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The Lost Art of Radio Promos and Why Stations Need to Bring It Back

David Hill
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The Lost Art of Radio Promos and Why Stations Need to Bring It Back

I remember sitting in the offices of WMRQ Radio104 Hartford in the 90s with Jaybeau Jones. We wrote radio promos like Picasso painted. The thought and depth we put into what we created was another level for radio of that time. Promos were an art. And somewhere along the way, that art got lost.

There was a time when radio promos felt like movie trailers. Not liners. Not sweepers. Real productions.Big voice. Big stakes. Big drama. A great promo stopped listeners cold. It made the station feel larger than life. Somewhere along the way, the industry traded that for efficiency.

That shift makes some sense. Attention spans shrank. Clocks tightened. Ratings pressure intensified. Consultants preached shorter breaks and faster execution. Art slowly lost ground to mathematics. Promos became utility pieces. Get in. Sell the contest. Mention the station three times. Get out.

Still, something valuable disappeared during that transition.

He Didn’t Just Read Copy. He Built Worlds.

I came from a unique situation at 99X Atlanta. We worked with Keith Eubanks. His voice dominated modern rock radio for years. Keith didn’t just read copy. He built worlds.

That’s the difference.

Great radio promos once created atmosphere around a station. Listeners weren’t simply hearing songs. They were stepping into a universe with its own identity. Characters existed. Running jokes carried over for months. Storylines stretched across station imaging. The station developed mythology. Listeners followed along because they felt included.

The Station Developed Mythology

Later, when I moved to WMRQ Hartford, I kept Keith involved. Some characters followed. Then we created new ones. Eventually, those characters permeated the station.

Imaging stopped being filler between records. It became connective tissue. A listener could tune in briefly and immediately understand the station’s attitude.

That took creativity. More importantly, it took commitment.

Creativity Rarely Flourishes Under Compression

Unfortunately, time became radio’s enemy. The industry compressed everything. Every decision centered on retention curves and efficiency. Creativity rarely flourishes under compression.

Many stations stopped sounding dangerous and started sounding processed. Ironically, audiences now claim they want authenticity more than ever. Yet many stations sound interchangeable.

Five Seconds Could Identify a Station

Old-school imaging created separation. Five seconds of production could identify a station instantly.

Stations leaned into the bit. They trusted the characters. They allowed imaging to become entertainment instead of interruption.

Back then, programmers waited for the FMQB Sampler to arrive. That trade CD fueled creativity across the business. You’d hear one promo from another market and a new concept sparked.

Most importantly, stations cared about sounding different.

Personality May Matter More Than Ever

Today, many stations focus more on sounding clean than memorable. There’s a major difference between those ideas.

Research matters. PPM matters. Consumption habits changed forever. Even so, personality may matter now more than ever. Every platform fights for microscopic attention spans. Emotional connection becomes increasingly valuable as a result. Algorithms optimize delivery. They struggle to create attachment. Historically, radio excelled at attachment.

Branding vs. Mythology

The best stations didn’t simply play music. They built culture. Listeners felt connected to something rebellious and exclusive. Promos helped build that ecosystem.

Now, too much imaging sounds transactional. It explains what the station does without explaining who the station is. That distinction matters.

Listeners don’t build emotional relationships with formatting clocks. They connect with humor, storytelling, and personality.

Radio Was Never Supposed to Sound Safe

Some of those old promos were absolutely insane. Monster movie effects exploded through speakers. Fake callers appeared constantly. Concert promos sounded like end-of-the-world movie trailers. Half of it probably wouldn’t survive corporate approval today.

That may be part of the problem.

Radio was never supposed to sound completely safe. The stations people still remember had edge, swagger, and unpredictability. Promos carried that energy.

Make Them Matter Again

Maybe the lost art of the promo isn’t really about production. Perhaps it’s about imagination.

Somewhere along the way, stations stopped building worlds and started building systems. There’s a difference between branding and mythology. The legendary stations understood mythology.

If radio hopes to separate itself from playlists and algorithms, it may need to rediscover some old magic.

Not by making promos longer. By making them matter again.

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

The Industry According To: Zack Zalon, Super Hi-Fi

Keith Cunningham
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The Industry According To: Zack Zalon, Super Hi-Fi

Thank you for checking out The Industry According To… Zack Zalon. This series runs each Tuesday and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.

Today we step into the future with a modern-minded entrepreneur who loves radio and is an expert in digital music and consumer experiences, Zack Zalon. He’s the co-founder, CEO and face of Super Hi-Fi, a company that uses its patented technology to create, manage, and scale high-fidelity, fully produced radio experiences for today’s digital landscape, partnering with brands like Peloton, Sonos and more. With Super Hi-Fi now powering some stations across the country — including some inside the biggest ownership groups — Zack is operating in the future, and that is where today’s conversation will largely focus.

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

Keith: The economic challenges at radio don’t need a rehash, but you’ve said radio needs to reclaim its margins. What’s the biggest inefficiency in today’s radio infrastructure that needs to be fixed?

Zack Zalon: The entire radio ecosystem is clinging to a reality that ended over a decade ago. If we had to name one inefficiency, it’s the mindset that repeating the same actions will somehow yield different results.

I’ve started asking executives a simple question: if you were designing your radio company from scratch today — with one mandate, high margins — would it look exactly like what you have now? Same people, roles, infrastructure, product? No CEO should be answering yes.

It’s time to rethink radio from the ground up to drive meaningful cashflow, even in a declining market. If you’re not laser focused on that question, you’re on a path straight into the ground.

S.W.O.T.

Keith: As a systems guy and CEO of a large, innovative company, let’s do a basic radio S.W.O.T. Don’t show all your cards, just give me your topline thought for each.

Zack Zalon: Radio’s Strength: Programming, Personality, Production, Context. Radio’s Weakness: A systemic unwillingness to fundamentally change as the facts dictate. Its Opportunity: To recast its value as an “audio entertainment medium” rather than as just a terrestrial broadcaster. Its Threat: Radio’s biggest threat is actually coming from inside the building, not from exogenous sources.

The Remote Revolution

Keith: While it had been possible for a long time, COVID helped jumpstart the urgent need for jocks to be able to seamlessly broadcast live from anywhere. That functionality is only improving. Some say it’s unlocking more creative opportunities. Others say it’s just accelerating downsizing and having fewer bodies in the building. How do you see this?

Zack Zalon: Why do you need a building? What, exactly, are you doing in that building that makes radio any more compelling than, say, Spotify, which has exactly zero broadcast facilities? If having bodies in the building actually mattered, then radio would be throwing off 40-point margins.

Will the Real DJ Please Stand Up

Keith: Four options: 1) Live human DJ. 2) Human DJ that is voicetracked. 3) Human version of a DJ created by AI. 4) AI-created DJ. Ten years from now, which will be most common across the country?

Zack Zalon: I don’t know. Ten years is a long time, and though my gut says human will always matter, we’re starting to see data that indicates that people are building relationships with AI. So maybe AI-generated personalities will resonate with as much force as humans currently do. Maybe it doesn’t matter. Maybe the only thing that matters is whether or not we can continue to build compelling, entertaining listening experiences, irrespective of what source the audio originated from.

Where Linear and On-Demand Collide

Keith: Listeners often want two things at once: the personality they love or bond with and the exact music they want, whenever they want it. Streaming solved one of those issues. Radio solves the other. How does radio solve both at once?

Zack Zalon: If that’s a real market need, then the only way to answer that is to move into the digital space, away from broadcast towers, but to keep the same approach to production that’s driven radio for decades. If your radio system were fully modular and completely IP driven, then you’d be able to assemble your radio station uniquely for each listener, for each moment, and deliver highly personalized experiences that transcend the limitations of a broadcast audio stream.

Data and Ads

Keith: Radio has been stuck with the same measurement system for decades. You’re delivering millions of ads a month. Which data points should radio be offering or selling that Nielsen “radio ratings” can’t or won’t do right now?

Zack Zalon: That Nielsen system is just crazy. It’s the currency of radio ad sales, but does anybody actually believe it’s accurate? When I explain PPM methodology to people in ad tech, they look at me like I’m nuts. Whatever — it is what it is.

Personally, I’m pretty psyched about DTS Auto Stage — real, verified listener data every 24 hours. Yes, it’s only in-car, but mapped against streaming data, the stats get compellingly accurate. From there, we can layer in everything else we measure and build insights that actually drive results.

Imagine A/B testing programming choices daily and making real-time adjustments to keep improving listening trends. When have we ever had that kind of control? That’s what’s been missing, and when we figure it out as an industry, it’s going to give us a whole new arsenal of tools to sell better.

Localism

Keith: You’ve talked about making stations feel “more local,” but what does “local” even mean when the DJ might be on a cruise ship and the music and production are stitched together by AI?

Zack Zalon: Local isn’t where a station is run from. Local is the experience that listeners have when they consume the product. Local is the shared context of a radio station’s output — it’s an anchor for listeners. The idea that in order to be “local” you have to actually be local makes no sense anymore. I don’t have to go to a movie theater in order to watch a movie anymore. Why do I have to be in a local studio to drive a local experience? Technology has solved both of those problems.

The Streaming Giants

Keith: Spotify, Apple and even Amazon have taken swings at making radio-like experiences stick, and they’ve largely failed. What do you understand and see that they haven’t?

Zack Zalon: I’d actually argue that Apple has done a really good job at radio. They hand-produce a small number of stations with an Apple-like feel, and offer them right on the main UI of their music app. Sonos Radio too — that’s an incredibly successful product, offering amazing listening experiences designed from the ground up for the Sonos ecosystem. Their TSLs outperform traditional radio by orders of magnitude.

Radio as a “style” works incredibly well in the digital domain, so long as it’s actually good and designed for the medium it’s being consumed on. Spotify isn’t wildly successful at radio simply because they don’t care about it. Amazon took a huge swing at user-generated radio, and it didn’t work because the product wasn’t good. If either of them wake up one day really caring about quality, I’m confident it will do very well commercially.

The 2030 Odds

Keith: If you had to bet your own money: in 2030, is radio unarguably thriving, will it have become more of a niche industry with different revenue and audience growth expectations, or will it continue to be very similar to how it is today?

Zack Zalon: Keith, we’re bootstrapped, so to be clear, we have bet our own money on radio. But we’re not investing with blinders on — we’re investing in the industry we believe radio will become. The FM dial itself will not be thriving in a traditional sense. There will be continued declines in listening, revenue, and relevance. AI will speed this up. It will change behavioral trends, open up countless new experiences to pull listeners away to new things to spend their time on. And it will change advertising and the decision-making that fuels spend.

But there’s still an incredible opportunity for value generation, even as things decline. 36% operating margins — that’s the goal. If you just use that as a baseline, if you work backward from that one metric, there’s a clear path that opens up for how to transform strategy and operations to support it and to keep your equilibrium as things continue to shrink. And for those companies that structure themselves the right way, there’s also a clear path for methodically moving into the digital domain. That way, your company and your brand can survive even if the FM band itself goes away at some point.

The Blank Slate

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

Zack Zalon: The Adizes Corporate Lifecycle Model reminds us that every company follows a predictable arc — from birth to death — and radio is no exception. Ignoring that reality is a choice. A fatal one.

Kodak invented the digital camera and died clinging to film. Blockbuster passed on buying Netflix. But the New York Times? They shed their identity as a paper-printing business and reinvented as a digital brand — 12.2 million of their 12.7 million subscribers are now digital-only. Adobe, Lego, Domino’s, Walmart — all rewrote their own stories before someone else wrote their obituaries.

So the question for radio executives is simple: Which one are you?

Reinvention isn’t optional. It’s the only exit ramp before the dustbin of history. And radio absolutely has the opportunity — if it’s willing to take it.

We want to work with the companies that answer that question the right way. Watch this space.

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.

Ramon Foster’s Tennessee Titans Promotion Puts Sports Radio’s Oldest Myth on Notice

John Mamola
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Ramon Foster’s Tennessee Titans Promotion Puts Sports Radio’s Oldest Myth on Notice

There are certain aspects of what makes sports radio unique compared to any other format that I tend to agree with as a rule. For example, talent should be the focus of content over callers. Also, a good sports radio program is not determined by the guest list it owns. However, there are other aspects of the business I don’t agree with. One is the belief that you must be from a market to talk about it. If you haven’t earned your colors growing up within the market, some still believe you cannot own that market’s airwaves.

For some programmers and executives, if you’re not from the market you aim to speak to, you’re already out of consideration. I’ve never agreed with that principle. You can scan nearly any market in the country and find talent holding major dayparts despite not being born and raised in the cities they command. Yet, some continue to live by this practice despite changing audience habits and evolving content consumption.

Then there’s the case of Ramon Foster, who was recently named the new radio analyst for the Tennessee Titans, replacing the late Dave McGinnis. Foster was born in Tennessee and played his high school football in the small community of Ripley, Tennessee. He also attended the University of Tennessee and played 44 games for the Volunteers.

Foster was born there, grew up there, and played for the Volunteers. Yet, when news broke that Foster was rejoining the Titans radio network, many in local sports media cried foul.

“The Titans hiring of Ramon Foster was a total slap in the face to the former players who played for the Titans,” tweeted former 102.5 The Game host Jared Stillman.

“The Titans just greeted all of their big-time alumni with a big slap across the face,” said longtime Titans beat reporter Paul Kuharsky.

Why do Stillman, Kuharsky, and several others feel this way?

Compare and Contrast

Foster is an 11-year veteran of the Pittsburgh Steelers, a direct rival of the Tennessee Titans. That aspect has value, not many teams move away from former players tied to their own organizations when building radio broadcasts. Still, should that part of Foster’s story outweigh everything else he has done and accomplished in the Volunteer State?

Over the 28-year history of the Tennessee Titans, the franchise has had only two other analysts serve in the role Foster is entering: Dave McGinnis and Frank Wycheck.

McGinnis was neither from Tennessee nor did he play in the state. He did, however, serve as a coach for the Titans for eight seasons while also spending time with three other NFL franchises.

Wycheck also was not born or raised in Tennessee. However, he played for the Titans beginning with the franchise’s move from Houston in 1996. Wycheck is also a member of the Titans Ring of Honor.

If we’re comparing backgrounds, Foster has deeper roots in the state of Tennessee because of his upbringing and college career. He also already worked with the Titans radio network as a sideline reporter for many years through the 2025 season. In addition, Foster co-hosts Ramon & Will on the Titans’ flagship station, 104.5 The Zone. Furthermore, he will pull double duty as the game analyst for Volunteers football broadcasts as well.

But because Foster once wore the black and gold, his promotion should be considered a “slap in the face” to Titans fans?

What matters more — the logo on a player’s helmet or the connection a personality has with the audience?

Best Available

Because if the argument against Ramon Foster is simply that he once played for the Steelers, then we’re ignoring everything else that makes him uniquely qualified for this role. We’re also pretending fans are incapable of understanding nuance.

This is not a broadcaster parachuting into Tennessee with no understanding of the market, its fans, or its culture. Foster’s roots in the Volunteer State run deep. His football journey started there, and college career flourished there. His media career has grown there. Perhaps most importantly, listeners in Tennessee already know his voice.

They already know his personality. They already know what he brings to a microphone.

That matters, no matter what colors he may have once worn.

Radio Audience Evolving

Unfortunately, some programmers and executives often forget that talent is talent, regardless of where you come from or what you have done previously. The days of needing to be from a place to have the authority to speak on it are dead and gone.

Sports radio and team broadcasts are ultimately relationship businesses. Audiences invest in people they trust, people who sound authentic, and people who understand the emotions tied to the teams they discuss.

Ramon Foster checks every one of those boxes regardless of what uniform he wore on Sundays. If anything, his NFL experience outside of Tennessee gives him an even broader perspective to bring into the booth.

The reaction to Foster’s hire feels less about actual qualifications and more about outdated territorial thinking that continues to linger in parts of sports radio. The belief that only “our guys” can properly represent “our teams” ignores how modern audiences consume content.

Fans care about chemistry, insight, and authenticity far more than birthplace or franchise allegiance from years ago.

Ramon Foster earned this opportunity long before the Titans officially handed him the headset. Once the games begin, the audience likely won’t care that he once wore black and gold. They’ll care whether he sounds informed, prepared, and genuine.

Chances are, he will.

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

How Would AI Fix Radio if It Were the New CEO

Bob Lawrence
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How Would AI Fix Radio if It Were the New CEO

These days, it’s no longer about whether we use AI or not. It’s instead how we use it. I use it for research, specifically to identify what industry folks like you are talking about and what concerns you most. I also read industry news and articles from other professionals. To decide whether I can offer another POV or perspective with insights you may find interesting and compelling.

The one constant in this process is that the top issues and concerns in our world all swim in the same seas. So again, this week I asked AI what it would do if it were CEO of a radio/media company today. Obviously, it only suggests ideas that already live online. However, it does parse through everything and identify the most common concepts.

So, in full transparency, here is the response from my ChatGPT query. Although I edited it for the sake of brevity and inserted my own italicized observations and thoughts.

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

<Original Query:> Considering the top issues and concerns of industry professionals. If you were CEO of a radio/media company, what would you do to improve your company’s listenership and revenue?

ChatGPT: If I were CEO of a radio/media company today, I would approach the business with one core belief: Radio is not competing to be the best technology. It’s competing to remain the most trusted and emotionally connected local media platform.

The industry’s biggest mistake has been trying to fight digital companies on their terms instead of maximizing the strengths only radio possesses. Solving the industry’s problems would require operational change, cultural change, and a completely new way of positioning radio to audiences, advertisers, and employees.

Bob Lawrence Feedback: That sounds reasonable. It appears that most companies have adopted a similar strategy. We have indeed heard about this “operational and cultural change” on nearly every quarterly earnings conference call over the past few years from virtually every CEO.

Step One – Local Personalities

ChatGPT: The first thing I would do is rebuild radio around local connection and personality. Over the last two decades, many stations reduced live talent, local content, and community presence in order to cut expenses. While that improved short-term profitability, it weakened the emotional relationship listeners once had with stations.

I would reinvest heavily in local personalities, local storytelling, and community involvement.

Stations should become visible, active brands in their cities again through events. Such as partnerships, charity work, live broadcasts, and audience engagement. Streaming platforms can deliver songs, but they cannot replace trusted local voices.

Bob Lawrence Feedback: Wow! Reinvesting isn’t a term we hear often outside of investments made to increase the share of digital business versus bolstering radio’s strength and power. Company commitment to hiring more local personalities and talent. While using storytelling and community involvement to improve the radio brand. That’s something we hear much about on earnings calls.

In fact, all evidence seems to point to the contrary with continued RIFs across the industry.

Step Two – Sales Philosophy

ChatGPT: Second, I would completely reinvent the sales philosophy. Too many radio companies still sell advertising inventory instead of marketing solutions. Advertisers no longer care about simply buying thirty-second spots. They want measurable business growth.

I would retrain sales staffs to function more like business consultants. Every client proposal would combine broadcast, streaming, podcasting, video, social media, influencer endorsements, and event marketing into integrated campaigns.

Radio companies already have relationships, reach, and trust within local markets. The key is offering those assets in a modern way.

Bob Lawrence Feedback: Some still have what I call a “spot mentality” and walk into client meetings with pre-packaged one-sheets. Most Market Managers and GSMs adopted a “business solution” philosophy a while back. Top sales trainers like Jeff Schmidt and Pat Bryson have promoted this philosophy for as long as I can remember.

That said, there are still seasoned sellers who don’t respond well to new-world training and continue selling with an old-school approach.

Step Three – Better Spots

ChatGPT: Third, I would dramatically improve commercial quality and listener experience. One of the biggest complaints about radio is excessive commercial clutter. Long stop sets drive audiences away and reduce advertiser effectiveness.

I would reduce commercial loads, increase pricing on premium inventory, and focus on higher-quality creative advertising. Great audio storytelling still works incredibly well when commercials sound authentic, emotional, and memorable rather than loud and repetitive.

Bob Lawrence Feedback: As someone who spent time in a few Market Manager chairs, this is certainly easier said than done. Especially when battling advertiser and listener perception, declining broadcast revenue, and pressure from corporate leadership.

It’s challenging to discuss premium rates with clients, even when logic explains their message will be far more effective. Without a doubt, though, “less clutter with more efficiency” makes complete sense.

Added Items

ChatGPT: Another major priority would be talent development and recruitment. Broadcasting cannot survive if younger generations view it as unstable or outdated. I would build partnerships with colleges, content creators, and digital influencers to identify future personalities and media leaders.

Young talent should be encouraged to build brands across radio, podcasts, YouTube, TikTok, and live events simultaneously. The future broadcaster cannot exist only behind a microphone.

Bob Lawrence Feedback: All of the above is accurate and already in play through organizations like National Radio Talent System, Broadcast Education Association, and many individual state broadcast associations.

I would add that local broadcast operators and managers need to build stronger relationships with area colleges, universities, and local sports franchises that broadcast and stream games.

Our industry has not adequately supported talent growth. In reality, the many cuts suggest broadcast media may not be the best choice for a stable future. As an industry, we have talked extensively about the lack of farm teams and players on our benches. We all need to take a more proactive role in talent recruitment through greater community involvement. The same applies to salespeople as well.

ChatGPT: Technology and digital expansion would also become central to the company strategy. Every station should operate as a multi-platform media brand, not simply an AM/FM signal. That means aggressive investment in streaming, podcasts, mobile apps, video content, newsletters, and social engagement.

Radio companies must stop treating digital as a side business and instead integrate it into every department.

Bob Lawrence Feedback: While some companies have adopted a “digital first” core mission, others follow what Saga Communications President/CEO Chris Forgy recently referred to as a “customer first” approach. Which includes full integration of both radio and digital.

I recall a research project I conducted for Star 94 Atlanta when Jefferson Pilot Communications owned it. We concluded that, at the time, Star was neither a CHR nor an AC station. Then Jefferson Pilot President Clark Brown said, “So what you’re saying, Bob, is that we have one foot in cold water and the other foot in hot water and, on average, we’re feeling OK, but in reality we are freezing off one foot and burning the hell out of the other?”

He was correct. The moral of the story is that you’re either all in or you’re out. There is no middle position.

I am still amazed at how many operators don’t have apps. Then there are companies like Steve Newberry’s Quu which helps empower client messaging with an added visual component through the listener’s auto dashboard.

Why would you not jump on that kind of opportunity?

ChatGPT: Finally, I would focus heavily on company culture and optimism. One of the industry’s biggest problems is internal negativity. Too many broadcasters speak as though radio is already dead, and that attitude damages morale, recruiting, sales confidence, and innovation.

I would build a culture centered around creativity, experimentation, local impact, and adaptability. The future of radio will belong to companies that stop defending the past and start confidently defining what local media can become.

Bob Lawrence Feedback: Radio still has enormous strengths. This includes trust, companionship, immediacy, familiarity, community, and emotional person-to-person connection. These qualities are even more valuable and important today than ever before.

As we continue to be led by algorithms and fragmented digital noise, the most successful media companies will continue evolving accordingly and will absolutely thrive in the years ahead.

The future of radio is not about broadcast towers versus streaming. That battle is a fool’s errand. The future rests in human connection over algorithmic isolation, and radio still holds that powerful advantage.

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.

Radio Once Owned Suspense. It’s Time to Reclaim It

Kevin Robinson
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Radio Once Owned Suspense. It’s Time to Reclaim It

Radio Once Made Listeners Lean In

For decades, radio captured suspense and promoted anticipation. It created attention for a brand’s biggest efforts. Great radio screamed: “Look at us.” This could be a huge Fourth of July concert, a massive promotion, or a powerful morning show benchmark.

America’s greatest stations built suspense around spring and fall book contests and community events. They teased, hinted, and developed curiosity. Listeners returned because they didn’t want to miss what came next.

Along the way, radio abandoned that craft. Some consultants even guided stations to “stay in the moment” and “you can’t change behavior.”

Informing Is Not the Same as Intriguing

Today, too many stations simply inform instead of intrigue. They post instantly on social media, reveal the punch line before the joke, and treat promotions like grocery store announcements. Meanwhile, morning TV shows, streamers, and YouTube creators are mastering the tease — an art radio once owned.

What Television and Streaming Got Right

Consider television. Promotion of a season finale creates genuine intrigue. Long-running shows like The Rookie take to Instagram to announce a renewed Season Nine. The thirty-second preview of Apple TV’s Slow Horses is simply Gary Oldman passing gas and the wretched reaction of other cast members. No plot reveal. No action shots.

Streaming services do the same with trailers and teaser campaigns. Even sports broadcasts spend an entire game promoting what’s coming up later that night. Human psychology is clear: curiosity is magnetic.

Radio used to understand this.

The Lost Art of the Quarter-Hour Tease

Legendary morning shows built massive quarter-hours by teasing a payoff ahead. “In fifteen minutes, you’ll hear what happened when Max accidentally sent the wrong text to his girlfriend.” Listeners stayed through commercials because they were emotionally invested.

Stations once promoted annual concerts and major appearances with genuine theater. A Street Team stop at a county fair felt like an event. Listeners anticipated it all week because the station made it sound larger than life.

Now, too often the promo sounds like an internal memo.

“Join us Saturday from 2 to 4 at Smith’s Furniture.”

That’s information. Not theater.

Emotion Must Come Before Content

Radio has forgotten that it must create emotion before it delivers content.

Even contests have become painfully procedural. Talent blurts every detail immediately — time to listen, caller number, and prize. Gone is the mystery. Zero momentum.

Radio still possesses a powerful weapon: the art of suspenseful storytelling. Great pre-promotion is not deception. It’s storytelling.

Fear Is the Real Enemy

Part of the problem is fear. Programmers worry listeners will leave if they don’t explain everything immediately. Yet with listeners drowning in information, emotional engagement is what cuts through.

We encourage this with clients — vertically through the morning and horizontally throughout the week. Instead of promoting “Tomorrow we interview the mayor,” we create intrigue: “Tomorrow morning, one local leader finally answers the question everybody has been asking.” That’s a lean-in pre-promote.

Morning television producers know audiences crave tension in the narrative. Watch CBS Mornings or The Today Show. During commercials, a “bug” or “crawl” pre-promotes a major interview with a time stamp later that hour. This approach builds quarter-hours consistently.

At one time, morning radio specialized in exactly this. In fact, radio helped invent it. Great morning shows in the 1980s and 1990s perfected structured daily and weekly payoffs. Most big shows kept listeners through their entire commute. Today, stations often give away everything in a single 6 a.m. social media post.

Tactics to Rebuild the Tease

Here are a few tactics for your shows and brands:

  • In the morning, pre-promote your largest benchmarks inside commercial breaks within the next quarter hour. Time-stamp the benchmarks and sell with curiosity.
  • With a large annual or semi-annual contest, tease the prize first. Then build intrigue around the timing. Retiring seasons of television often promote what happens in the season before even the show runners know the release date.
  • For your annual summer or Christmas concert, release one artist appearing — with several more, including the headliner, still to be announced. After paying off with the openers, pre-promote exactly when you’ll reveal the headliners. Have the artist or a local celebrity make that announcement for you.

Suspense Is Still Timeless Currency

Radio must also rediscover the power of suspense in everyday moments. Build excitement around appearances, school visits, and local celebrations the same way sports teams build anticipation for opening day.

Emotional anticipation is still powerful currency. It requires effort, creativity, and showmanship.

The stations that win in the future will be the brands that make listeners feel something exciting is about to happen.

This Friday, my wife Monica will retire after four decades of nursing. She has had a countdown clock on her phone since February. She looks at it more than once a day. That’s emotional anticipation.

Suspense is not old-fashioned.

It’s timeless.

And radio desperately needs it back.

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 Unpredictability Is News/Talk Radio’s Most Underrated Weapon

Peter Thiele
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Why Unpredictability Is News/Talk Radio’s Most Underrated Weapon

News/talk radio has always drawn eccentrics as listeners.

It has been a part of the appeal. An occasional call on the air from someone who is a fry order short of a combo meal.

So, what are we to do with these sanity-challenged individuals?

The appeal of news/talk radio is that anything can happen at any time. The unpredictability of the news is a huge selling point for our art. Part of that understanding is that callers are included in the mayhem. I personally think that the unexpected and unscripted is delightful. It is what makes listening essential. It’s called “danger.”

One of my mentors, Harry Valentine, described it this way: when you watch Law & Order, you don’t want the conclusion in the first five minutes. That would end the show. Many hosts don’t create the drama or the reasons to keep listeners around longer.

I get it, and have mentioned this fact in my column before. People are very busy and have less than a goldfish’s attention span. If you have that listener, why should they continue listening to your show or station? There are hosts whose next sentence I can predict without hesitation. That is certainly problematic. The unexpected is essential for your show.

Some music stations at one time played a “spice” song — a song that everyone in that audience knows but doesn’t expect. These songs were played a few times a week. Otherwise, that station was locked into the mission of that format. Do music stations still do this? Or has PPM data eliminated this practice?

Know Your Limitations — and Lean Into Them

Delivering the expected and a surprise at the same time is a real skill. I will say that if you are a host who does a couple of things well, but doesn’t have that “wow element,” know your limitations. I like leaning into those shortcomings. It makes you human and relatable.

While show prepping, are you asking yourself how to make this unique and memorable? I don’t want you to be a parody of yourself, but where is the fun? What position can you take that is consistent with your show but also unexpected?

What I am about to say is not a criticism. Some hosts are not particularly funny. This is where a member of the team can step in. Is there a news person or a producer who can inject those special moments? Since I may not know you or the inner workings of your show, you can analyze this yourself. Perhaps there is someone in production. I sometimes hear producers simply parrot what the host says. This is not a good thing at all. The host has already made an opinion or observation. The producer or sidekick needs to add something different to the discussion.

Every situation is different, but the recipe is the same. Unexpected moments create memorable radio. You’ve received this from a listener: “Remember when you spoke about…” I am willing to bet that you likely don’t remember those two minutes of radio that have impacted that listener for years or decades.

When you think no one is paying attention to your show, one of these comes along. There are people who are totally locked in on your show. Creating more memorable moments allows more people to be impacted.

For Hosts: Stop Lying to Yourself

Does your show feel fresh or stale? Why do you think that is? Are you scared to ask a program director or the station’s consultant for help? Anyone who has hosted a show for any amount of time has felt these emotions. We are broadcasting from a little box-sized studio. The host sometimes tries to get eye contact with the producer who is watching TikTok videos. It is very easy for a host to feel isolated in that studio.

The reactions of everyone in that studio are essential — even if the reactions are poor. When I was a producer, I would shoot a look at the host if something was not working well or if the host decided to go down the wrong path. It is very important for the host and the show. Hey, producers and board operators — you are basically deputy program directors when that show is on the air. You can make the show better or worse by your immediate feedback to the host.

I know a lot of hosts are working remotely. I personally believe that a video feed allowing the producer and host to see each other during the broadcast is extremely helpful.

If you have a team that has been together for years and they can basically finish each other’s sentences, you may be okay.

Create an environment where the host doesn’t feel like the show is stuck in a rut.

For Program Directors: Praise the Unexpected

Program directors, when there is an amazing moment on a local show, please let the host or hosts know. Tell them how great that moment was.

I did that in the past couple of weeks. I walked in at the top of the hour news and congratulated my morning show on a terrific hour.

Lean into building confidence when good work is done. Praise the unexpected and the delightful.

When your host gets uncomfortable, praise it.

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

YouTube’s Upfront Pitch to Advertisers Raises a Big Strategic Question

Garrett Searight
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YouTube’s Upfront Pitch to Advertisers Raises a Big Strategic Question

YouTube made a bold declaration last week at its upfront presentation. The platform didn’t just show up to compete with television — it essentially argued that it is television.

Comedian Trevor Noah, now hosting a creator-led show on the platform, summed it up plainly: “These days, everything is on YouTube, everything. Sports, entertainment, interviews, podcasts, you name it.”

He’s not wrong. Everything really is on YouTube. But that’s exactly the problem with the framing.

When you can legitimately claim to have everything, why would you want to be compared to something that’s losing ground by the day? Linear TV is a slumping medium. Streaming is fragmented and increasingly frustrating for consumers. YouTube doesn’t need to sit at that table. It should be building its own.

The smartest play isn’t to say “we’re as good as TV.” It’s to say “we’re what TV always wanted to be.” That distinction matters — a lot — and YouTube’s upfront messaging blurred it in ways that could cost the platform its most valuable asset: its identity. There’s a version of this pitch that makes every advertiser in the room lean forward. Unfortunately, the TV comparison isn’t it.

The Advertiser Argument

Marketers love data. They also love reach. YouTube delivers both in ways that traditional television can’t touch. Consider that 91% of U.S. adults used the platform in November. That’s not a TV stat. That’s a utility stat — the kind of number that puts YouTube in the same conversation as Google Search or the smartphone itself.

So why frame the pitch around television comparisons at all? Linear TV carries decades of baggage. It’s appointment viewing that audiences increasingly skip. It’s a medium that’s been shedding advertisers for years, and the ones who’ve stayed are doing so out of habit more than conviction. Leaning into that comparison doesn’t elevate YouTube’s position — it anchors the platform to a sinking ship.

YouTube should lead with what it does differently. Precision targeting, creator authenticity, measurable ROI, and a global audience that skews younger than anything broadcast can offer — those are the selling points that make a CMO sit up straight. Advertisers love the shiny new toy, and despite its age, YouTube still functions as that shiny new toy in ways its competitors don’t. The platform delivers the kind of performance data that makes a media buyer’s job easier and their results more defensible. TV envy isn’t a strategy. Data dominance is. Those are two very different pitches, and only one of them wins the room in 2026.

The Creator Angle

Here’s something the upfront presentation risked overlooking: creators built YouTube. Not executives, not ad sales teams — creators. And what made YouTube magnetic to those creators wasn’t that it resembled television. It was that it didn’t.

YouTube has always been the renegade platform. There’s virtually no barrier to entry, minimal gatekeeping, and a direct financial relationship between creator and audience. That’s the antithesis of traditional TV’s model. So when YouTube positions itself as a TV equivalent, it sends a complicated signal to the very people who made the platform worth advertising on in the first place.

Creators chose YouTube because it was cool — because it felt like an alternative, not an imitation. That perception still matters more than the platform’s leadership may realize. The coolness factor isn’t just a soft branding win; it actively drives the quality and volume of content that keeps viewers coming back week after week. Positioning YouTube as “just like TV, but online” undercuts that creative energy in a meaningful way. It trades the renegade for the establishment, and that’s a trade worth scrutinizing.

There’s also a talent pipeline to consider. The next generation of breakout creators is deciding right now where to build their audiences. They’re choosing platforms that feel like opportunities, not institutions. If YouTube starts to feel like another version of the old media gatekeepers, that calculus shifts. The platform can’t afford to lose that edge — not when its entire value proposition to advertisers rests on the strength and authenticity of its creator ecosystem.

YouTube isn’t TV. It’s better than TV. And the sooner it starts framing things that way — for advertisers, for creators, and for itself — the stronger its position becomes. The comparison was never a compliment. It’s time to stop accepting it as one.

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.

Essential Tips for Transitioning From Live to Online Poker

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Essential Tips for Transitioning From Live to Online Poker

Poker has always evolved alongside technology. What once thrived exclusively in casinos and card rooms now attracts millions of players to poker online platforms every day. For experienced live poker players, moving into online poker can feel exciting, but also surprisingly challenging. The fundamentals remain the same, yet the pace, psychology, and strategy shift dramatically once the game moves to a screen.

Many players assume that strong live results automatically translate into online success. In reality, online poker requires a different skill set. Faster gameplay, data driven decision making, multitabling, and reduced physical reads all create an entirely new competitive environment.

As digital gaming and online entertainment continue to grow, more poker players are transitioning from felt tables to virtual ones. Understanding how to adapt effectively can make the difference between becoming a winning online player and struggling to keep pace.

Understand the Speed Difference

One of the biggest adjustments for live poker players is the speed of online games. In a casino, a player may see around 25 to 30 hands per hour. Online, even a single table can deliver more than double that amount. Players who multitask across several tables may experience hundreds of hands in a short session.

This faster environment changes everything. There is less time to reflect on decisions, observe patterns, or recover emotionally after a bad beat. New online players often feel overwhelmed because the game moves continuously without the natural pauses that exist in live settings.

To adjust successfully, it helps to start slowly. Playing one table at first allows players to focus on timing, software navigation, and betting patterns without unnecessary pressure. As confidence grows, adding additional tables becomes much easier.

Accept That Physical Reads Disappear

Live poker heavily relies on physical tells. Players observe body language, facial expressions, chip handling, and speech patterns to gather information. Online poker removes almost all of these visual cues.

For many live players, this feels uncomfortable at first. However, online poker offers alternative forms of information that can be just as valuable. Betting speed, sizing tendencies, fold frequencies, and timing patterns become critical indicators.

Successful online players pay close attention to these digital behaviors. For example, a player who instantly checks every weak hand but pauses before betting strong hands may unknowingly reveal useful information.

Learning to recognize these patterns takes practice, but over time, they become as meaningful as traditional live tells.

Focus More on Mathematics and Data

While poker has always involved mathematics, online games tend to reward technically disciplined players more consistently. The faster pace leaves less room for instinctive decision-making and more emphasis on probability, ranges, and expected value.

Many online players use tracking software and heads-up displays to analyze opponents and improve performance. Even players who choose not to use advanced tools should still become comfortable reviewing hand histories and identifying statistical trends.

This analytical approach can feel unfamiliar to players who built success primarily through table presence or interpersonal dynamics. Yet online poker rewards precision. Small mistakes repeated over thousands of hands can quickly become expensive.

Developing a stronger understanding of pot odds, position, continuation betting frequencies, and range construction can significantly improve online performance.

Protect Your Bankroll Carefully

Variance often feels more intense online because games move so quickly. A difficult session that might take an entire evening live can happen in under an hour online.

This increased volume means bankroll management becomes even more important. Players transitioning online sometimes underestimate how aggressive swings can become, especially in tournaments or fast-paced cash games.

A disciplined bankroll strategy helps reduce emotional decision-making and protects long-term consistency. Many experienced players recommend maintaining a larger number of buy-ins in online games than in live poker due to the higher variance.

Patience matters. Online poker rewards players who think long-term rather than reacting emotionally to short-term results.

Learn the Importance of Position

Position has always been important in poker, but online games magnify its value. Because online players often play more aggressively and with wider ranges, acting last creates a substantial strategic advantage.

Players transitioning from live games sometimes play too many marginal hands out of position because slower live environments occasionally allow for more flexibility. Online opponents tend to exploit these mistakes quickly.

Tightening hand selection and prioritizing positional awareness can improve results immediately. Strong online players consistently maximize opportunities when acting late while minimizing difficult decisions from early positions.

Avoid Emotional Tilt

Tilt affects every poker player, but online environments can amplify frustration. Bad beats come faster, players may encounter anonymous opponents, and the constant pace leaves little time to emotionally reset.

Without the social atmosphere of live poker, emotional reactions can spiral quickly. Chasing losses, increasing stakes impulsively, or playing tired often leads to poor decision-making.

Creating structured playing habits helps maintain discipline. Setting session limits, taking regular breaks, and reviewing difficult hands calmly can prevent emotional mistakes from escalating.

Mental endurance is one of the most underrated skills in online poker. The strongest players understand that consistency matters far more than short bursts of emotional play.

Build a Comfortable Playing Environment

Unlike casinos, online poker allows players to fully control their environment. This creates both advantages and distractions.

A poor setup can hurt concentration and decision-making. Notifications, television, social media, or background noise often reduce focus during important tasks. Creating a dedicated playing space helps improve consistency and reduce mental fatigue.

Comfort also matters physically. Since online sessions may involve long hours at a computer, investing in proper seating, lighting, and screen setup can improve both performance and endurance.

Professional online players often treat their setups like workspaces because concentration directly affects profitability.

Study More Than You Play

One major difference between average and successful online players is the time they spend studying. Online poker evolves rapidly, and strategies that worked a few years ago may no longer remain effective.

Reviewing sessions, analyzing mistakes, watching training content, and discussing hands with other players can dramatically accelerate improvement.

Live players transitioning online sometimes rely too heavily on experience alone. While experience remains valuable, online environments reward players who continuously adapt.

The most consistent winners approach poker like an ongoing learning process rather than a static game.

Start at Lower Stakes

Even experienced live players benefit from beginning online at lower stakes than they normally play in casinos. Online player pools can be surprisingly competitive because many regulars play large volumes and study extensively.

Starting smaller reduces pressure while allowing players to learn software, pace, and strategic differences comfortably. Once confidence and results improve, moving up becomes much safer and more sustainable.

There is no disadvantage in taking time to adapt. In fact, patience often prevents costly mistakes during the transition period.

Final Thoughts

Transitioning from live to online poker is not simply about changing platforms. It requires players to rethink pacing, psychology, strategy, and discipline. The strongest live players often succeed online not because they rely on old habits, but because they adapt willingly.

Online poker offers incredible opportunities for growth, convenience, and competition. Players can access games anytime, study their performance in detail, and gain experience much faster than in traditional live environments.

Those who embrace differences rather than resist them usually experience the smoothest transition. Poker remains a game of skill, patience, and decision-making regardless of where it is played. The challenge lies in learning how those skills translate in a digital world.

LIV Golf Reportedly Seeking Private Investment for League Survival

John Mamola
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LIV Golf Reportedly Seeking Private Investment for League Survival

LIV Golf is reportedly seeking $250 million to survive without Saudi support. According to reporting by Axios, the Saudi-backed league is seeking up to $250 million from outside investors for future survival.

What We Know: LIV launched in 2022, funded by Saudi Arabia’s Public Investment Fund (PIF) to rival the PGA Tour. Saudi PIF currently owns nearly all of LIV and roughly 75% of each team associated with the league. Currently, LIV Golf claims it can reach profitability in just 20 months should it secure the full $250 million. However, if LIV does not, reporting states the league will be reliant on “rising team values and a new media rights deal” in order to reach profitability.

What’s At Stake: The future of the promotion lies in the hands of added investment following the PIF’s decision to pull funding at the end of this current season. According to reports, the PIF funding being pulled is to be in excess of $5 billion. Yasir Al-Rumayyan, the governor of the PIF and the chairman of LIV Golf, says he will be stepping down.

What Remains Unclear: No specific suitors have emerged yet. Outreach will likely target private equity, family offices, and individual billionaires. Furthermore, LIV’s media rights future remains hanging in the balance as well. Currently, LIV Golf is in year two of a multi-year agreement with FOX Sports. Any exact figures of rights fees paid to LIV Golf currently are not official. Although reporting shows the fees to be “nominal” in comparison to LIV Golf’s viewership.

What It Means: Saudi involvement cost LIV Golf sponsors, golfers, and audiences. The league never truly rose to the level that the original founders felt it could. Since news of funding being pulled, several LIV Golfers sought out their journey back to the PGA in hopes of a return. If the league finds private funding enough for its survival, it will be interesting to see from whom. Especially with the landscape of golf currently and a renewed energy with the PGA Tour since new CEO Brian Rolapp joined last year.

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.

NPR Offering Buyouts to 300 Employees, Looking to Cut $8 Million From Budget

Garrett Searight
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NPR Offering Buyouts to 300 Employees, Looking to Cut $8 Million From Budget

A reduction in federal funding has left NPR looking at the elimination of some staff members. It is hoping to cut $8 million from its annual budget.

What We Know: NPR is offering buyouts to roughly 300 employees in an effort to cut the budget. The company says it will accept up to 30 buyouts. However, if it does not receive 30 buyouts, it will enact targeted layoffs. Buyout offers are good until next Tuesday, May 26th.

What They Said: “The extraordinary generosity of donors across the nation has really mitigated some of the hardest impacts of the loss of federal funding. I am relieved that that is the case. And now it is our responsibility to ensure that we take that gift that they have given us and use this time to get to a place where we are sustainable for the future.” -NPR CEO Katherine Maher

What Remains Unclear: How much of the budget cuts are related directly to employee compensation. Many of the highest-earning members of the staff — hosts of prominent shows — are ineligible for the buyout offers. The buyout offers are currently targeted at members of the newsroom. It is unclear if potential layoffs will also be directed at that division.

What It Means: NPR has recently received a pair of gifts that are two of the three largest it has ever received. Despite that influx of cash, Maher and other leaders say they are doing what they can to be the best stewards of those gifts.

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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