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Kings Radio, AI, and Declining Traffic: Why Media Must Adapt Faster

Jason Barrett
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Kings Radio, AI, and Declining Traffic: Why Media Must Adapt Faster

So much happens so fast these days that it feels impossible to keep up let alone create long-term plans. Just yesterday we were talking about overcoming changes to social media algorithms. Then came the arrival of artificial intelligence and what it could mean for enhancing creativity and productivity. Now, newspaper groups like McClatchey are wiping out newsrooms full of people in favor of AI automation, and those in charge of those AI groups are unable to control their own creations and are predicting the world’s demise within a decade.

Last week, Axios put out a story which showed how much online traffic has collapsed over the past 2 years. Nearly a third of online visits have declined. For every media brand that has chased online traffic and programmatic advertising, it’s a punch to the gut. Many groups have claimed to be all-digital yet lack successful podcasts, video shows, highly read newsletters or valuable websites. What they have is an app, healthy social media accounts and a reliance on pageviews. They’ve chased traffic through Google search and social media boosts because it produced supplemental income. But when that well runs dry, and dollars shrink 40-60%, then what?

I spent the past two weekends reading and watching hours of videos on agentic AI and automation processes. What Claude and ChatGPT can do is beyond incredible. The speed, skill, and precision in which these operations execute is downright scary. It’s easy to call for humans to remain valued, and list why the human spirit and connection must remain prioritized, but if you’re not learning these tools and constantly improving your ability to use them, you’re going to be in rough shape down the line. The media professional of 2036 will be very differently skilled than the 2026 version.

I don’t know where all of this is going. Anyone who tells you they do is full of it. The questions we’re preparing for today will likely change again tomorrow. That’s how fast the modern world of business moves. The issue is that somethings hit so fast that the people responsible for launching products or shaping strategy don’t know what lies ahead themselves. They lean into the moment, not wanting to get left behind, but don’t necessarily know the roads to travel to emerge victorious.

Kings Radio

Case in point, two weeks ago, the Sacramento Kings moved their radio broadcasts away from Sactown Sports (KHTK) after 32-years. They rolled out Kings Radio, proclaiming their games would be available via their app, and promoted a partnership with SiriusXM for in-car distribution. The team tried to frame the announcement like it was racing towards the future, which sounded good in theory, except if you were preparing for this type of pivot you’d likely announce it in the offseason to prepare fans and advertisers. You’d also try to keep a 32-year content partnership to help your fans find your new broadcasting platform.

People in Sacramento will have a harder time hearing their local team this year. That is a fact. Is that what an NBA franchise should be worrying about weeks before the 2026-2027 season starts? How do you tell your fans to pay to hear your games after a 22-win season? What do you tell people who want to listen but can’t use your app inside their vehicle? Furthermore, what do you tell advertisers who rely on connecting with those fans to grow their business? Is being less available to a starved fanbase the smartest decision for 2026?

Long-term this could be a good move for the Kings, but suggesting it as anything else but a poorly rushed decision is insulting to the local fanbase. Sactown Sports, the Kings’ former radio partner will be just fine. Their content and coverage of the team remains unchanged. They’ll just air less live gams at night and on the weekends, avoid afternoon drive interruptions that reduce inventory and ratings, and worry less about trying to recoup a significant financial investment.

This same approach has been used before by the Oakland A’s, the San Jose Sharks, and others. Being less available to fans on the radio, especially when you’re the only game in town and not winning, is certainly an interesting choice. I don’t think this helps the Kings this year but it does raise a question, should we expect more of this from local teams?

I believe so.

If I’m right, where does that leave sports stations who build their identities around play-by-play partners? It’s a good reminder that talent, lineup, brand, and fan connection are the most important assets to an audio brand. Games are additive. Moving forward, will play-by-play broadcasts remain worthy of significant spending for local radio stations? How are teams going to make up the difference and market their product across sports radio brands when the old goose stops paying to lay eggs?

Announcement Season is Coming

As sure as I am about teams taking broadcasts in house more, I’m even more confident and excited about our approach to how we operate our brand. We started our journey with a focus on who we reach and what type of content we serve them. That remains unchanged. To earn continued trust from a specific audience, you need real life experience, knowledge, relationships, consistent content, and a vision and ideas worth following. Fortunately, we’ve done ok in those areas. Because we have experience, and a passion and curiosity to educate, celebrate, challenge and connect, we remain a trusted resource. I don’t worry about producing the most traffic, having the largest social following or luring investors to rapidly advance our growth. I’m doing what I love, keeping the industry informed and connected, trying to make it better, and helping others grow their businesses who invest in our mission.

Next week, we will release our first-ever Top 20 in Audio Advertising. I want to thank Locked On Podcast Network for supporting the series. After a decade of featuring the top radio shows, programmers, and stations across all formats, we are shifting the focus to those who support them. We’re going to highlight the top radio and podcasting advertisers and the professionals who invest on their behalf. The results come out during Advertising Week in New York City and the Radio Hall of Fame celebration in Chicago. Keep an eye out for it.

In addition, Meet The Leaders presented by Point to Point Marketing also gets underway next week. The eight week series starts on Wednesday, October 7th and runs through Wednesday, November 25th. John Mamola and Garrett Searight are teaming up to spearhead the project. Look for some excellent conversations with a number of the media industry’s key decision makers. Prior conversations can be found here.

Then, once we get past the Top 20 in Advertising and the start of Meet The Leaders, I’ll have two big announcements to make in October. One of them involves our annual Top 20 in Radio series. The other includes our plans for the 2027 Barrett Media Summit. My goal is to announce the Top 20 news on Monday, October 12th and the Summit on Monday, October 26th. 2027 will be the best year yet for both.

In Progress

Because of how fast things change, we have to constantly be ready to pivot. In the past year we’ve ramped up our video content by launching The 4-Cast and the Barrett Media Minute. Hopefully you’ve subscribed to the Barrett Media YouTube channel. If not, please do so and help us out. Those two video products have been a good start, but I have plans to make them even stronger in 2027.

Another video product, The Jason Barrett Podcast, should be launching soon. My goal is to deliver 20 episodes per year of the show. I’m also planning to launch a weekly commentary, On Tap with Jason Barrett, which will replace the Quick Hits that I’ve written in prior columns. It’s better suited to be a weekly video than an additional print contribution. Dylan, Stephanie and I have spent the past month at Barrett HQ building sets to prepare different looks for the different types of content we hope to create next year. Once we get rolling, I hope you’ll check it out and share your feedback so we can make it better.

Lastly, I’ve shared before that covering music matters to me. But I’ve also said that too many outlets chase the same stories. We have featured a lot of smart, successful music/radio writers here, but as a brand builds, you have to make adjustments. I’d love to keep everyone for good but certain lanes just require more attention than others. We are going to enter 2027 with a sharpened focus on a few specific formats while also improving our coverage of music, artists and record labels, not just radio. This will be reflected in a few newsletter changes that we have set for 2027.

I’ll get into those details later this year. Until then, it’s full speed ahead like usual. Thanks as always for continuing to read, like, share and comment on our content. Your support is greatly appreciated.

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

Why Stu Burguiere Rode a ‘Perfect Storm’ From Glenn Beck to ‘Predictable’

Garrett Searight
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Why Stu Burguiere Rode a ‘Perfect Storm’ From Glenn Beck to ‘Predictable’

Stu Burguiere didn’t expect Predictable to take off quite this fast, but the numbers tell a different story. Since launching earlier this year after 28 years alongside Glenn Beck on The Glenn Beck Program, Burguiere has built a show around prediction markets that’s already found homes on both The First and Blaze TV.

Growth like that doesn’t happen by accident, and Burguiere has a theory about why it happened to him.

“You hope for the best, of course,” Burguiere said. “We were hoping for it to grow, but it has grown a little bit faster than we thought it was going to. It’s been a really big time. People are learning about these prediction markets for the first time, and they’re trying to understand them, so we have a really interesting crossover — sort of the perfect storm of the prediction market rise, plus a very intense election, where people who are already obsessed with politics are looking for ways to put their own opinions to the test.”

That crossover sits at the center of everything Burguiere is building. Prediction markets have moved from a niche corner of finance into mainstream conversation, and political junkies have followed right behind them. Few hosts, though, arrived with the background Burguiere brings to the format.

A Perfect Storm a Decade in the Making

“I’ve been using prediction markets for more than a decade,” Burguiere said. “It wasn’t like me just trying to jump into these things because I watched the news a lot or follow politics closely — it’s something I had deep experience with before we even started the show. That’s one of the reasons why we’ve tried to combine programming that can connect with people who trade on these markets, but also a lot of educational stuff to bring people along.”

A major legal shift also cleared the runway for shows like his. Kalshi’s 2024 court win against federal regulators opened the door for prediction markets to expand well beyond their old academic-letter arrangement, and Burguiere watched valuations climb as a result.

“There was a big legal ruling as well, with Kalshi winning a lawsuit in late 2024,” said Burguiere. “That really was able to unleash these things, to grow their place in the landscape so much. Once that door was open, everyone was like, well, wait a minute, we can get in on this too. It was funny, because I’d been talking about doing a show like this for years and years, whether there was going to be a ruling or not.”

Timing aside, Burguiere insists the content itself comes naturally to him. He’s spent decades talking politics on the radio, and applying probabilities to that world is second nature by now.

“The content itself is probably the easiest part for me, because it’s something I really am passionate about,” Burguiere said. “I love the big traders and all my nerds that are like me, but most people want entertaining programming first and foremost. What they’re going for is the information prediction markets bring. They can cut through the media noise unlike any other thing humanity’s ever come up with.”

Election Day Is the Super Bowl, But the Season Doesn’t End There

Midterms are closing in fast, and Stu Burguiere isn’t sleeping much these days. Even so, he’s careful not to treat November as the finish line for Predictable.

“I haven’t slept in a while,” Burguiere said. “I’ve eliminated that from my life for now. And for the next six weeks it’s going as hard as possible. It is sort of like the Super Bowl. It’s interesting because you’re building to this one big day. And that can be kind of scary. Because I’m doing my best to analyze these elections, but crazy things happen on Election Day.”

Life after the midterms, Burguiere argues, is where the real business lives. Culture, sports, and the early jockeying for 2028 will all keep the show’s content pipeline full.

“If that’s what the show is, we’ll come and go — I’m sure there’s a business there — but if we want to make this part of people’s everyday lives, we have to do a lot more than that,” said Burguiere. “This is going to start really, really fast — we’re going to be into the 2028 thing immediately. There are contracts on the primaries. Who’s going to run, who’s going to endorse who — there are a hundred million things.”

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.

Rowdy Yates Shares His Blueprint for Launching a Syndicated Show

David Hill
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Rowdy Yates Shares His Blueprint for Launching a Syndicated Show

Rowdy Yates didn’t wait for syndication to find him. He went and got it. Today, he hosts, writes and owns The Original Country Gold, a weekend show approaching 200 affiliates. He’s also one of the shareholders of SuiteRadio, where his weekday and weekend shows live and where part of his job is recruiting new talent. And for young jocks dreaming of going national, he has a clear message. “Be prepared to go it alone for a while,” Yates said.

Yates grew up the son of a radio news director, spinning 45s on his parents’ Magnavox cabinet stereo and talking into his father’s green hairbrush like it was an RCA 44-BX microphone. At 15, he ran the Sunday church tapes at KDNT AM 1440 in Denton, Texas. He started afternoons in Decatur the Monday after high school graduation. He was just 17.

His biggest local stop was KILT in Houston, where he did afternoons for 14 years in one of the most competitive markets in the country. “We were a market leading show for a lot of those years, and without a doubt had the largest audience on that signal,” he said.

Getting Discovered

But Yates always had bigger dreams. “I always wanting to be Casey Kasem or somebody like Casey Kasem, I always had interest in coast-to-coast work,” he said.

So he made a decision. “If no one’s going to discover me, I need to get discovered,” he said.

He started calling people. His first call went to Bob Kingsley. Because KILT was one of American Country Countdown’s biggest affiliates, Kingsley let him fill in around 2000.

That one fill-in opened every door. Westwood One (then owned by KILT’s sister company) noticed that someone loosely connected to them was working for another syndicator, and they called. Specials and album premieres followed. “Back then, working for a network was everything you thought it was,” Yates said. Westwood One was top-flight.

Then came his big swing. Westwood One’s Country Gold, hosted by John Howell, had lost clearances and audience. Howell was also leaving the show. The network planned to kill it. Yates, who had a successful classic country show locally, asked for a shot.

“I said, ‘Let me have it. Let me have the show for one year. If you give it to me for one year, I guarantee we can turn it around,'” he recalled. Within a couple of years, the show had 138 affiliates.

Going Independent

Yates rode that wave for about eight years. Then network mergers made things “a little fuzzy,” and he chose to go out on his own. His thinking was simple. With a solid syndication and sales partner, “the sky would be the limit.” Compass Media filled that role for years.

A few months ago, he amicably split with Compass to bring everything under the SuiteRadio umbrella. “There were tears. I owe those guys so much,” he said.

His weekend show stands out by leaning on the phones, with winners and requests every hour. “They are the stars of this thing,” he said. “I’m just kind of ushering everything in between them.”

Be Prepared to Go It Alone

Here’s the good news for young talent. Yates believes launching a syndicated show is easier now than ever. However, there’s a catch.

“I’ve noticed with a lot of syndicators, they will say, ‘Hey, Jock, whatever your name is, I love your show. I love your concept. I love your tenacity,'” he said. “‘But don’t call us back until you yourself get on 35 radio stations, and then if you get on 35 stations, then we can go out and sell it.'”

That’s why he tells new talent to expect a stretch on their own. “So much of this can be done with sweat,” he said.

He points to Robbie Bridges and Robbie’s Top 20 Countdown as proof. Bridges didn’t wait to be picked up. He built the show, cleared it on a handful of stations — including a couple of respectable big signals — and went quite some time without representation. Then Compass Media came knocking. “I think a lot of that has to do with his drive and work ethic,” Yates said.

Throw Everything at the Demo

Yates says you’ll get a fair hearing if you pitch. Someone from iHeart will call back. Someone from Compass will call back. “I know SuiteRadio will. Part of my job is talent recruitment. I will call you back,” he said.

But don’t show up with an outline and a promise. “Throw everything at the demo,” he said. “Don’t begin with, ‘Well, here’s the basic outline of it, and as soon as we’re making money, then we’re going to buy the jingle package.'”

Instead, call in favors. Ask the voice guy you want to do a package on spec, and pay him if it comes together. Those people are hustling too, and many will bet on the come.

Jingle producer John Hooper at Radioscape Music did exactly that for Yates on concept shows that never launched. The payoff came later. “Every time I need a jingle package and I had a big budget to throw at someone, guess who got all my money? It’s John Hooper,” he said.

Build the Relationships Now

Yates says there’s plenty of goodwill in the business right now, given the state of the industry. And it’s a small business. “We all know everyone, and if we don’t know them, we know someone and can get their cell number really, really fast,” he said.

So reach out, even with nothing to pitch. “Just thought I’d let you know I’m thinking about moving into this space. Just wanted to get your contact information,” he said. “That’s really all it has to be.”

Independent creators like him are happy to help, he added, “because we didn’t have these opportunities ourselves.”

Developing the Next Voice

Yates practices what he preaches. He calls Kadie Daye his greatest hire ever, even though many were surprised a syndicator would put a virtual unknown on the air. She had no big-market résumé. Yet when her name was on everyone’s lips at CRS, he wanted to know why.

They worked together for about six months on dry runs and coaching before launch. “Once she got it, she got it,” he said. He expects to celebrate her 20th affiliate before year’s end.

Another daypart show launches with SuiteRadio after the first of the year, and that seat is wide open. “I just kind of have a format genre in mind and know that’s the way we are headed,” he said.

Syndicated Can Still Sound Local

Yates pushes back on the idea that syndication means giving up local flavor. Done right, he argues, stations get the best of both worlds.

He tells programmers and GMs almost daily that “you get out of it what you put into it.” Daye, for example, just this week cut a heavy load of localizers and station IDs, with some stations asking for material almost daily.

When an owner like Brian Fowler does his job, “it does sound like Rowdy Yates is doing morning drive in Waverly, Tennessee,” Yates said, because he’s talking about the Air Force base, Friday night football and the county fair bake sale.

For Yates, helping the next wave isn’t just good business. It’s a family tradition. His father spent decades quietly connecting out-of-work broadcasters with jobs, and Yates recently helped a talented young jock who lost his job in Houston land a new gig.

He knows the favor could come back around someday.

“I want to think that eventually I would ride off into the sunset after a very successful career in local radio and syndicated radio,” Yates said. “But you never know. I could wind up on the radio in Muleshoe, Texas one day, and I would hope that I had helped somebody there along the way.”

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

MTV VMAs 2026: Can Madonna, Nirvana and Snoop Bridge the Generation Gap?

Bethany Kent
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MTV VMAs 2026: Can Madonna, Nirvana and Snoop Bridge the Generation Gap?

There was a time when the MTV VMAs were my Super Bowl. I watched faithfully every year and preferred to watch alone so nobody could talk over the show. I even attended a few times.

Lately, however, I have felt like I aged out of the hype. I would catch the pre-show to see how radio pros like HOT 97’s Nessa and KROQ’s Kevan Kenney performed. Still, much of the main show leaned too young for this elder millennial.

Why the 2026 Lineup Threw Me

So the 2026 details surprised me. Madonna led all artists with 13 nominations. Snoop Dogg was hosting. Meanwhile, Nirvana would receive the Video Vanguard Award.

Call me a hater, but I immediately texted my radio group chats. “Did anyone play that Madonna record? What am I missing here?” Then I started digging.

Matt Newcomb, senior vice president of activation for Paramount Brand Studio, explained the strategy. He said airing on CBS has made the show “uniquely multigenerational.” He also described an “incredible collision of music discovery and music history.”

What Radio Can Learn

That comment made me think about radio. Should we blend formats to reach more generations? For example, more Top 40 stations are flipping to Hot AC. Likewise, Mainstream Urban stations are playing more throwbacks than ever. Or should we just be making sure our products are available as widely as possible, everywhere our listeners are? Like Audacy and iHeartMedia’s content distribution partnership that began last year.

Did the Blend Work?

Back to the VMAs. Did they successfully bring generations together? The show opened with Madonna performing alongside Sabrina Carpenter and Charli XCX. Admittedly, it felt a little forced. However, I didn’t totally hate it.

Later, Madonna and Sabrina Carpenter won an award together. Madge seemingly poked fun at the generational gap. She explained that traditional routes failed when she tried to reach Sabrina for a song. In the end, a DM got her there fastest.

Kacey Musgraves also delivered a beautiful tribute to Dolly Parton. In contrast to the opener, this moment felt natural. But everyone loves Dolly – if you missed my tribute from a roundup of women in radio, read it here.

Snoop Dogg brought his own humor, too. He made a “deez nuts” joke. Is that bit making a comeback with young viewers? Or was it aimed at the male demographic of the olds?

A Vanguard Moment

After LISA’s performance of “SaWaDiKa,” Chuck D presented Nirvana with the Video Vanguard Award. Then Pat Smear smoked a cigarette on stage. Gen Z is not doing that! It was the most 1990s moment of the night. At the same time, it showed the generation gap better than any speech could.

A Tribute That Meant Something

I also enjoyed the George Michael tribute, but I had to Google why it mattered this year. RAYE, SOMBR and Teddy Swims performed it. According to Paramount, it came nearly 40 years after his album FAITH. Moreover, a live album and a film called “George Michael: The Faith Tour” are on the way. He also won four VMAs and earned the Video Vanguard Award in 1989.

The Performance That Won Me Over

One newcomer stole the night for me. SIENNA SPIRO checked every box. She brought powerhouse vocals, 1960s hair and a full string section. She even performed on a stage that looked like a turntable. As a radio person, I loved that. Fittingly, she went on to win Best New Artist.

The Living Room Test

Meanwhile, one of the best reviews came from a Gen X friend watching with her teenage daughter. She told me, that her daughter “keeps asking me who people are and I keep asking her who people are, so I guess it’s working.” Both generations felt a little lost, yet both stayed on the couch together.

When the Blend Goes Too Far

Then came Artist of The Year. Baby Spice presented the award to Madonna. In 2026? Madonna beat Bruno Mars, Sabrina Carpenter, Taylor Swift, Morgan Wallen and Ariana Grande. To be fair, Madonna’s legacy is undeniable. Still, this category should reward the biggest artist of the year. At that moment I thought that frankly this may have gone too far.

Feeling Old, Then Safe Again

Separately, I felt old again during the GENER8ION performance. I struggled to follow it. Afterward, I watched the music video and decided it was cool, even if I don’t totally get it. Luckily, Snoop Dogg returned to the screen and presented Video of the Year to Taylor Swift. Swift dedicated her award to “the ultimate showgirl, Dolly Parton.” As a result, my millennial self felt safe again.

Why the Wide Reach Matters

Even so, the business side makes sense. The VMAs now air on MTV and CBS, and they stream on Paramount+. As a result, the show reaches a much wider audience. That matters because major sponsors want big, mixed crowds. Therefore, a multigenerational show can keep advertisers coming back.

The Takeaway

I came into this show skeptical, but it kept my attention for the better part of two hours. Still, blending eras works best when the connection is genuine. Otherwise, the audience notices.

In the end, the VMAs did not win me back completely. However, they made a strong case for shared viewing. Next year, I might even watch with company.

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.

Nielsen v. Cumulus Heads to the Supreme Court Over $1.2 Million

Dr. Ed Cohen
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Nielsen v. Cumulus Heads to the Supreme Court Over $1.2 Million

In the fall of 1983, I started my doctoral program at Michigan State. That first term, we were required to take a First Amendment class. We reviewed important Supreme Court cases starting with the basics, like Marbury v. Madison, and on to key ones like Times v. Sullivan, Schenck, and Brandenburg v. Ohio. You can probably list some major Supreme Court decisions in history. Does anyone think The Nielsen Company (US), LLC v. Cumulus New Media Holdings Inc. will join the list?

If you haven’t been following this case, here’s a bullet point summary:

  • Nielsen and Cumulus couldn’t come to an agreement on a new contract for both local and Nationwide data (Cumulus owns Westwood One). Nielsen’s new “Network Policy” requires subscribers to take all local markets where they operate in order to subscribe to Nationwide. Cumulus didn’t want local data for all its local markets, citing ROI issues.
  • Cumulus filed an antitrust lawsuit against Nielsen in federal court last October, citing the “Network Policy.”
  • The judge ruled in Cumulus’ favor. She felt Cumulus had a good chance of winning the case under the “tying” restriction in the Sherman Antitrust Act. She ordered Nielsen to offer a more reasonable price to Cumulus for a standalone Nationwide.
  • Nielsen appealed to the U.S. Second Circuit Court of Appeals. After a hearing with a three-judge panel, the company lost.
  • Nielsen requested an en banc hearing (all the judges of that court). The Second Circuit denied the motion.
  • The lower court ordered Nielsen to work out a deal with Cumulus or face penalties.
  • Nielsen appealed to the U.S. Supreme Court. If you want to read Nielsen’s petition for a writ of certiorari, here’s the link:

Some disclosures: As I always note, I’m not an attorney, but I have written policy papers, albeit many years ago.

Next, I have the distinction of being let go by both companies (Nielsen in 2015, and Cumulus during COVID in 2020). I’m no fan of either one, as I think Nielsen doesn’t give a damn about the radio industry beyond its bottom line, while Cumulus’ strategy reminds me of a yard sale. “What will you give me for this nice, shiny, mid-sized market cluster?”

Whose Side Am I On?

Throughout this imbroglio, I’ve sided with Cumulus — not so much on antitrust grounds, which requires a level of scholarship I don’t possess. My reasoning is that the radio industry has enough problems, and a public spat over a business negotiation is not a good look.

Nielsen and its private equity owners have revealed their true colors. If you’re part of the radio industry, they don’t care about you. The company wants your money, full stop. Nielsen has decided it’s better to spend major bucks on expensive lawyers than to make a deal with Cumulus. Six lawyers from Gibson, Dunn & Crutcher LLP were listed on Nielsen’s petition. If you want to bring a case to the Supreme Court, you don’t call Morgan and Morgan.

How much money is in dispute here? In the earlier court documents, the dollar amounts were redacted. On page 10 of the new petition, Nielsen says: “Because it would cost Cumulus $1.2 million more to buy standalone Nationwide from Nielsen plus local data from Eastlan than to buy Nielsen’s bundle, the panel concluded, Cumulus had ‘no choice at all.'”

That’s it. This case has the potential to go to the Supreme Court over $1.2 million a year. Could these two have found some common ground and saved what is undoubtedly far more in legal fees? Of course they could have, but both chose to play “chicken.” Nationwide is a requirement for network radio sales, and Westwood One is one of the two biggest national networks (along with iHeart’s Premiere). Nielsen has a monopoly on national audio audience measurement with Nationwide. Meanwhile, per Cumulus’ financial statements, Westwood’s revenue has been on a steady decline, prompting a desire to cut costs. If Westwood can’t access the data (and the network no longer can), the situation becomes more desperate. Nielsen is squeezing Cumulus in order to win.

Time to Push Nielsen Aside

Isn’t Nielsen supposed to be a champion of our business? Isn’t the mantra that if radio does better, Nielsen does better? If Nielsen Audio were a standalone company, that would be an article of faith. However, Nielsen is far more interested in video, whether national or local TV, cable, or streaming. It has video competition but appears to be winning. The audio division makes money with almost no competition. Keep costs to a minimum so the private equity folks look smart.

My assumption is that the decisions are coming from the top of the Nielsen food chain. I still know people who work for Nielsen Audio, many of whom are holdovers from the Arbitron days. They’re good people, and while there have been numerous tough negotiations with clients over the years, this reaction is out of line. If I were a betting man, I’d bet that Nielsen Audio leadership would not have taken this path. My belief is that they do care about the industry and want it to grow and succeed.

It’s time to end this charade. Whatever you think of Cumulus after two bankruptcies, numerous station sales, and lots of layoffs is up to you. But even if Cumulus is a lousy operator, it’s our lousy operator, and certainly not the first one. Nielsen is showing that the company doesn’t give a damn about radio, except for how much money can be pulled from it. It’s time to push Nielsen Audio to the side.

How about starting with small stuff? Trade press should stop publishing the Nielsen topline results. Most aren’t complete anyway. The client advisory group should demand more from the company, with deadlines, or quit the council.

For some time, I’ve advocated for a group to work on an alternative service with a methodology that avoids Nielsen’s patents and intellectual property — something smaller to give buyers and sellers a clear picture of a market. Limit the minute detail programmers love but could probably live without. Of course, it would cost less. Perhaps that’s Eastlan, because the company already exists, or maybe something entirely new.

Commercial radio in the U.S. is hurting. Our measurement company doesn’t care. It’s time to do something about it.

Let’s meet again next week.

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.

Rock Radio’s Six Biggest Programming Fights, Scored by Listeners

Keith Cunningham
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Rock Radio’s Six Biggest Programming Fights, Scored by Listeners

Our calendars tattooed “fall” on our forearms last Tuesday, and you know what’s coming: football, pumpkin-spiced everything, snow tires, Nor’easters, Bing Crosby Xmas hits and radio people fighting amongst themselves.

Welcome to the RockTernative Fall Brawl, brought to you by the #1 accident attorneys at… Oops, sorry. That’s a hard habit to break.

We have a loaded card tonight:

  • New Rock vs. Gold
  • Rock vs. Alternative
  • Music vs. Personality
  • Live vs. Tracked
  • Local vs. Syndication
  • Ratings vs. Revenue

Every brawler comes trained and ready with a case rooted in efficiency, budgets, data, scale, targets or the dreaded “best practices.” Tonight’s scorekeeper is a fictitious listener built from countless focus groups I’ve sat through.

Let’s go to the ring.

Brawl 1: New Rock vs. Gold

When it comes to featuring new music, many at RockTernative have grown more conservative than Ted Cruz, while spinning the Gold Top 50 like somebody stole the keys to the rest of the library. Ratings, research, weak records, “streaming owns new” — there’s no shortage of reasons behind it.

Being cautious isn’t wrong, but being too cautious in rock circles is. Remember: listeners can’t say they like songs they’ve never heard. So the idea that “listeners don’t like or want new music” never fully passes the sniff test.

Listener’s Scorecard

Dear Radio, I love “Man in the Box,” too, but AIC has more than one song. And if you believe in a new song, f#&king play it. A lot. Let me actually hear it. Don’t wait for someone else or spend nine weeks inching me toward familiarity. If I can’t keep up, that’s on me. And don’t force mid records down my throat just because MusicMaster wants nine songs in B. I don’t count the number of records you play; I only count songs I like.

Brawl 2: Rock vs. Alternative

The fighters came out ready, but in a surprising turn of events, the bout was stopped before the opening bell. Let’s have the scorekeeper explain why.

Listener’s Scorecard

I don’t know which chart owns the song or which genre the artist chooses to identify with. I only know whether I turn it up. Stop making your format problem my problem.

Brawl 3: Music vs. Personality

Music gets people in the door. Its importance is obvious, which is why it’s often forgotten or taken for granted. We also know personality-driven content can keep people around longer and drive the decision to come back tomorrow.

Listener’s Scorecard

I have every song ever recorded in my pocket. Music alone won’t make you special, especially if it’s the same 200 on a loop. Give me great music, some surprises and discovery here and there, along with DJs worth missing when they’re gone, and then we have a party.

Brawl 4: Live vs. Tracked

Live radio is the high-wire act, capable of creating incredible personal moments, glorious disasters and everything else in between. Tracking saves money and allows talent to cosplay as live and “along for the ride.” And if done right, many listeners may never know the difference.

Listener’s Scorecard

Just be real and honest. Otherwise, I don’t give a sh!t. If you’re recorded, don’t tell me Meredith just called and wants some Metallica… or that you’re about to “get out of here” when you left the studio yesterday. And when someone like Dolly dies and you’re canned and can’t share a moment with me, congratulations — you’ve just aired the best promo possible for your live competitor.

Brawl 5: Local vs. Syndication

In one corner, “live and local.” Some believe it’s the last frontier worth fighting for. In the other, “Are you sure you want to die in that corner when I can offer up Bobby Bones, The Breakfast Club, Dave & Mahoney, The Woody Show and others?”

Listener’s Scorecard

It would be nice if we shopped at the same Trader Joe’s, but I’m not losing sleep over where you sleep. Just be entertaining. And if a tornado is coming, somebody better tell me to get in the basement.

Brawl 6: Ratings vs. Revenue

Where the rubber meets the road. This heavyweight battle of titans plays out every day inside clusters across the country. Each fighter has a case and a chance to win, so the decision goes straight to the scorekeeper.

Listener’s Scorecard

Neither is my problem — that’s a “you problem.” Make money. Get ratings. But if the #1 accident attorneys matter more than my listening experience, I’m out. Lose me and you’ll eventually lose both.

Ladies and gentlemen, thank you for attending the Rock & Roll Fall Brawl. Every decision came down to the same thing: give the listener something worth coming back for — or get knocked out. Please drive home safely.

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.

Joe Pags Added to Daily Lineup at Talk 1300 WGDJ

Garrett Searight
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Joe Pags Added to Daily Lineup at Talk 1300 WGDJ

Joe Pags is joining Talk 1300 WGDJ’s daily lineup in Albany, New York. The nationally syndicated show will air at 10 PM ET.

What We Know: Joe Pags will add Talk 1300 WGDJ to his syndicated radio lineup with a 10 PM ET broadcast. The move returns Pags to the Capital Region, where he previously worked as a news anchor at CBS affiliate WRGB-TV. He left the station more than 20 years ago but says he continues hearing from former viewers in the area.

What They Said: “For the 10 years I’ve been in syndication, I’ve always hoped to return to the Capital Region of New York where I was proud to be a news anchor on the CBS affiliate, WRGB-TV. Even though I left TV there more than 20 years ago, I still regularly hear from former viewers there and will always consider the area a hometown. I can’t thank Paul Vandenbergh enough for putting me on the air there on his great station WGDJ!” -Joe Pags

What Remains Unclear: The announcement does not specify how long WGDJ plans to carry the nationally syndicated program at 10 PM ET. It also remains unclear whether the addition will affect any other programming currently heard during the station’s evening lineup.

What It Means: The addition gives WGDJ another nationally syndicated talk offering while bringing Pags back to a market with which he has a longstanding professional connection. Meanwhile, his return to the Capital Region gives listeners an opportunity to hear a host with prior local television experience in the area.

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.

ESPN Posts Most Watched WNBA Regular Season In Network History

John Mamola
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ESPN Posts Most Watched WNBA Regular Season In Network History

ESPN just delivered its most-watched WNBA regular season ever. In addition, it marks the network’s third straight record-setting year.

What We Know: Across 29 games, the WNBA on ESPN networks averaged 1.37 million viewers, up 17% year-over-year. Specifically, 17 ESPN games averaged 1.24 million viewers, a 32% increase. Meanwhile, 12 games on ABC drew 1.56 million viewers, up 9%. In addition, five games topped two million viewers this season. Moreover, ESPN framed the milestone around the WNBA’s 30th season. According to the network, Indiana Fever-Atlanta Dream on August 16 led all games with 2.58 million viewers. In addition, ESPN added that the matchup became the most-watched WNBA game ever on cable, regular season or postseason. The network also pointed to younger fans, as viewers ages 2-17 rose 29% and ages 18-24 grew 27%.

What The Data Shows: Top Five Most-Viewed WNBA Regular Season Games On ESPN/ABC (Over 2 Million)

MatchupDateNetworkAverage Viewership
Indiana Fever vs. Atlanta Dream8/16ESPN2.58 million
Indiana Fever vs. Chicago Sky8/8ABC2.56 million
Indiana Fever vs. Minnesota Lynx8/2ABC2.52 million
Indiana Fever vs. Dallas Wings5/9ABC2.49 million
Indiana Fever vs. New York Liberty8/11ESPN2.01 million

What Remains Unclear: Still, non-Indiana games averaged 984,000 viewers, up 24%, while WNBA Countdown averaged 595,000, up 27%. Moreover, ESPN did not detail in the release how many non Indiana Fever games were broadcast.

What It Means: Ultimately, three straight record seasons point to sustained growth, not a one-year spike. Moreover, gains outside Indiana suggest interest extends beyond one team. Moreover, for ESPN and ABC, the WNBA now stands as a dependable summer ratings driver. Finally, the youth numbers signal an audience that could keep growing for years.

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.

Michelle Beadle To Co-Host New Program With Matthew Berry on Roku

John Mamola
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Michelle Beadle To Co-Host New Program With Matthew Berry on Roku

Michelle Beadle is teaming up with Matthew Berry. The pair will co-host Pregame with Matthew Berry, a new weekday Roku show debuting Monday according to a report from Front Office Sports.

What We Know: The two-hour show streams live and free on the Roku Sports Channel weekdays from 12–2 p.m. ET. Berry’s Fantasy Life company produces it, while former college quarterback turned creator Mo Hasan joins the cast. Previously, Beadle spent seven years at ESPN across two stints, cohosting Get Up, NBA Countdown, and SportsNation. She also spent two years at NBC Sports, and she currently hosts Run it Back on FanDuel TV. She also hosted for SiriusXM Mad Dog Sports Radio as well before exiting last summer.

What They Said: Michelle Beadle (via Front Office Sports): “I was driving from LA back to San Antonio for the off season. …when ‘MB’ called. Thinking it was Mike Breen, I picked up immediately. It was Berry. But he did have an offer I couldn’t refuse. The opportunity to do TV daily, and laugh, was a no-brainer. Plus, if you don’t like it, Mo and I blame Matthew.”

What Remains Unclear: However, the show’s exact content mix remains unclear. Beyond fantasy and the NFL, it promises betting, pop culture, and newsmaker interviews. Additionally, both hosts are keeping their other gigs, including Beadle’s FanDuel TV show.

What It Means: Ultimately, Roku is betting on two proven former ESPN and NBC Sports personalities to drive viewership to the new program. The show inherits the slot The Rich Eisen Show vacated a year ago as Eisen returned to ESPN and Disney+. As a result, Roku’s free streaming lineup gains a personality-driven daily anchor.

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.

SiriusXM Director Jordan Greenberg Departing For PWHL

John Mamola
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SiriusXM Director Jordan Greenberg Departing For PWHL

Jordan Greenberg is leaving SiriusXM after more than two decades. He officially joins the PWHL on Monday.

What We Know: Greenberg most recently served as Senior Director of MLB Programming for SiriusXM, a role he held since February 2016. Before that, he spent more than a decade as executive producer of MLB Network Radio. There, he produced Power Alley and on-field broadcasts from the World Series and All-Star Game. Notably, he also produced SiriusXM’s Team USA hockey coverage at the 2014 Winter Olympics.

What They Said: Jordan Greenberg (via LinkedIn): “After 22 years, 7 months, and 16 days (who’s counting?), my time at SiriusXM comes to an end. I couldn’t have imagined when I walked through those doors in 2004 that I’d spend half my life (so far) there. The countless adventures, friends, experiences, and knowledge I’ll take from that journey are immeasurable. But I could not be more excited to be joining the PWHL beginning Monday. The league is growing incredibly quickly, is so much fun to watch, and I can’t wait to hit the ground running and be a small part of it. Thank you to everyone who has helped me along the way, and I hope I’ve done the same in return. Here’s to career adventure #2!”

What Remains Unclear: However, the PWHL has not yet detailed Greenberg’s title or responsibilities. Additionally, SiriusXM has not named a successor to oversee its MLB programming.

What It Means: Ultimately, the move gives the PWHL a veteran producer with deep live-event experience. Moreover, his Olympic hockey work offers a natural bridge to his new home. Meanwhile, SiriusXM loses one of its longest-tenured sports programming leaders. For Greenberg, it marks what he calls career adventure number two.

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

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