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Rich Eisen Excited To Roll up the Sleeves With New NFL Network, ESPN Partnership

BSM Staff
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Rich Eisen Excited To Roll up the Sleeves With New NFL Network, ESPN Partnership

Veteran broadcaster Rich Eisen shared a candid and emotional response to news that ESPN will assume control of NFL Network operations during The Rich Eisen Show Wednesday. He called the move “exciting,” and was blown away by the news.

Eisen, who helped launch NFL Network 22 years ago, reacted to the groundbreaking media deal offering both personal reflection and measured optimism about the transition.

“I’m blown away,” Eisen said. “Totally blown away that this is happening—but in a good way for various reasons.”

The longtime NFL Network host expressed pride in the legacy built by the NFL Network team, many of whom have been with the operation since its early days. With ESPN acquiring operational control in exchange for a 10% stake in the NFL’s media properties, Eisen viewed the deal as validation of the work put in over two decades.

“I just think of the 22 years of people that I have worked with from jump who are still there. Or over the 22 years who are still there who are diehard NFL fans and poured their blood, sweat, and tears into creating the NFL Network and creating a sense of style and substance. It became its own brand,” he said. “Now, that [brand] is part of a package worth 10% of one of the greatest sports media companies ever created.”

Eisen noted the new arrangement creates opportunities for synergy, not competition. He pointed out recent crossovers between NFL Network and ESPN talent, including his own appearance on First Take and Daniel Jeremiah’s contributions to NFL Live. He suggested this collaboration may become a year-round norm.

“Now I guess it’s just 24/7, 365,” he said. “It’s a brave new world. I know the NFL management team is excited about this moving forward.”

Still, Eisen acknowledged there are unanswered questions. As he spoke, NFL Commissioner Roger Goodell was preparing to address NFL employees during a town hall. Eisen said he was eager to hear details from that conversation and learn more about how the deal impacts NFL Network’s Englewood, Calif., headquarters and its personnel.

“There’s a lot of spaces to fill up and a lot of NFL to talk about. There’s a lot of people who know how to do it and sitting there with institutional knowledge of the NFL Network and the NFL already built into our DNA. You don’t need to introduce us to the league,” Eisen emphasized. “We’re ready to roll up our sleeves and get to work.”

Looking ahead, Eisen remained hopeful that the unique culture and production style of NFL Network will remain intact—even under the ESPN umbrella. With Disney’s ESPN+ and direct-to-consumer strategy expanding rapidly, the move could provide greater reach for NFL content across platforms.

In the end, he couldn’t help but marvel at the poetic nature of the moment.

“Twenty-two years after launch, it’s worth so much that let’s just swap,” said Eisen. “Like Al Michaels’ memoir says—‘You can’t make this up.’”

Last month, ESPN announced The Rich Eisen Show will take over ESPN Radio’s national noon-to-3 p.m. ET time slot beginning Tuesday September 2. Eisen will be taking over the timeslot currently occupied by Joe & Q hosted by Joe Fortenbaugh and Qiant “Q” Myers.

Eisen’s radio program, which is currently distributed by Westwood One and also airing on SiriusXM, will stream live on Disney+ and ESPN+ beginning this fall on the new ESPN direct-to-consumer platform as well.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Kansas City Chiefs Announce Pre-Season Television and Radio Broadcast Teams

BSM Staff
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Kansas City Chiefs Announce Pre-Season Television and Radio Broadcast Teams

The Kansas City Chiefs have unveiled their preseason broadcast lineups on television and their full season radio team for the 2025 campaign, returning familiar faces on the television side while introducing new voices to their English and Spanish-language radio networks.

All three preseason games will once again air locally on KSHB 41 and be produced by 65 Toss Power Trap Productions. The television booth remains intact from last season, with Ari Wolfe back for his sixth year handling play-by-play duties. Joining Wolfe is longtime color commentator Trent Green, who returns for his 15th season in the role. NFL Media personality and Kansas City native Kimmi Chex will be on the sidelines for the fourth year, while Chiefs Senior Team Reporter Matt McMullen contributes features for a fifth consecutive season.

“We are excited to continue with a tremendous lineup to represent the club for the preseason broadcasts,” said Chiefs VP of Content and Production Robert Alberino, Jr. “Our goal is to consistently deliver world-class broadcasts to Chiefs Kingdom, and it all begins with a trip to Glendale, Arizona, to kick off the preseason against the Arizona Cardinals on August 9.”

On the radio side, there are a few significant additions. The Chiefs Radio Network, anchored by Audacy’s 96.5 The Fan, will see the return of legendary voice Mitch Holthus for his 32nd season. Holthus has called a franchise-record 533 games and is the recipient of nine total Sportscaster of the Year honors across Kansas and Missouri.

Former Chiefs wide receiver Danan Hughes remains in the booth as color analyst for his sixth year, while veteran sideline reporter Josh Klingler also returns for a sixth season. Joshua Brisco joins the broadcast in 2025 as the new pregame and postgame show host, while Eric Townsend steps in as Executive Producer for the network.

“We’re continuing our great partnerships with Audacy as well as Tico Sports for our radio broadcasts,” Alberino added. “The quality of broadcasts available to Chiefs Kingdom over the radio airwaves throughout preseason, regular season, and postseason are second-to-none and are reflective of the incredibly talented teams at the Chiefs Radio Network and Tico Sports.”

Tico Sports will once again provide Spanish-language coverage for all Chiefs games in 2025. Oscar Monterroso, who has produced and called five Super Bowls, enters his second full season as the Spanish-language voice of the Chiefs and his 10th with the organization. Hannah Bassham returns as analyst in her second year in the role after eight seasons as sideline reporter. Alvaro Alvarez joins the team for his first year reporting from the sidelines.

The Tico Sports broadcast is available on the Audacy app, on KSSA “La Ke Buena” in western Kansas, and streamed via the Chiefs Mobile App, the Tico Sports website, and NFL+.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Is ESPN Direct-To-Consumer Service Enough To Bring Fans In?

John Mamola
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Is ESPN Direct-To-Consumer Service Enough To Bring Fans In?

If you build it, he will come. Field of Dreams is one of my personal favorite movies of all time. The love and passion for the sport of baseball mix with a love story between a son and his father. Risking everything by plowing down his cornfield and setting up a baseball field, he hopes to patch up a long-lost relationship people had with the sport (and people) they loved. ESPN is taking the same risk with its new direct-to-consumer streaming product.

Sports is the single most-watched product in the United States. It’s appointment viewing in an on-demand world. The fear of missing out on the live experience and interaction on digital is paramount to the consumer. As ESPN is set to launch the ESPN DTC product on August 21, it has laid out a solid sales pitch to attract cord-cutters to give the product a chance.

The question that remains to be answered is: will they come?

The concept of ESPN developing its own way for consumers to solely invest in its product is nothing new. Planning what ESPN DTC would be has been underway for many years. This was not a group of high-level executives sitting in a smoky room crafting its inception on a whim.

The years-long project is finally set to be unveiled—all at the low price of $29.99 for the first year.

What ESPN Is Offering

You want Pardon the Interruption on ESPN? You got it.

How about Florida taking on Kentucky on the SEC Network? You’ve got that too.

Every ESPN linear network plus ESPN on ABC, ESPN+, ESPN3, SEC Network+, and ACC Network Extra—all there for you. Over 47,000 live events, on-demand replays, studio shows, original programming, and more to feed the sports fan in all of us.

Was that enough for you to consider subscribing? Consider this:

ESPN already has broadcasting rights agreements with the NFL, NBA, NHL, NCAA, and likely will find some agreement soon with MLB.

Not enough for you?

ESPN just sold 10% of its equity to the NFL. This means (if approved) ESPN will now run the NFL Network and NFL RedZone, plus add three additional games to its network.

If the NFL is showing they believe in the future of ESPN, will the consumer?

If that wasn’t enough, ESPN just announced a five-year agreement with the WWE to have the new ESPN DTC product be the exclusive home of WWE’s premium live events. These were currently housed—through March of 2026—on the Peacock streaming service.

Is that not enough for the sports fan?

The UFC and WWE are owned and operated by the same company, TKO Group Holdings. Do you think for a second, with the broadcast rights coming up for the UFC, that ESPN won’t be a player in some capacity?

Why ESPN Had To Evolve

In the age of streaming companies like Amazon, Netflix, Apple, and Peacock paying top dollar for live sports, ESPN’s heritage brand has its fingertips in it all. For the first time, people who choose to cut the cord have an option to get everything they had—and more—from a company that is betting everything on the subscriber.

ESPN is even being considerate to those who remain on cable or satellite providers, allowing access to the DTC product through their cable or satellite subscriptions for the time being. It’s a smart approach to ramp up subscribers by providing a massive amount of content upfront, with the hopes that cord-cutting continues as a trend—leading to an option when the final cut is made.

While a lot of information all at once can be confusing for some, the simple point of all of this is: ESPN is no longer just about sports. It has signaled a new focus—delivering entertainment to the sports fan in any way, shape, or form—with hopes of longevity in the emerging sports ecosystem.

By enlisting the NFL to own a 10% stake in ESPN, the network is signaling it’s open for business. Why wouldn’t the NBA, MLB, NHL, or other sports properties consider that as an option?

The concern: Will investment by the leagues lead to slanted or restricted coverage of the leagues? Potentially.

However, with declining trust in journalism by the consumer—does it really matter?

The Consumer Wants To Be Entertained, Nothing More

Does it matter that ESPN licensing its brand to a sportsbook now coexists with a partial ownership stake by a sports league?

Does it matter that there could (and probably will) be preferential treatment to ESPN by leagues that professionally acquire stake in ESPN?

Does ESPN now give preferential treatment to the NFL over other leagues, causing more friction between the leagues and the network? Does this prove Rob Manfred right in his criticism of ESPN when they announced their mutual separation, saying he was not pleased with the minimal coverage ESPN provided baseball in recent years?

Would an ownership stake in the NFL continue to affect the approach ESPN has with other leagues?

Sure. There are a lot of questions to be asked—but does the consumer care, or do they just want to be entertained?

While many questions remain, one answer is clear. ESPN is going all in. For better or for worse, it’s what the network feels it must do to remain a major player in the sports ecosystem. Times have changed, and they are changing with the times.

What ESPN has done in crafting its positioning for the launch of ESPN DTC is in the same vein as Ray Kinsella plowing his cornfield: betting on a vision, catering to a calling—and time will tell if they will come.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How a Pop Quiz Can Tune Up Your Rock Radio Team

Keith Cunningham
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How a Pop Quiz Can Tune Up Your Rock Radio Team

It was my enemy. The dreaded pop quiz.

I wasn’t a fan of school — at least not the “go to class and study” part. But I’ve come to appreciate the pop quiz. It wasn’t really about grades. It was the teacher’s way of learning more about their class: who’s tracking ahead of schedule, who needs help, and who might need a parent-teacher chat.

At RockTernative Radio, a pop quiz can serve similar purposes.

And I don’t just mean for talent. I mean the whole staff — on-air, sales, promotions, engineering, the Excel department. Drop a short, focused quiz on the team and you’ll learn:

  1. Who’s paying attention
  2. Who’s aligned (or not) with the station’s mission
  3. Who might be in the wrong seat
  4. Who’s being overlooked

It’s not “gotcha.” Staff names can be optional. It’s also not a precursor for employee reviews. The goal is to take the temperature of the room and spark insight you won’t get from Slack threads, a bagel meeting or group text.

Don’t you want to know:

  • Does the air staff understand the “whys” behind programming moves?
  • Does the sales team really know what they’re selling?
  • Are there great ideas hiding with the street team or up at the transmitter?

You’ll already know some of what you find. But the quiz can unify your team and help more people feel like part of the mission.

We’ve all been there before: a lot of folks don’t ask questions for fear of looking dumb. This quiz tears down that barrier, and everyone will learn something. If you want part-timers, VT’ers and remote teammates — who can understandably seem less engaged — to have more passion and fight harder, this brings them into the game plan. It lets them suit up.

Here’s how the Rock Pop Quiz works:

  1. Call an all-staff or department meeting. Zoom in whoever is out of town.
  2. This is paper and pen — no Google Docs, no digital cheating.
  3. Everyone gets the same quiz. Five to ten questions. Short answers.
  4. No talking, no groupthink. Just like 7th grade.
  5. Names at the top are optional. You’re not handing out grades.
  6. Collect them when finished and go over the answers as a group. Make it interactive. Laugh. Learn.
  7. It’s OK to not know everything — no one should know every answer. That’s the point.

The team will feel more informed and smarter. But here’s the payoff for you — Extra Credit.

New sheet of paper. Names required this time. Just two questions:

  1. What’s the best creative idea you have for the station? Promotion, morning show idea, someone to hire, music ideas, marketing — anything.
  2. If you were in charge, what’s the first thing you’d change tomorrow? (Hiring Sydney Sweeney and Free beer Fridays don’t count.)

You’ll get gold from this. Maybe some from surprising places. Over the years, I have seen great ideas come from workers who aren’t usually asked to provide input.

You don’t need to do this monthly. Once per year might be enough for most departments. For the content team, it can be more frequent, with a different theme each time — such as music, competition, audience profile, Nielsen, or sales strategy. I just planned your next five meetings.

Want a list of sample questions?

Hit me on the email below, tell me your focus, and I’ll send you a small set.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Marketing Math: What Smart Advertisers Invest

Bob Lawrence
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Marketing Math: What Smart Advertisers Invest

Advertising and marketing are obviously essential for generating growth, brand awareness, customer acquisition and sustainability. However, one of the most common mistakes we see among business owners and executives is the amount of the company’s gross revenue that must be allocated to marketing and advertising. 

There’s No One-Size-Fits-All Answer

It’s clearly not a one-size-fits-all answer. It depends on industry, business size, stage of growth, and strategic goals. However, there are well-established and important benchmarks that should serve as a general guide.

The bad news is that only a painfully few recognize that it is not an expense. It’s a necessary investment that can be directly tied to success.  

The 5%–10% Rule of Thumb

The generally accepted rule of thumb suggests that companies allocate 5% to 10% of their gross revenue to advertising and marketing. This range is considered a solid baseline for building and maintaining visibility in competitive markets, as well as supporting consistent growth.

5% is generally seen as the minimum for companies with stable market positions and modest growth goals.

10% (or more) is often recommended for companies aiming for aggressive growth, launching new products, or entering new markets.

Using $1 Million in Revenue as a Baseline

So, what factors should influence the decision? We will use a baseline of $1,000,000 in annual gross revenue as an example.

Your Business: Determine where the business sits. We have all read about business cycles that include the infancy stage (the brand-new start-up). The go-go stage (no one is sure where to go – they’re just told to go!!) The prime stage (everyone has their role and there’s little fat.) And then the bureaucratic stage (nothing gets done because there are too many levels of needlessness. Governments are the classic examples.)

Startups and New Businesses

Startups and New Businesses often invest 15% to 25% of their revenue in marketing, especially within the first few years. The focus must be on building brand recognition, generating leads, and establishing a market presence. For $1M in revenue, this translates to $150,000 to $250,000.

Established Companies

Established Companies: Typically invest 6% to 12% of revenue, using data-driven campaigns and customer retention strategies. Their marketing is often more optimized and targeted. The $1M in revenue means the investment should be between $60,000 and $120,000 annually.

Industry-Specific Standards

Other standards are suggested for various industries.  

Retail/Consumer Products: 8% to 15%.

Technology: 10% to 20%, especially for customer acquisition.

Healthcare and Pharmaceuticals: 7% to 12%.

Manufacturing and Industrial: Often 1% to 5%, due to longer sales cycles and more direct relationships.

Other B2B Services: 5% to 10%, with an emphasis on content and relationship marketing.

Business Goals and Competition

A company in a highly competitive or saturated market may need to spend more on marketing to capture attention. Similarly, launching a new product line or rebranding can temporarily raise the percentage of revenue needed.  

We’ve all read the marketing books that state, “First in Wins, unless someone else makes more noise with a louder voice.” So, make noise!  

Digital Marketing: Measurable, But Can Be Costly

The rise of digital marketing has made advertising seemingly more measurable and flexible. I have always believed the numbers are measured at the cash register!

Companies now focus not only on how much they spend, but on return on investment. It certainly follows that a lower marketing budget, if managed effectively, can outperform a larger, poorly targeted spend.  

That said, digital platforms like Google Ads, Facebook, and influencer campaigns can quickly drive costs up. Maintaining a consistent budget review and adjusting based on performance is essential.

Sample Marketing Budget Breakdown

Marketing budgets are typically split among several categories: advertising, content creation, public relations, social media, events, and marketing software. A typical distribution might look like this:

30% advertising (digital + traditional)    

25% content creation

15% marketing technology and tools

10% events and sponsorships

20% other (email, research, consulting)

Marketing Is a Growth Model

Again, there’s no single answer, but most companies can use the 5% to 10% of gross revenue rule as a starting point for marketing budgets. From there, businesses should adjust based on their specific goals, industry, and results.

Strategic marketing investment isn’t just an expense. It’s a growth model that should be managed with data, creativity, and consistency. If you’re in radio & digital advertising, keep in mind that 30% of $1,000,000 is $300,000.  That’s a spend of $25k a month.

Those will make any GM/GSM a very happy camper!

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How Marty McFly’s ‘McFly and The Ride’ Creates Partnerships

Jeff Lynn
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How Marty McFly’s ‘McFly and The Ride’ Creates Partnerships

For veteran radio personality Marty McFly, launching McFly and The Ride isn’t just about creating another syndicated Country radio show. It’s about creating a true partnership with stations and reimagining what syndication can deliver in both content and revenue.

McFly has partnered with longtime friend and collaborator Stew James.

After nearly four decades in the business, McFly says the timing couldn’t be better.

“I now never want to have my eggs all in one basket going forward. So, I’ve been thinking about this for years, but now’s the right time,” he said.

A Show That Works With Stations, Not Just For Them

What sets McFly and The Ride apart? According to McFly, it’s not just the chemistry or the music; it’s the business model. Rather than just pitching a plug-and-play show to stations, McFly is offering a true revenue partnership.

“We want to help you make money or help a station make money. And that’s outside doing breaks that resonate with listeners. Goal number two is to work with radio stations to help them make money by running our show and other revenue resources as well.”

That concept was battle-tested in Cookeville, Tennessee, where McFly provided a show that wasn’t just entertaining; it helped drive real financial results.

“Visiting with clients and working with clients and making the show in Cookeville make money for that radio station was kind of the groundwork for saying okay, we can do this for other stations.”

And McFly is clear that the show isn’t free, but it’s affordable and offers real ROI.

“The cost of our show is less than a minimum wage part-time person. But we can cover that cost and be a profitable show for a radio station.”

The metric of success, he says, isn’t about the number of affiliates; it’s about results.

“The only way to be successful is to get a letter from the stations that we work with at the end of this thing saying, yes, we were successful with this show because it was great content, and we make money off the show.”

What’s the Show Sound Like?

At its core, McFly and The Ride is a conversation between two longtime friends with deep roots in Country music.

“It sounds like two friends, because we are, that have been together for a long time. It’s easily relatable with what’s going on in pop culture or what’s going on that most people are talking about.”

And it’s not a celebrity-driven show dripping with industry name-drops. McFly distances himself from that approach.

“Most of the people I’m talking to are not pals with a Country music star. So, we try to be relatable with that. It’s not, ‘my boy Luke Combs is coming on.’ It’s not that kind of stuff.”

Instead, McFly and The Ride weaves Country music into the narrative organically, with musical features and commentary that feel authentic to the format and the audience.

“It feels like two guys sitting in your backseat talking about things that are circulating within your world.”

Country artist Morgan Alexander, a longtime friend of McFly’s, adds a layer of music credibility as part of the team.

“Morgan used to work part-time for me when I was PD at WKDF, so that’s where I first met him. And so, it adds an extra layer.”

Authenticity and Storytelling: The Show’s Core Values

Authenticity isn’t just a buzzword for McFly, it’s the foundation. And storytelling, he says, is a skill that sets good talent apart.

“Storytelling is important, and that is a learned craft. The best stories, the absolute best stories, are the ones taken from your personal life that actually happen, that people can relate to.”

He believes storytelling is about timing, knowing when to stop, and making the story land.

“Great storytelling is knowing when to stop the story and how to get to the endpoint.”

Built by a Student of the Greats

McFly’s radio roots run deep in Nashville, and his influences are radio legends. Each known for unique strengths.

“The local radio legend was Coyote McCloud here in Nashville. The disc jockeys were Coyote McLeod, Carl P. Mayfield, and Gerry House.”

“Carl P Mayfield could take a grain of salt and make it a beach. Jerry was witty and so relatable to his audience.”

While McFly is quick to say he can’t replicate the magic of those broadcasters, he cherishes the connections he made with them.

“I was friends with Coyote, filled in for him when he was sick a few times. I filled in for Jerry when he was on vacation. And I sat in the same studio seat Carl P. did at KDF.”

McFly and James Photo Courtesy Radio Resources

A True Partnership: The Elevator Pitch

McFly’s not just looking for affiliates. He’s looking for partners.

“We don’t want to offer you a show if you’re a station. If you’re a manager, we want to be your partner.”

That means open communication, direct access to McFly and his team, and a customized experience for every market.

“I don’t know how many people you work with who have the host’s cell phone number. But you’ve got mine. If you need help with something, we’re your partner.”

And it’s not just a matter of plugging in a time slot.

“We’re a partner that fits your needs. If you run a radio station, it will sound like we’re on your radio station. A living, breathing part of it, not just a show you put on.”

Final Word

With McFly and The Ride, Marty McFly isn’t reinventing the wheel. But he is approaching syndication by focusing on what local radio needs most: relatable content, revenue generation, and true collaboration.

“We want to be your friend. We don’t want to be just a show you put on.”

Find out more about the show by contacting syndicator Radio Resources here.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

The Podcast Industry Reacts to Amazon Instituting Mass Layoffs at Wondery

Garrett Searight
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The Podcast Industry Reacts to Amazon Instituting Mass Layoffs at Wondery

Earlier this week, a report surfaced that Amazon is shuttering the Wondery podcast studio that it purchased for a reported $300 million in 2020.

Since that report surfaced, Amazon has refuted the claims, stating that it will still utilize Wondery as a brand name, but has simply split the studio’s workforce into different divisions. Its narrative podcast studio — which features stories ike Dr. Death, American History Tellers, and American Scandal — will be absorbed by Audible. While it’s creator-based content will shift its strategy to better compete with the likes of YouTube and Spotify.

What isn’t up for debate, however, is that Amazon is slashing 110 jobs from the podcast industry.

Barrett Media reached out to podcast industry experts to gauge what their view of the development is, what it says about the current state of the industry, and if the job cuts and potential shuttering of a podcast industry titan signal rough waters ahead.

“This is a meaningful inflection point for the industry,” said Amplifi Media CEO Steven Goldstein. “While it may feel sudden, the writing has been on the wall. Audible had a significant footprint at Podcast Movement in April and was one of the most visible sponsors at Podcast Show London just a few months ago. I’ve spoken with one of their biz dev people. Those were strong signals that Amazon was preparing to realign its podcast strategy.

“This consolidation reflects a broader shift happening in the industry: the move away from high-cost, narrative-first podcasting toward more scalable, monetizable, and creator-driven formats—especially those that embrace video,” Goldstein continued. “Podcasting is maturing. The early phase was defined by experimentation, prestige content, and storytelling craft. Now, we’re seeing the gravitational pull of audience growth and monetization shift toward shows that move faster, connect with personalities, and perform well across platforms like YouTube and TikTok.”

“I do think it is important to note that this isn’t Amazon pulling out of podcasting,” said Sounds Profitable partner Tom Webster, who noted his company will do what it can to help those employees affected by the layoffs. “This is Amazon reorganizing podcasting into two different buckets – their big “creator” deals that involve multiple content platforms, and podcasts (generally audio) that are well-suited to be produced under the existing infrastructure of Audible. To me, this is less about the podcasting space and more about how Amazon typically ingests and integrates its acquisitions.”

“On the one hand, this reorganization is unique to Amazon’s business, especially given that narrative audio already had a home within Audible,” said Signal Hill Insights President Paul Riismandel. “At the same time, this is just another signpost indicating how podcasting is shifting, with the growing influence of creators and video. 

“Podcasting has always been a medium of creators, and I’d argue that podcasters were ‘creators’ before the term as we use it today was coined – Marc Maron or the hosts of My Favorite Murder are just two examples. There’s always been some line between host/creator-driven and narrative-driven podcasts, and many podcast studios have organized their business understanding this difference,” Riismandel added. “Some even specialize in one or the other.  So, at a macro-level, one can see the logic in Amazon splitting these teams.”

We also spoke with Lindsay Graham. Not to be confused with the U.S. Senator from South Carolina, Graham has hosted 86 seasons of American History Tellers for Wondery, with many other projects — including American Scandal and 1865, as well — for the studio.

He stated that, from his standpoint, Podcasting has “reached a moment of identity crisis.

“With the ‘rise of video’ has come some confusion about what podcasts even are, but more importantly, how they can be created sustainably and monetized properly,” said Graham. “It appears to me that Wondery has realized that there are fundamental differences between creator/celebrity/personality-driven shows that offer low production costs and greater portability to video, and those podcasts Wondery made its name on: audio-first narratives that take longer and more resources to make.

“For a single organization, these differences — in budget, in monetization, in content creation, in growth strategy, in audience development — can lead to a lack of focus,” Graham continued. “Should Wondery chase the big win of a hit creator-driven show? Can that sort of success even be predicted or created? Or is it always like catching lightning in a bottle? Or, should Wondery knuckle down on the yeoman work of putting out interesting and entertaining audio content, every week, like it does with American Scandal? There are not many true similarities between Dr. Death and New Heights. They’re made differently, they’re consumed differently, they’re monetized differently, they grow differently, they’re sustained differently. 

“This is the reality Amazon faced. It appears to me that they’ve made the decision to place audio-first, narrative content with Audible, a company that lives in the audio-first, narrative space, and has for decades. That’s their lane … For names like LeBron James, Travis Kelce, even Monica Lewinsky, this might be a better fit where there is enormous cross-platform or ‘pan-Amazon’ potential. A LeBron James podcast isn’t really a podcast; it’s a franchise extension.

“And this means, I hope, that podcasts like American Scandal — a show that has consistently received millions of downloads a month for years — can continue to live on without the pressure of trying to be something it’s not, without a ‘pivot to video’ FOMO pulling focus away from what it does well, and sustainably.”

All three of our experts agreed that the move doesn’t signal an abandonment of the podcast genre by Amazon. In fact, some argued that it could ultimately lead to an expansion for Amazon to allocate its resources more efficiently after cutting the staff at Wondery.

However, all state that there were major implications for the podcast business as a whole with this move.

“This is another chapter in the rapid evolution of the podcast space,” Goldstein stated. “Spotify wants to become YouTube. YouTube wants to become Netflix. And Amazon, long playing a broader audio game, now sees the need to approach this market with more scale and focus. It’s important to keep in mind the audiobook business is far bigger than podcasting – roughly $8 billion vs $3 billion, so there is great synergy and it must have made sense to fold it into Audible.  

“It also speaks to the growing divide between two very different kinds of podcast content: Creator-led, personality-first shows that are more nimble, often video-friendly, and align better with today’s consumption patterns. Narrative, story-first shows that are expensive and hard to monetize at scale,” he concluded.

When asked about what the move said about the future of the business, Tom Webster argued that the focus should be on the now, instead.

“It says a lot about the present of the podcast business, which is an acknowledgement of the importance of video, and Amazon’s restructuring here simply makes that clear,” said Webster.

“As far as its relevance to the future of podcasting, I’d say this: a couple of years ago, Amazon laid off a bunch of people from its Zappos acquisition. I believe the future of shoes, however, remains bright.”

Riismandel said the move isn’t likely to be a bellwether for the industry as a whole

“It appears Amazon is reacting to a changing marketplace and changing consumer demand that has already been the talk of the business for quite some time,” said Riismandel. “Podcasting is dynamic, and resilient. Despite many predictions of podcasting’s decline or death, today there are more podcast consumers than ever before.

“As long as people want and need media that is ears-first and eyes optional – and this shows no sign of slowing down – then podcasting has a bright future. Podcasting also benefits from a diversity of publishers, producers, creators, and platforms. It’s still true that no one actor yet has enough influence to make or break the medium.” 

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

5 Potential Landing Spots for Howard Stern If He Departs SiriusXM

Garrett Searight
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5 Potential Landing Spots for Howard Stern If He Departs SiriusXM

If reports are to be believed, the days of Howard Stern being a pivotal player at SiriusXM are numbered.

Stern’s contract is set to expire later this year, and he isn’t expected to come to an extension with SiriusXM.

“Sirius and Stern are never going to meet on the money he is going to want. It’s no longer worth the investment,” a source told British tabloid The Sun about the contract negotiations between the two.

Howard Stern joined the company in 2006 after a 20-year run at WXRK in New York, where his show was nationally syndicated with more than 60 affiliates. Few, if any, have played a bigger role in the satellite radio company reaching the heights it has.

There will be plenty of time to examine what Stern’s radio legacy, both at SiriusXM and on terrestrial radio, looks like.

But there’s a more pressing question: Where does Howard Stern go next?

Spotify

Howard Stern doesn’t want to do a daily show anymore — and Spotify doesn’t require one. That’s the beginning of the conversation.

Spotify has clearly shown it’s willing to bet big on audio personalities who don’t produce content five days a week. Joe Rogan uploads a few times per week, Call Her Daddy drops new shows weekly, and even Bill Simmons is selective with his podcast output. The platform seems more interested in exclusive, high-profile voices than in high-volume production schedules. That flexibility could be exactly what Howard Stern is looking for.

Stern has been open about his growing fatigue with the daily grind. His current SiriusXM deal, while lucrative, still comes with the expectation of a near-daily schedule for part of the year. Spotify’s model might allow Stern to increase his relevance with younger audiences. It could also control potential burnout.

What Spotify would gain is obvious: a marquee name with unmatched brand equity in spoken-word audio. Stern still draws headlines, moves audiences, and brings credibility in a way few others can. And for Stern, it’s an exit ramp from the satellite world and a reentry into a platform that has no hesitation about letting its stars control the cadence.

Spotify doesn’t need Howard Stern to do a show every day. They need Howard Stern to be Howard Stern. That might be a deal both sides could live with.

iHeartMedia

Howard Stern has always been a larger-than-life radio figure—and iHeartRadio has built its empire by collecting exactly those kinds of names.

From Ryan Seacrest and Bobby Bones to Premiere Networks staples like Sean Hannity and Glenn Beck, iHeartMedia has consistently prioritized star power. Adding Stern to that roster wouldn’t just be a natural fit—it would be a strategic one. He’s a once-in-a-generation talent with an unmatched ability to command attention, and iHeart has the infrastructure to amplify it.

More importantly, iHeart isn’t squeamish about strong personalities. Keith Olbermann has a prominent home on the platform. So does Charlamagne tha God. The company has shown it’s more than willing to host controversial voices from both ends of the political and cultural spectrum, so concerns over Stern’s edgier moments wouldn’t be a dealbreaker.

And with the iHeartRadio app continuing to evolve as a destination for both live radio and on-demand content, Stern could thrive in both formats. He could be the perfect guinea pig for the company to see if audiences will tune in when he goes live. And he can also drop podcast-style shows when he doesn’t. There’s flexibility, scale, and a company ethos that values brand-name talent.

Stern’s time at SiriusXM may be winding down, but that doesn’t mean his time in audio is. If iHeart wants to make the biggest move it’s made in years, Stern might be sitting right there, ready to talk.

NBC/Peacock

Peacock needs content — and not just sports programming. It could really use something different, something loud, something people will actually talk about. That’s where Howard Stern comes in.

NBC already has a history with Stern. He spent four seasons as a judge on America’s Got Talent, where the network had no issue promoting him in prime time. Stern was unpredictable, sharp, and — most importantly– watchable. He gave AGT credibility and edge. Now, I know that you could argue Stern has changed wildly since 2015. But that relationship could easily be rekindled in a way that makes sense for where both sides are now.

Imagine a weekly Peacock-exclusive Stern series where he does what he does best: long-form interviews with celebrities, politicians, musicians, and newsmakers. Not a daily radio show. Not a reboot of what he’s done before. Just Howard in a studio, sitting across from the biggest names in the world, going deep like only he can.

Peacock doesn’t have a signature non-sports personality right now. Howard Stern could give Peacock its first must-watch original that isn’t tied to live sports or next-day NBC content.

And for Stern, it’s a way to stay in the game without grinding five days a week. With name recognition, a platform that needs him, and creative freedom on the table — there’s a lane here that makes more sense than people might think.

X

If Elon Musk truly believes X is the last bastion of free speech, there’s no better person to prove it than Howard Stern.

Stern’s political leanings have turned off many of his old-school fans—and likely Elon Musk himself. But if Musk is serious about building a platform where every voice is welcome, even those who criticize him, highlighting someone like Stern would be a bold, values-first move.

Stern might never even entertain the idea. He’s been openly critical of Musk, and the feeling might be mutual. But the reality is, there are very few platforms on the planet that could offer Stern the kind of check—or creative latitude—he’d require to make a move. X is one of them.

A show from Howard Stern could cut through in a way nothing else on the platform does right now.

For Musk, it’s a way to show that X isn’t just a clubhouse for one side of the political aisle. For Stern, it’s a potential blank canvas with nearly unlimited reach—and money.

The idea feels far-fetched, sure. But Howard Stern doesn’t need conventional. He needs power, reach, and flexibility. Musk could give him all three.

_______________________________________________________________________________________

Ultimately, it’s probably most likely that Howard Stern does what basically everyone else does these days: launches a YouTube channel.

Because — and SiriusXM might not want to hear this — really, Howard Stern doesn’t need a company. He is the company.

After decades of corporate partnerships, the most likely move post-SiriusXM is independence via YouTube. No bosses, no filters, no restrictions. Just Howard doing what he wants, when he wants. He could broadcast weekly, upload clips whenever, and monetize through ads, memberships, and sponsors.

Stern already has the name recognition, the equipment, and the audience. Why split revenue with someone else when he can control it all himself? The play here isn’t a flashy new partnership — it’s a clean break and a YouTube channel with full creative freedom and zero red tape.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

The Watch: Face the Nation with Margaret Brennan, CBS News

Garrett Searight
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The Watch: Face the Nation with Margaret Brennan, CBS News

CBS News has struggled in the ratings with its nightly newscast. Face the Nation with Margaret Brennan, however, hasn’t struggled. It’s routinely the top program in the Sunday morning political affairs realm.

Brennan has been well established in the role. She’s hosted the program since 2018, taking over the reins from John Dickerson — who anchors CBS Evening News alongside Maurice DuBois.

That long tenure means viewers are familiar with Brennan, feeling a sense of comfort tuning in and seeing that usual face behind the desk.

But what else is it that makes Margaret Brennan the quasi-Queen of the Sunday morning political affairs arena? Let’s find out.

I watched the episode from this past Sunday — which featured interviews with Trade Ambassador Jamieson Greer, Bank of America CEO Brian Moynihan, and Dr. Mehmet Oz, among other segments — in the hour-long version of the show.

The program began — after the usual montage of what you’re about to see — with the interview with Greer. Brennan was transparent in that the interview had been pre-recorded on Friday, which only helps build credibility. It would have been easy to set things up to ask the first question of Greer, cut to one-shot on his answer, and see if the audience notices that Brennan isn’t wearing the same outfit she was to begin the show.

It also helps credibility by noting that if anything major happened, that could alter either the questions or answers in the interview.

Brennan flat-out grilled Greer throughout the somewhat lengthy interview. Critics will call it biased. A cynic might even argue Brennan is part of the “deep state.” But it felt like, from my viewpoint, a bulldog anchor trying to get answers for the American public.

She nailed down Greer on a number of items and forced him to give answers that he frankly didn’t want to give. But due to the insistence and toughness of Brennan, she got those statements from Greer.

As I sat and watched the show, I was taken aback by just how self-aware the program seems to be. It doesn’t try to be anything it isn’t capable of, and it doesn’t put Brennan in situations where she doesn’t excel. It’s clear that Margaret Brennan is an excellent interviewer. She isn’t as comfortable as the stereotypical news anchor, however. Not to say she isn’t good at it, but she’s not as good at that aspect of the job as she is at interviewing.

So, Face the Nation puts her in the best position to succeed. Fill as many openings and segments in the show with interviews — no matter how profile the guest — and see what happens. Brennan clearly has a game plan going into each conversation, and it shows.

Here’s the biggest takeaway I left Face the Nation with: Margaret Brennan isn’t trying to be friends with the people she interviews, and that’s exactly what makes her a successful Sunday morning anchor.

In a political media environment where some journalists are increasingly concerned with maintaining access and massaging egos, Brennan has carved out a reputation for tough but fair questioning. She is not interested in being liked by her guests. She’s interested in accountability. That’s a rare trait in 2025, when there are dozens of podcasts, YouTube channels, and friendly cable news outlets for elected officials and government insiders to appear on without breaking a sweat.

But Brennan, every Sunday on Face the Nation, insists on asking the question that might make someone squirm.

When lawmakers appear on CBS News, they’re met with a journalist who is more interested in pinning them down than giving them a runway to spin talking points. Brennan’s interviews regularly go viral, not because she’s inflammatory, but because she often manages to get clarity in moments where others would let the guest off the hook. She listens closely, follows up quickly, and, more often than not, makes news.

In an era where “access journalism” is its own beat, Brennan’s approach stands out. She doesn’t sacrifice precision for politeness, and she doesn’t soften questions to keep relationships intact. And it works. That’s why so many high-ranking officials continue to appear on her show. She doesn’t play games, she doesn’t sandbag, and she doesn’t grandstand — she just asks what viewers are thinking but may never get the chance to ask themselves.

There are more ways than ever for politicians and policy experts to control the environment around their interviews. They can decline a network hit and still reach millions. That makes it all the more impressive that Face the Nation still delivers meaningful answers from the country’s most powerful voices. Brennan’s credibility has become the show’s biggest draw. And that credibility is rooted in the fact that she’s not afraid to ask something that might make a guest think twice about coming back.

But they do. Because they know they’ll be treated fairly — and challenged. That’s Margaret Brennan’s edge. And that’s why Face the Nation still matters.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

FOX Sports Radio Reaches Contract Extension With Ben Maller

BSM Staff
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FOX Sports Radio Reaches Contract Extension With Ben Maller

FOX Sports Radio and host Ben Maller have come to terms on a multi-year contract agreement to keep the longstanding talent on the network through his 25th year with the company.

Maller announced the news on his personal social media feed, revealing that he’s accepted a “hometown discount” to stay with FOX Sports Radio and Premiere Radio Networks.

Maller joined FOX Sports Radio just a month after the network’s debut in 2000, and he previously served as an update anchor and host for the network until his overnight program debuted in 2014.

Since then, Maller has hosted the 2 a.m. to 6 a.m. program live from the Los Angeles, Calif.-based studios.

“BREAKING: After intense negotiations, we’ve reached an agreement in principle on a new multi-year contract to keep The Ben Maller Show rolling on Fox Sports Radio,” Maller tweeted. “This deal will take me past the 25-year mark with Premiere Radio Networks.”

Prior to joining FOX Sports Radio, Maller worked at KXTA “XTRA Sports 1150” in Los Angeles, Calif., where he hosted the popular midday program Ben & Dave Show, in addition to anchoring the post-game Dodger Talk with former longtime voice of the Dodgers, Ross Porter.

Moreover, Maller has previously served as an international correspondent for New Zealand’s premier sports station, “Radio Sport,” since 2009. He also worked as a television sports pundit at NBC Sports Network in Stamford, Conn., in addition to guest-hosting a number of local sports radio shows in Boston, Mass., Denver, Colo., and Anaheim, Calif.

He began his career as a radio reporter for “XTRA Sports 690,” the 77,000-watt all-sports blowtorch signal in San Diego, Calif. (XETRA).

In addition to his radio and television assignments, Maller enjoyed a successful career as a provocative sports blogger. He launched the sports news and gossip website BenMaller.com before writing nationally for FoxSports.com and Yahoo Sports.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

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