Kirk wanted an environment that felt familiar, Weiss was the obvious choice.
But if that’s the reason, CBS News has a bigger problem. A major interview subject opting out of the network’s veteran journalists suggests those journalists no longer hold the sway they once did, both with the audience and also with the subjects they cover. It also suggests that CBS may be more focused on placating talent than showcasing its internal strengths. That’s not a formula for long-term success.
Weiss brings a clear editorial vision to CBS. She has strong opinions about transparency, free expression, and institutional accountability. Those qualities helped her build an audience and launch The Free Press. She has every right to shape the direction of the network in her new role. The question is whether she also wants to serve as the face of the organization. The announcement that she will lead this weekend’s conversation raises the possibility that she does.
That puts CBS in a strange place. Newsroom leaders typically operate behind the scenes. They shape coverage, not headlines. When they step in front of the camera, it usually signals crisis, transition, or extraordinary circumstance. Here, though, the network is promoting a primetime special anchored by its new boss. That creates a dynamic CBS hasn’t really seen before. News executives and editors are a lot like referees in sports: you should really only know their names when they screw up. But Bari Weiss obviously wants to turn over a new leaf in that regard.
This weekend’s event will give us our first look at how Weiss plans to balance her editorial authority with her growing on-air presence. If she performs well and draws an audience, CBS may lean further into this model. If the response is mixed, the network will have to decide whether the risk is worth the reward.
We’ll learn more as the calendar turns to 2026. CBS has a new leader, a new direction, and now a new on-air identity. Weiss is stepping into a role that no one at the network appeared ready for her to take. Whether she becomes the defining voice of CBS News will depend on how she handles moments like this weekend’s town hall. And whether the audience buys what she’s selling.
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Yesterday, the clicker got a NFL-style workout. FOX Sports and CBS Sports both extended invitations to New York Giants quarterbacks Jameis Winston and Russell Wilson, respectively, to join their network pre-game programming. I can only imagine the workout the remote got in households full of G-Men fans. Then again, it hasn’t been the greatest season of all time for Giants nation.
There’s nothing unusual about current players using their bye week to stop by network pre-game shows as guest analysts. Oftentimes, their perspective aligns more closely with the modern game than someone who retired more than a decade ago. For players, it’s a chance to spotlight the franchise they represent on a national stage and audition for whatever may come next.
It’s a win-win-win for the player, the network, and the franchise. But are Russell Wilson and Jameis Winston truly network-level material for NFL pre-game shows? And if networks are thinking long-term, which current players sit atop the Mount Rushmore of future television targets?
Looking across the NFL media landscape, FOX, CBS, NBC, ESPN, Prime Video, and Netflix are all searching for new blood. Terry Bradshaw and Howie Long have been FOX staples since 1994. Bill Cowher joined CBS 18 years ago. NBC and Prime have the freshest on-air faces, while Netflix is still borrowing talent from other networks to build its NFL presence.
With Netflix forecasting even more NFL business, the platform will eventually need to construct its own roster of talent. FOX needs a facelift. CBS could use a jolt of energy. And with rights fees climbing—and the NFL hinting it may open negotiations earlier than expected—the race to sign the next wave of media stars may become as competitive as free agency itself.
Travis Kelce
The biggest and most obvious target is Travis Kelce. His on-field resume speaks for itself, and in a few years the country will be glued to his Hall of Fame speech. Which, of course, will be followed by an acoustic performance of “Wood” in Canton, OH.
Kelce checks every box. His charisma jumps off the screen on New Heights. His football IQ runs deep after years with Andy Reid and Patrick Mahomes. He’s got the rings, the personality, the presence—and the girl. He’s the kind of star who draws in everyone from diehard football fans to casual viewers. And let’s be honest: there’s built-in intrigue in whether Taylor Swift will stand by her man as he travels each week through the fall and winter.
Matthew Stafford
Next up is Matthew Stafford. The 17-year veteran spent 12 grueling seasons with the Detroit Lions before rewriting his narrative with a Super Bowl title in Los Angeles. The resume is airtight: former No. 1 pick, Super Bowl champion, and top ten all-time in passing yards and touchdowns. His demeanor reflects grit, longevity, and leadership—traits networks love.
This year, Stafford stepped into Bill Belichick’s role on the Let’s Go! podcast, working alongside Tom Brady and Jim Gray. It’s been a proving ground and a chance to refine his media presence beyond the narrow demands of being an NFL quarterback. With his contract ending after next season, it’s a safe bet networks are already circling.
Cam Jordan
On the defensive side of the ball, Cam Jordan is a star waiting for the right platform. The longtime Saints defensive end has been building his media résumé for years. From more than a decade of Super Bowl Radio Row appearances to his Off The Edge with Cam Jordan podcast through iHeartMedia and the NFL Podcast Network, Jordan has quietly become one of the league’s most polished personalities.
The NFL resume is there: an eight-time Pro Bowler who ranks top twenty all-time in sacks. Despite being drafted two years after the Saints won their first and only Super Bowl title, Jordan has been a force on the defensive side of New Orleans’ attack while Drew Brees received most of the accolades. He’s missed only one start in his fifteen-year career and will no doubt be wearing a gold jacket once he retires.
Jordan brings his laugh and a passion for the fun of the game. Most defensive ends, while serious on the field, are playful and outgoing off it. His work on Off The Edge has been impressive. He takes advantage of working alongside the NFL’s podcast arm, which helps with access, coaching, and positioning for something larger with the league.
Aaron Rodgers
And then there’s Aaron Rodgers.
Say what you want, but he commands attention. He’s controversial, intelligent, and endlessly fascinating. His weekly appearances on The Pat McAfee Show broke norms and expanded his reach to an entirely new audience. Agree or disagree with his off-field stances, that’s not what networks are evaluating.
Does Aaron Rodgers know football? Yes. Does Aaron Rodgers command the attention of NFL fans? Oh hell yeah.
If a network is looking for someone with a touch of unpredictability—and maybe a hint of ayahuasca—Rodgers is the guy. His résumé guarantees a red-carpet entrance to Canton. He has a Super Bowl ring, rivalries across the NFC North, and even Jets fans divided and engaged. He’s plugged in, thoughtful, and unafraid. Does he court controversy? Sure. But so does Richard Sherman with his stances on Black Lives Matter.
Put Rodgers on a network set and every segment becomes must-watch TV. A former quarterback with no filter would inject new life into any pre-game show.
Test runs are cute, and Russ cooked while Jameis was Jameis. But networks don’t need “cute”—they need NFL stars. They need energy, unpredictability, authority, and charisma, all wrapped in someone who can make fans lean forward on a Sunday morning.
Wilson and Winston earned a headline, but Kelce, Stafford, Jordan, and Rodgers would make a show. And as the NFL’s media footprint expands, the networks bold enough to chase real personalities instead of safe placeholders will own the next era of pre-game television.
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To say Candace Owens has courted controversy over her career would be an understatement. Owens has never been one to shy away from controversial topics or sharing a controversial opinion. She’s been comfortable in that realm.
In recent months, however, especially following the death of Charlie Kirk, Owens has turned as conspiratorial as she has controversial. She’s been sued by French President Emmanuel Macron after continually asserting that his wife was born a man. She’s shared statements about the assassination of her longtime friend Charlie Kirk. And she’s asserted that the Turning Point USA founder was “betrayed” by the organization in his final days.
The accusations have raised Owens’ already high profile to even greater heights. She has more than 5.6 million subscribers on YouTube, with her live streams routinely receiving more than 2 million views.
But those accusations have also come at a cost. Many on the right have attempted to distance themselves from Candace Owens, especially after her accusations about Charlie Kirk and Turning Point USA have continued to come out.
That led to some questions: How would news/talk radio hosts — who have a history in dealing with controversial and sometimes conspiratorial topics — handle the situation, and what would they do next if their opinions alienated them from others on the right side of the political aisle? Barrett Media spoke to two news/talk radio hosts — one nationally syndicated host and one medium market morning host — about the topic. These hosts were granted anonymity to speak more freely on the subject.
The nationally syndicated news/talk radio host said there’s a distinct difference from those who have made a career on the airwaves talking about controversial topics, and what Owens has done in recent months.
“Here’s the thing that separates (radio hosts) from someone like Candace Owens: a seasoned host knows the difference between stirring the pot and burning the whole kitchen down,” they said. “They frame the issue, they challenge the premise, and then keep the conversation tethered to reality — even if they have to drag it there. They’ll say, ‘Candace is playing to her audience, just like everyone with a microphone does. The question is why it resonates.’
“And when the heat turns on them? They don’t apologize unless they mean it, and they definitely don’t retreat. They double-check their facts, clarify their point, and walk listeners through their reasoning step by step. Talk show hosts live in controversy, but they don’t let it own them. They use it to push the conversation somewhere useful.”
That host added that the job doesn’t always allow for everyone in the space to play nice with one another.
“Look, if you’re in this business and you’re worried about losing friends or allies on the conservative side because of your opinions, you’re in the wrong line of work,” they said. “This isn’t summer camp. You don’t get a badge for fitting in. You get a platform because you’re willing to say what you believe, even when it doesn’t make the group chat happy.
Sure, you’ll lose some allies, but if the price of keeping them is saying things you don’t believe, that’s not friendship, and it’s definitely not conservatism,” they concluded. A great host understands that credibility isn’t built by always agreeing. It comes from standing your ground when the tribe disagrees. The movement doesn’t get stronger when everyone thinks the same. It gets stronger when people are willing to challenge it from the inside.”
The morning show host said that the line between controversy and conspiracies isn’t all that fine.
“Talking about controversial topics is part of the job,” they shared. “They’re real issues affecting real people. Somebody has to walk listeners through them honestly. But conspiracy theories? That’s a whole different universe. Controversy is talking about facts people disagree on. Conspiracies are rooted in guesses people want to believe. A responsible host knows the line.
“My credibility is the only real currency I have. If I trade it for clicks or cheap gains, I’m done. I’ll talk about the messy stuff, but I’m not going to torch my reputation by promoting something that falls apart the moment you ask for evidence. Controversy helps create the conversation but conspiracy theories just poison it.”
That host continued by noting that with the rise of digital media and social media, it’s now much more difficult to lob out conspiracy theories because the information is so readily available and able to be shared, rather than just spoken about on talk radio.
“People are so skeptical today,” they shared. “I used to think the audience could see through the bull(expletive). But now I’m not so sure. You can make anything say anything you want it to, and it isn’t going to get any easier with AI. With all the world’s information at your fingertips, it’s never been harder to find out what’s true and what isn’t.
“You really have to know your stuff — and most importantly be right — before you talk about it on the air,” they said. “Because you don’t want to be sued. You can’t say someone called for an assassination of your friend, or that a billion-dollar deal went up in smoke, and then the person who axed it was murdered unless you’re certain you’ve got it right. Saying it is controversial. Saying you’ve got evidence of it that you can’t share yet? That’s a conspiracy theory. And if you’re sharing conspiracy theories about Area 51, aliens, or the moon landing, that’s different than a widow.”
The morning show host concluded by noting that they often are upfront with their superiors when they’re about to delve into topics that could be viewed as controversial or draw heat for the show and brand. They believed it was important to be upfront and honest with their bosses, adding that the trust built by sharing what they’re about to do has usually garnered goodwill.
“Anytime I tell my bosses I’m diving into a controversial topic, it’s not because I’m trying to give them heartburn. I don’t show up every day to talk about gas prices,” they said with a chuckle. “I’m here to take the stories people are arguing about at the table and bring them onto the air.
“I tell management ahead of time for one reason: transparency,” they continued, noting that they’re informing their bosses, rather than asking for permission to talk about certain subjects. “They deserve to know what’s coming, both because they need to understand why I think it matters and so they’re not blindsided should pushback come. If they trust that I’ve done the homework, that I’m not just lighting the match for the spectacle, then I know they’ll stand behind me. It’s why I’m behind a microphone. If you want safe, predictable radio, there are plenty of playlists for that.”
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.
Off-Mic is a special 5-part series, created by Corey Dylan for Barrett Media. This series examines how to adjust if faced with unexpected job loss. Corey becomes a radio free agent later this month and is exploring her new way forward. Interested groups are encouraged to reach out by email at Contact@CoreyDylan.com. To submit ideas to Barrett Media for future considerations, please contact Jason@BarrettMedia.com. We can’t promise we will publish what’s turned in but we do review all submissions.
When you work in radio long enough, you learn to expect change. After all, you haven’t “made it” in radio until you’ve been RIF’d, right? But you’re never really prepared for the day it’s your turn.
Even as I write this, my contract is ending December 31st. I’m grateful for the chance to prepare, but it’s still overwhelming because change is hard especially if it’s not on your terms.
If you don’t have a heads up, it typically happens fast. The email comes, or your boss asks you to step into their office after your show. Suddenly, you’re surrendering your card-key, company laptop, and erased from the station website with the boss wishing you well in your “future endeavors.” Or it can be a long time coming, with the quiet awareness that the business isn’t growing or healthy. Either way, the ground shifting beneath you can be destabilizing.
Layoffs are now a familiar part of the radio landscape. And for every public announcement, there are dozens of quiet departures. But knowing that doesn’t make it easier.
I know. I’ve been there. A few times. My longest stretch “on the beach” was for more than two-and-a-half years.
1. File for Unemployment Benefits Immediately
Filing as soon as you are eligible will help you avoid any potential delay in payments. Wait to file until your last official day of work but file ASAP because benefits typically have a one-week waiting period and they are not retroactive. Information about how to file can be found here.
2. Give Yourself Permission to Feel the Loss
Layoffs are not just professional events, they are emotional ones. You’re losing rhythm, purpose, and a work-family. Let yourself grieve.
Author Laura Brown calls losing a job “a violent act against your sense of self.” But she also reminds us: it’s often the beginning of the truest kind of reinvention. In my experience, that’s true.
I spoke with Julian Nieh after his exit in Las Vegas. He told me he took himself out for ice-cream and a breather after getting the news, and kept things quiet for a few weeks to process what happened before posting on social media. He also reached out to friends and colleagues for direction.
Many people reached out to him. One of them is a friend and fellow sneakerhead who runs his own branding and marketing company. He suggested Julian start a fresh social account and post updates doing mundane things to build a following because you never know where that daily conversation with your audience will take you. Chances are it will lead to new opportunities. Remember: The algorithm feeds on consistency so you may want to start fresh too if your current platform is a hodgepodge to focus on one passion.
The first few days, resist the urge to jump straight into job boards or panic networking. Sit still. Feel. Don’t react in the moment. Then remember that it’s just a moment in your life and career and it’s not a reflection of your worth. It’s a pivot in your story.
3. Protect Yourself Financially and Legally
Ask your boss for a letter of recommendation and your personnel file. Review your severance agreement carefully and, if possible, have an employment attorney look it over. File for unemployment immediately. Depending on your state and the state of our political climate, these things can sometimes take days or weeks.
If you get a lump-sum payout, don’t treat it as “found money.” Create a bare-bones budget. Stretch your runway because you never know how long you’re going to be on the tarmac. And remember a large lump sum will be treated as income in the year that you received it at tax time.
“Protect your confidence. It’s the first thing a layoff tries to take and the last thing you should give away.”
4. Control Your Narrative Early
In radio, your absence is public. People will notice. Listeners will reach out and want to hear your side or an explanation. Take a day or two to collect yourself, then post your own statement: short, gracious, and forward-looking. Even if you don’t plan to work in radio again, your social media is a billboard for the world to see (or someone to grab a screenshot of). No future employer wants to see you bashing a former employer.
You could write something like:
“Like many in the media industry, I was recently part of a round of layoffs. While it’s never easy to say goodbye to a team and work I care about, I’m choosing to see this as a chance to reset, learn, and grow.”
Own your narrative before rumors fill the gap.
5. Reconnect With Your Support System
Layoffs are isolating. Reach out to former coworkers, mentors, clients, and peers – not to ask for a job, but to reconnect. Accept the offers for a free lunch! Some of my best opportunities started with coffee conversations during downtime. People will want to help so let them by connecting you to people in their circle that you can cultivate new relationships with.
6. Shift From Panic to Purpose
Your skills still have value – storytelling, producing, connecting, selling. These are transferable across so many industries. There are amazing jobs out there in all sectors that pay well. The layoff didn’t erase your talent; it just redirected it.
7. Set One Small Goal Every Day
Make your bed. Update a demo reel. Send one networking email. Journal. Volunteer. Do something. Momentum cures inertia.
8. The Rule of 55: The Safety Net You Didn’t Know You Had
This doesn’t apply to GenZ or Millennials, but “the Rule of 55” is an IRS provision that allows you to withdraw from your most recent 401(k) or 403(b) without the 10% early withdrawal penalty if you leave your job in the calendar year that you turn 55 or later (age 50 for public safety employees). It is not available for IRAs or 401(k)s from prior employers unless the funds have been rolled into the current account. The distribution is still subject to regular income tax.
Not all employers allow for this early distribution. It’s optional for them to offer this benefit, despite the universal IRS provision. Talk to your benefits administrator and the people managing your company plan.
Takeaway
It can be difficult to stay optimistic or positive especially when your termination is fresh. I get it. I had been unemployed from radio for about a year or so when I ran into a woman who comes from a famous pro-wrestling family but worked in radio briefly. I’m sure my attitude was less than optimistic about my situation and I’ll never forget what she said to me because I now live by this mantra. “People don’t buy negativity. They buy enthusiasm.” Are you selling something anyone wants to buy?
You’re not broken. You’re in transition. Radio is so unpredictable, but your talent and skills are portable and transferable. The same storytelling, branding, and communication skills that made you successful on-air can make you indispensable in digital media, voiceover, podcasting, non-profits, government and beyond.
The creator economy alone is projected to surpass $400 billion by 2027.It thrives on the exact skills radio people already possess. You can – and will – make a great living using your voice and creativity in new ways. There are opportunities out there. Some of them you just have to create for yourself.
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.
Cory Marks is unique and unboxed. I described Cory as a guitar slinging, storytelling, hockey playing, plane flying, Canadian Rush geek (like me) and that didn’t even scratch the surface.
Cory’s 2020 release “Who I Am”, introduced him to the rock audience. The first single 2019’s “Outlaws and Outsiders” paired him with Ivan Moody (Five Finger Death Punch), country superstar Travis Tritt, and former Motley Crue guitarist Mick Mars. It was a chart topper on both country and rock radio.
In 2024 his single “Make My Country Rock” from his album “Sorry For Nothing” teamed him again with Travis and Mick. They added a vocal pairing with Godsmak’s Sully Erna and ended in the top 20 at rock radio.
Thankfully for music, Corey is back with “Sorry For Nothing Volume 2”. The record is a blast of 10 new songs drenched in storytelling, soaring guitars and honky tonk vibes.
I spoke with Cory on my Carr Stereo Podcast the day before he left to open up for “Sevendust” on their “Southside Doublewide acoustic Tour”. We chatted about his new release, the pressure of having to “choose a lane”, Tik Tok stars, hitting the heavy with Producer Kevin Churko and his Canadian “obsession” with Bryan Adams!
Hanging with Cory is like reconnecting with a long lost High School pal. He’s the ultimate buddy to talk music with.
TC: You have a great country sensibility with your songwriting and storytelling. You’ve also got a heaviness to the music that I think comes from your roots, and working with Producer Kevin Churko (Five Finger Death Punch, In this Moment, Papa Roach, Disturbed, Ozzy Osbourne) who’s a heavy guy and really knows how to bring that out. He’s been a real crafter of your sound.
Do you feel the pressure to be one or the other? I think that this collection is a perfect blend of everything that you are.
CM: Well, I thank you for that. I think there needs to be more people like you in the music industry, because I’ve been saying this a lot in my interviews. In the word “artist”, there’s a three-letter word that really pops out that makes that whole thing, and that’s ART. I think it’s very important. I find that’s missing a lot, especially in the country community. It just feels like a lot of it sounds the same. You’ve got to stick to a lane, and look, act, and sound a certain way.
Therefore, I find in music in general, lately, it’s missing some magic. I’m hoping I’m bringing that magic with the great stuff that I grew up on from Merle Haggard to Buck Owens, Waylon Jennings to Eric Church, Brad Paisley, Bryan Adams, and then into the Rush, Deep Purple, Grand Funk, and then heavier with Pantera, Lamb of God, Arch Enemy, and Metallica.
I just love music, melody, and rhythm. It’s got to have a beat and a feeling. I think once I started songwriting, you mentioned Kevin Churko, we’ve talked about this before. I remember listening to the Ozzy Osbourne record “Black Rain” that Kevin produced and thought “Imagine a country record with more of a country vibe in the storytelling and vocals, but with this kind of production musically and melody like Black Rain?”. Fast forward 10 years and I’m working with Kevin.
TC: Did you tell him that?
CM: Yeah, I told him. He knows all that. He has been a great crafter. I mean, my country music was Merle Haggard. Kevin’s is Steve Earle. That was his country side, right? But we’re both Ozzy, and also huge Mutt Lange fans, which is ACDC, Def Leppard, Shania Twain, so there you have it.
I think most importantly, and back to your question of “do I feel pressured”? No. I’m writing songs and music for me that I love, the way I want to do it and how I want to do it. I think it’s great or hope it’s great and just hope that when people hear it they go, ‘yeah, I like this sh—t’. That’s all.
There’s never really any pressure for me because I don’t want to put anything out there that’s half-assed or isn’t me, or like, “it’s not that good, but let’s get it out”. I love both of these records, Sorry For Nothing Volume 1 and 2. I love all these tracks and a lot of people ask me, “what’s your favorite song to play or what’s your favorite song on the record”?
They all have their own stories. They come from different places, whether that’s a party anthem, heartbreak or whether that’s something like “Tough To Be Strong”. I wrote that one with Kevin and Kane Churko at Mount Charleston back in 2021. It’s about a dear friend of mine that kind of got lost down the wrong path. With everything going on these days with mental health and addiction, “Tough To Be Strong” is literally Cory looking over that friend and knowing that there’s way more people than me dealing with that. Some are worse off.
It’s for anyone struggling with that kind of thing. I talked to Kevin just last week and he said ”that’s such a f’ing good song”. I’m so proud of that song. That’s like our Bryan Adams song.
TC: I know you LOVE Bryan. He’s your guy. You are the Bryan Adams kid who grew up with his music. Bryan’s a great storyteller. It’s always six degrees of Bryan Adams with you!
CM: His songs are 40-45 years old and they’re still amazing. He is singing better than ever. We just saw him in Toronto a month ago. I was supposed to be in Nashville with hopes of meeting him and doing some writing just last week.
My old manager, Louis O’Reilly, sent me a picture in Nashville. He’s with Bryan Adams backstage and I’m like, ‘you son of a bitch’. Louis says “You have met him right?”? I’m like, “Never. I haven’t met him yet”. I said to meet him is one thing, and I would be forever grateful for that opportunity, but if he was ever down to write and maybe work together at some point on that front, I mean, that would be, wow. I’d just love to learn from him and be in a room during that process. That would just be so great.
TC: You talk about being an artist and sequencing your record, having it be who you are and telling your story. I’m hearing this from so many artists. It’s so hard to stay true to yourself and so important, more now than ever, because you’ve got labels and managers looking for those next TikTok stars, which is mind blowing to me. I had an artist on with me a couple of weeks ago who I think is just so spectacular. He said, off the record, “they don’t know what to do with me because I’m not on TikTok every day getting 20 million TikTok views. That’s just not who I am. I’m a guitar player, songwriter, and a storyteller.”
CM: I’m glad you brought that up. There’s more days that I’m almost discouraged than proud of some of the work I’ve done because, you know, that’s just it. “Did you send them the song”? “Yeah, but they’re asking about your TikTok.” It’s like, are we allowed to swear on here, by the way?
TC: Yup.
CM: I’m an f’ing artist, a musician, and a songwriter. We’re in the music business, not the TikTok business.
There’s so much stupid stuff on there where people get their big break. Good for them. Honestly, I’m thrilled for anyone who gets to live out the dream and have the success that they work for and dream for, whether that’s TikTok or not. However, I know that this might sound old school, and personally no disrespect to anyone but it shows when you see them live.
Some of these cats have never played bars. The first time they ever played a festival or tour, they’re in arenas or playing the biggest stages, and let’s say something goes wrong, it’s panic mode because they’ve never experienced no monitors. They’ve never experienced their mics dead. “What do I do now”? It’s like, “run over to your bass player’s mic and just use it till it’s figured out”. Hell, there’s still times where you still play in rooms that hold 400 and have 60 people in there. It’s just part of the experience.
Final Words
There is nothing like the live experience. Absolutely nothing. And it doesn’t sound “old school “because Cory Marks isn’t old. He’s in his thirties. If Cory comes your way in 2026 go see him! He has a killer band and on his current tour it’s just him and a guitar opening for Sevendust, telling his stories.
Oh and here’s hoping for that collab he’s been waiting for since he’s nine years old with his musical hero Bryan Adams. I’m waiting for it too. Come on Bryan!
Check out my full interview with Cory Marks on my Carr Stereo podcast on YouTube, my website or wherever you get your podcasts.
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.
It’s that time. I’m writing this on the day that Spotify dropped Wrapped, their annual social media-friendly bombshell. At the same time, it seems like many articles in my various newsfeeds are starting to look back across 2025 or ahead to 2026. While I’m not promising I won’t write anything that looks backward, I prefer to look forward for radio and hopefully help you prepare for 2026.
This week’s inspiration comes from a Brandwatch report called Digital Marketing Trends 2026, which details a number of things that relate directly to our world of Classic Rock and Hits radio. You can see the whole report here, but four particular concepts jumped out at me.
Nostalgia Marketing
Using nostalgia in marketing isn’t new, but it is as strong, if not stronger, than ever. Times are turbulent and people are craving the comfort that comes with things they remember fondly. According to Brandwatch, online chatter about nostalgia grew by 18% in 2025 as part of forty-three million conversations, and there is no reason to think that growth will slow anytime soon.
While our music is inherently nostalgic, it’s important to approach nostalgia marketing with some caution. As the article points out, “it’s about understanding the cultural touchpoints that genuinely spark emotion with your audience.”
Good Classic Rock and Hits programmers and talent know how to take advantage of this for radio. When a lot of people are looking for comfort, it’s our time to lean in even more and show off.
Strategic Rule-breaking Is a Superpower
According to the Brandwatch team, some of the most successful brands are ones that are willing to “ignore the playbook their competitors follow.”
This couldn’t be truer for radio and especially for gold-based formats like Classic Rock and Hits. With a limited library of music and the absolute need to play hits, our stations follow a very predictable rulebook. You can pretend they don’t, but listeners know exactly what we’re doing.
That’s why strategic rule-breaking should be a goal in 2026. But carefully note the word strategic. Don’t just throw the rulebook out. Look for places and ways to set it aside to create unique, memorable programming. Make your stations more interesting to listen to. Your audience will reward you for it.
Beat Digital By Meeting People
The report says, “consumers are craving different types of engagement based on the need for human trust in an AI-driven world.” They add that there is “a hunger for real-world experiences. It’s about moving beyond superficial interactions towards genuine human connection.”
I realize that for many radio stations this is harder than ever. With personnel and budget cuts, getting out and shaking actual hands is tough. But that’s not unique to our industry, which is what makes it memorable. Go into the year with a strategy to get out in public on a semi-regular basis. Not every day or every week. Start with a plan to go out once a month and promote whatever you do heavily. That small effort can really cement your brand in people’s minds.
Little Treats, Big Results
People are stressed, and one result is an increase in how often they mention getting themselves a “little treat,” a number that has skyrocketed throughout 2025. According to the Brandwatch team, “People are actively looking for tiny ways they can make their days slightly better – and little treat culture is helping people with these small acts of self-care.”
This is a shift from the days when radio prizes had to be grandiose. These days, being able to distribute small items to a lot of your listeners can have a major impact. And the best part is this type of reward doesn’t cost much. It could even be as simple as playing an actual request, which requires no budget.
Hopefully, these four trends are things you can incorporate into your planning for the coming year. I mean, c’mon, you are planning, right?
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We used to read newspapers, too. Think about when we were kids. Every city of any size had multiple newspapers, including evening papers, something that, in practical terms, does not exist today. In fact, we’ve reached what used to be an unthinkable scenario: an increasing number of markets have no daily newspaper. It’s all online now, and with severely diminished newsrooms at that. Yet there’s still a public hunger for news; it’s just that we get it from a wider range of more convenient (and often free, like radio) sources.
We’re also left to determine which sources are reliable, but that’s a topic for another column.
Time marches on. The corner grocery or bodega is now home delivery from a supermarket. Television still broadcasts over the air, but streaming is now how people get their video fix, and the entire movie rental business came and went in an eye blink. Practically everything changes as technology improves and the public gravitates to the most convenient option. You don’t need the proverbial buggy whip when a car will get you from place to place far faster. Also, there’s a lot less horse poop this way.
Radio is not immune to the technological inexorability. As it turns out, people do like customizable audio entertainment that doesn’t need to conform to a schedule. You can listen to exactly the music you want, when you want it. You can hear entire talk shows — or see them on YouTube — at your leisure. The medium is quickly moving to an individualized model, and if broadcast radio can do that, it hasn’t shown its cards yet.
The industry relied on ubiquity (and Ibiquity, yet another column) and digital signals and half-assed marketing campaigns (RIP, “Radio Heard Here”) while it could have sunk that money into customization and time-shifting. Oh, well. Meanwhile, Spotify is getting a ton of publicity with its annual “Wrapped” release that tells listeners what they listened to the most this year. As it stands now, radio can’t, and isn’t, doing that.
(Speaking of which, my “Wrapped” got sabotaged this year by one fateful decision: On a drive up to Savannah and back, Fran wanted to hear Bad Bunny, and I let Spotify do the programming. As a result, my lists were dominated by Reggaeton artists. I happen to like Reggaeton, but not THAT much.)
None of this means radio goes away tomorrow, of course. The number of car purchasing cycles needed to replace all those car radios that are primarily AM/FM is still high, and people aren’t replacing their cars as often (finally, someone realized that keeping an older but operable car on the road costs less, even at inflated car repair prices, than the monthly payment on a new car with a fancy CarPlay or Android Auto head unit).
My car, like many of yours, still requires several menu steps before audio will stream through it via Bluetooth. It’s just easier to hit the ignition button and hear whatever happens to be on the radio at that point. For me, it tends to be local hosts complaining about the Dolphins and criticizing how the Hurricanes are behind Notre Dame in the rankings despite having beaten the Irish earlier in the season. None of that matters much to me — I’m not a fan of the local teams — but I’m just not going to spend time finding the Bluetooth option on the (admittedly terrible) Volvo radio to use it.
(Incidentally, have you seen car prices these days? How does anyone afford a new or recent used car? And they all look the same and have those troublesome CVT transmissions. I’d love a bright, shiny new SUV, but not at those prices. Jeez.)
Yes, it’s a coulda-shoulda-woulda argument again. Coulda focused more on the technical issues. Shoulda come up with ways to make radio — broadcast or streaming or both — customizable. Woulda maybe kept broadcast radio viable for longer.
It’s still viable for now, but less so with every passing moment. It’s not like this isn’t happening in every other medium, either. The exercise is not so much second-guessing as it is performing an autopsy on a body that’s not quite dead yet.
And AI is not going to save you. But, yet again, that’s another column for another time.
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Stephen A. Smith is pushing back after recent comments from former First Take co-host Max Kellerman and former ESPN colleague Marcellus Wiley. Speaking on his Straight Shooter with Stephen A. Smith YouTube show, the ESPN star addressed criticism that he feared debating Kellerman and clarified why he believed the partnership had run its course.
Smith said he felt a responsibility to protect the expectations tied to First Take’s format, particularly after inheriting an audience built during his decade-long run with Skip Bayless.
“There was an audience that was accustomed to Skip Bayless being diametrically different for a decade,” Smith said. “When Max came on the show, the top ratings were handed to us because of what Skip and I were doing. So the audience has an expectation for that show. Anybody that’s in front of the camera has an obligation to be compelled to be pulled towards what the audience wants. That’s how you get ratings.”
Smith maintained he never pushed for Kellerman’s removal out of personal conflict. Instead, he believed the pairing wasn’t delivering the level of television the show required. Even so, he said he only made the suggestion after being confident Kellerman would continue thriving at ESPN.
“If I thought for one second that Max Kellerman would have been fired or unemployed or whatever, I never would have made the suggestion that we needed to part ways,” Smith said. He added that Kellerman is “next level genius,” noting, “That still has nothing to do with debating.”
However, Smith didn’t hide his frustration with what he described as Kellerman’s struggles to engage in the show’s core mission.
“Debating is about point-counterpoint, and the audience is watching,” Smith said. “Do I need to bring up the names of the inordinate amount of people that will come on the air and say, ‘Max, what are you saying?’… We’re talking about a debate show.”
While Smith said he holds no animosity toward Kellerman, he made clear the two were never especially close.
“I wish him nothing but the best,” Smith said. “We ain’t boys or anything like that… but there’s no hatred or animosity from this side.”
Smith also directed sharp criticism toward Wiley, who recently said he understood how Smith felt working with Kellerman. Smith argued Wiley’s comparison was misplaced because Wiley hosted a radio show, not a daily television debate program.
“Marcellus Wiley, you’re saying you know how I feel. No, you don’t,” Smith said. “It was a debate show, not a radio show. The obligations and the responsibilities that came along with it are entirely different.”
Smith added that Wiley’s perspective is incomplete because Wiley has only heard Kellerman’s side, and didn’t reach out for Smith’s version of truth.
“You’ve never called me once to ask me what happened,” Smith said. “You have a slanted perspective, which is cool. Say so.”
Smith’s remarks mark his strongest response yet as the conversation around First Take’s former pairing resurfaced from Kellerman’s appearance on The Bill Simmons Podcast.
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