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Tucker Carlson Was Justified to Interview Iran’s President

Tucker Carlson has never shied away from controversy. His recent interview with Iranian President Masoud Pezeshkian proves that again.

Some were quick to criticize Carlson for the conversation with the Iranian President. The claim was that the interview gave a platform to a dangerous leader. But those quick to judge were missing the point.

Access matters. That’s something every reporter, columnist, or anchor learns early. If you get the opportunity to speak with a world leader — especially one adversarial to the U.S. — you take it.

Carlson did what virtually anyone would have done, had the opportunity been granted. He asked questions, got answers, and let viewers decide for themselves.

It’s popular to hate Tucker Carlson in some circles. He’s brash, provocative, and has made no bones about the fact that he doesn’t like to play by the establishment’s rules.

That doesn’t make him incorrect for featuring discussions like he did on Monday morning. Nor does it mean every interview he conducts is inherently harmful. Some act as if simply airing the thoughts of a foreign leader is “propaganda.” That’s an intellectually lazy position.

Americans deserve to hear directly from those who impact global events. Iran is a major player in the Middle East. Its policies, military actions, and nuclear ambitions shape the world we live in. Understanding how Iran’s leaders view the U.S. matters. Pretending their views don’t exist does nothing to inform the public.

Journalists have long interviewed dictators, autocrats, and enemies of democracy. Barbara Walters interviewed Fidel Castro. Dan Rather sat down with Saddam Hussein. Christiane Amanpour has spoken to leaders of rogue regimes. None were accused of endorsing those regimes. Carlson’s critics seem to forget this basic fact. Selective outrage reveals more about them than about Carlson.

There’s also an ugly double standard at work. When outlets interview controversial foreign leaders, it’s called “journalism.” When independent creators, like Carlson, do it, it’s viewed as “dangerous” or “treasonous.” That’s not fair.

People can dislike Carlson’s politics and still acknowledge his right to ask tough questions. He doesn’t appear to be an apologist for Iran. In fact, his on-air positions on Iran have been hawkish in the past. But interviewing Iran’s president doesn’t mean agreeing with him. It means giving the public insight into how adversaries think.

Far too often, we operate in echo chambers. Some narratives are accepted without question, while others are dismissed without thought.

Consider the alternative: a media landscape where only “approved” voices get airtime. That’s not journalism. That’s propaganda. We should want more voices, not fewer. We should demand more information, not less.

Tucker Carlson’s critics don’t trust the audience. They believe people can’t handle hearing from Iran’s president without being brainwashed. That’s an insult to the public’s intelligence. Viewers aren’t children. They don’t need elite gatekeepers deciding what they should or shouldn’t hear.

There’s also a growing trend where we equate interviewing someone with endorsing them. That’s absurd. If we applied that standard evenly, no journalist could ever interview any controversial figure. If the role of a news pundit is to ask questions, gather information, and share their stance with an audience, that’s exactly what Carlson did. The idea that he’s “platforming” a president of a foreign nation just seems asinine to me. How much bigger do platforms get?

It’s worth noting that the interview wasn’t exactly full of softball questions. He pushed on Iran’s nuclear ambitions. He asked about hostilities toward Israel and the United States. These weren’t puff-piece questions. They were serious inquiries posed to a serious adversary.

Too many in the media want to score cheap political points. They’d rather bash Tucker Carlson than examine the actual content of the interview. That’s intellectually dishonest. Content today should be judged by the information presented, not by the popularity of the interviewer.

It’s fair to note that Carlson’s is playing a dangerous game. Courting controversy almost always is. He could be going out on a flimsy limb by continuing to feature conversations with world leaders who are not well-liked by the United States. It isn’t a gigantic leap to believe that these types of discussions are an effort to sway public opinion…and not in the way many would like to see it swayed, if you catch my drift.

Critics, however, are playing a similar dangerous game. They’re suggesting some worldviews should be hidden from the public. They imply Americans can’t be trusted with the truth. That’s a slippery slope. For so many worried about censorship — or maybe more accurately, “censorship” — the idea that Carlson could be in the wrong for simply asking questions of an adversary’s regime feels feels incorrect.

Despite the critics, I think it’s fair to say we could use more interviews like this one. Shielding the public from reality serves no one. In fact, it leaves people uninformed and vulnerable to manipulation.

Tucker Carlson’s interview with Iran’s president may not have pleased everyone. It wasn’t supposed to. These conversations aren’t designed to make people comfortable. It’s about featuring perspectives, however messy or unpopular it may be.

Instead of condemning Carlson, others should take notes. Speak to the powerful. Challenge them. Let the public see and hear it all. That’s how this all is supposed to work.

In the end, any outrage over Carlson’s interview says more about critics than it does about him. He did his job. The critics should try doing theirs.

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.

Dan Le Batard Discusses Meadowlark Media’s Changes, DraftKings Extension, ESPN and Creative Freedom

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It has been over four years since ESPN and Dan Le Batard parted ways following a rocky ending with a network he once called home for more than two decades. Known for his honest approach to content that challenged the network’s norms in a time where sports intersected with politics and culture more than ever, Le Batard’s exit from ESPN was the start of what would become Meadowlark Media—a company founded by Le Batard and former ESPN president John Skipper in 2021, with a focus on personality-driven stories across various formats, including podcasts, live programming, and documentaries.

In late May, Meadowlark Media announced a multi-year extension of their content distribution, monetization, and sponsorship agreement with DraftKings. A partnership rooted in the very beginnings of Meadowlark’s launch in 2021, it allowed Le Batard to continue creating content without corporate oversight and gain unlimited creative freedom.

“I have felt that nobody who has written about what we’re doing has totally understood what it is that we’re doing,” said Le Batard. “One of the things that we wanted to do is give people permission to bet on themselves.”

Through the vision of Le Batard’s creative mind and the highly skilled business acumen of Skipper, Meadowlark Media has blossomed into a company that houses over 40 employees. With The Dan Le Batard Show with Stugotz as the face of the company, they feature a wide array of shoulder programs featuring former Major League Baseball executive David Samson and Peabody Award-winning journalist Pablo Torre, among others.

DraftKings Extends as John Skipper Steps Down as CEO

Le Batard was excited to see the extension come to fruition with DraftKings after roughly six months of negotiation. He noted during the process the company explored other options, but the journey itself brought out a quantifiable way to know the value of the business through the amount he was personally involved in the discussions.

“More involved than I’d like to be, because I’ve had to learn some things about business that I never thought I would have to learn,” explained Le Batard. “Wildly grateful and excited. During a really stressful, terrible time in media, we have a sponsor that is willing to believe in the things we are, the way that we are.”

In keeping with his on-air persona, the way Le Batard has approached building and reinforcing Meadowlark is to alter the landscape for those who leave a mainstream media entity to tackle the look for the future. By having a partner in DraftKings that shares the curiosity of finding what works through creativity, Le Batard feels the difficulty and hurdles overcome since Meadowlark’s inception will lead to amazing things to come.

“Self-employment is hard, reinvention is hard. Fighting in the modern media climate and trying to stay young is hard,” said Le Batard. “Every single thing I’ve ever done that is fulfilling is also hard.”

The announcement of the extension with DraftKings came days after news that Le Batard’s partner in forming Meadowlark Media, John Skipper, will be stepping down as CEO of the company.

“He was the business guy for us. He handled the business stuff that I didn’t have a lot of familiarity with,” said Le Batard.

Le Batard referenced that Skipper was always on board to assist him with getting Meadowlark Media off to a running start. Now with the company up and running and entering the latest extension with DraftKings, Le Batard was asked if Meadowlark would be on the lookout for a new CEO.

“At the moment, I’m gathering information on all of the things that we need,” noted Le Batard. “We have a strong executive team and have more than 40 employees. We have an assortment of people who have been carrying the load in his [Skipper’s] dilution—not his absence. He’s still doing The Sporting Class for us. He’s still a board member, and he’s still somebody who’s going to be helping us in places where his skill set demands it.”

Skipper hired Le Batard at ESPN in order to, according to Le Batard, have the strongest representation of Hispanic culture in the American media landscape. Le Batard believes he did the job he was asked to do, and Skipper in turn left Le Batard with a rare freedom of creativity in a corporate media setting. The professional relationship Skipper and Le Batard share is nearly the same with Meadowlark and DraftKings, with one slight distinction.

“In this case, I own, and we own all our own s**t. Where we were before at every other stop, somebody else had the ownership instead of us,” said Le Batard. “We are rented or partners, but it allows the thing that’s always front of lobe for me in negotiations, which is always freedom over money. It’s not money that gets you freedom; it’s freedom, in our case, that has gotten us money.”

Le Batard Providing Freedom for All at Meadowlark Media

Freedom to create is a philosophy that Le Batard lives by regarding the other creators under the Meadowlark Media umbrella. He describes each individual creator as their own business, free to create and partner with whom they choose. Earlier this year, Barrett Media reported that Jon “Stugotz” Weiner would be stepping back from his role on The Dan Le Batard Show after 20 years working alongside Le Batard.

“Stugotz wants to concentrate on doing God Bless Football five days a week because it’s his and he owns it,” said Le Batard. “After 20 years partnering with someone, he wishes to also partner but do some solo stuff. I totally understand that, totally support it, and am excited to see what he makes of that.”

Le Batard believes his success at this point in his career is being able to do what you want while not limiting anyone to their own creative possibilities. As a business, his goal is to expand. Le Batard noted it was an initial underestimation by Meadowlark in the amount of people the company needed for the work behind the scenes. Now with years of experience working through those challenges, he is always looking for the best young, smart, and funny talent available.

Pablo Torre is a signature talent on Meadowlark’s roster who Le Batard notes has the strongest staff you will find for any one individual or any one podcast, because of the strong and in-depth journalism he provides the company. He feels the podcast Pablo Torre Finds Out has the “broad range of smart and dumb” but is thoroughly informed in fact-based reporting that most lack in sports entertainment.

Le Batard notes that the work Torre provides is a counter to the statement that journalism as a form of media is dying.

“You can say dying. I prefer to say changing, with the possibility of that change resulting in growth,” said Le Batard. “All growth requires change by definition. People are uncomfortable with change, and sometimes that change is things dying. I believe Pablo, and we, are keeping an assortment of things alive on his precious treasure chest of a platform. It’s different than anything else being consumed anywhere in sports media.”

Wild Changes at ESPN & ESPN Radio Since Leaving

Since leaving ESPN, Le Batard has continued to be an outspoken critic of the network and some of its personalities. While he feels the network is wildly different in how it conducts its business, he is less stunned by how the network has changed its radio programming. The Dan Le Batard Show with Stugotz once shared the same airspace with programs such as Mike & Mike and The Herd with Colin Cowherd, where today the lineup is radically different than when Le Batard left.

“I love radio. It’s my favorite,” said Le Batard. “The business decision that ESPN has made there, while I don’t like it, is a smart and efficient one if you’re not someone who is a radio company. They’re a television company.”

Le Batard said that while hosting shows on ESPN Radio, he understood over time that the radio product put out by the network was likened to “a fly around the elephant’s tail.” As for the future of the ESPN Radio product, Le Batard does not see a promising outlook.

“That business is something that right now doesn’t have a giant future that is visionary,” explained Le Batard. “What do you do? You try and save money where you can. Put out a professional product, but not necessarily the product that hearkens to the glory days of when people most fell in love with whatever their sports radio lineup was.”

Referencing the wildly different business approach by ESPN in recent years, Le Batard remains stunned by how the company is renting talents for use on the network—something which points to a sign of how the sports media landscape is changing, where the talent becomes more valuable than the network they provide content for.

“What a stark change it represents to rent but not own [Pat] McAfee and Rich Eisen. Stephen A. Smith is now just doing First Take, and is free to do what he wants elsewhere,” noted Le Batard. “The last four years of pandemic and business change turned ESPN into an entity that is okay allowing others to be on without the consequences of being employed by ESPN. Shannon Sharpe and McAfee at this point are needed more by ESPN than they need ESPN.”

For Le Batard, The Win Is in the Ability To Keep Creating

Nearly five years have passed since Dan Le Batard bid adieu to ESPN. Now, all these years later, Le Batard finds himself as the face of a successful media company that continues to build on the concepts of personality-driven stories—sharing a passion for journalism, community, family, and fun. When the partnership with DraftKings was extended, instead of finding himself screaming for joy in the streets of Miami, he found himself wildly grateful for the opportunity while weeping in his loving wife’s arms.

When asked what is considered success for Meadowlark Media with the extended partnership, Le Batard followed up with a question of his own.

“Do you not believe me when I tell you with great gratitude that the biggest trophy is being able to do it?” asked Le Batard. “Meadowlark is a success if I can just keep doing it with these people that I care about, because what we do every day is patently ridiculous… Obviously, I’d like to make money, and I’d like to have the business be profitable. It’s not something I ever want to sell. I want to be able to do it and keep doing it so that the people around me who are laughing every day can continue to laugh.”

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.

Where Kirk Herbstreit Misfired on Being a Fan Working for ESPN

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Why are any of us in the sports media business? We became fans of something—a team, a sport, maybe even a uniform—at a young age. As we got older, we didn’t outgrow that love. It grew with us to the point where being a fan is at the very core of what we do. That’s why I was a little taken aback by Kirk Herbstreit and his recent appearance on the Net Positive podcast, where he took a swipe at ESPN colleagues who show their allegiances on air.

Herbstreit choosing to single out Elle Duncan was particularly galling. We’ll get into why in a moment.

It doesn’t say anything good about Herbstreit, but it’s not the key issue. The audience is smart. Many of them feel like a fan and wish they had our jobs. It’s an undeniable reality. However, Herbstreit showed that he has a fundamental misunderstanding of where ESPN and other broadcast outlets are and what matters to their audience in the modern day.

The World Is Smaller Now

Dan Patrick has talked a lot in the past about consciously giving up his love of the Cincinnati Reds when he began covering sports professionally. It was the ’80s. It was how business was done at the time.

It was a time before ESPN was ESPN and before social media was even a concept. The media was a monolith that existed in a separate world in the eyes of most Americans.

In 2025, every sports media brand and star, including Herbstreit, is on social media. In fact, it’s where most people are getting their news—sports and otherwise. The talent share details of their personal lives all the time. They share opinions on events outside of their regular beat all the time. If the audience has constant access to a broadcaster’s thoughts, they probably already know who the broadcaster roots for in each sport.

Herbstreit himself is a good example of this. I know, thanks to Twitter, that he is a Reds fan. I know his dog’s name. I know when his previous dog died. I know a lot about Kirk Herbstreit because Kirk Herbstreit, like so many others, is too online. I don’t just forget all that stuff when he shows up on my TV.

Fandom Is Fun and Fun Matters

In 2025, ESPN has been building its image with a combination of sports and fun for a little over three decades. I don’t think the network or any of its employees originated the idea that everything is content, but everything in Bristol seems to be executed with that idea in mind.

Alternate broadcasts, unique camera angles, celebrity guests visiting the booth—they all exist in the name of making things more fun. And that’s during the games! That is what Herbstreit told Net Positive host John Crist was most sacred—the purity of the games. Is a stoned Eminem showing up in the broadcast booth to drool and promote his new album really less offensive than Elle Duncan acknowledging that she is a Georgia fan?

That’s just the games, though. I know Herbstreit said that is where it is most important to be neutral, but can we talk for a minute about the show he is on every single Saturday?

College GameDay is built on fandom. There’s a reason the show originates from a college campus instead of a studio. Only on a campus can you convince a bunch of 20-somethings that getting up at 4 a.m. to wait in line for a place to stand for the next eight hours is cool. Those kids do it though, and College GameDay is better for it!

The show also routinely acknowledges its hosts’ biases. Desmond Howard getting booed at Tennessee or Ohio State has become standard fare. A whole episode last year was dedicated to what Indiana meant to Lee Corso. Nick Saban’s accomplishments took center stage last year when the show originated from Tuscaloosa in September.

Fandom makes this whole thing—not just College GameDay, not just ESPN, but sports media—work!

Herbstreit Singling Out Elle Duncan Is Wrong

That first GameDay with Nick Saban back in Tuscaloosa included Herbstreit himself saying, “How cool is it to see Coach (Saban) a fan?” Every week he sits at the dais with Pat McAfee, who made a big show on air of giving $1 million to the NIL collective at West Virginia, where he played college football, and served as a hype man for the Indiana Pacers during their playoff run this year.

Why did Elle Duncan in particular draw Kirk Herbstreit’s ire?

I think the answer is simple. He probably figures that the Venn diagram of his audience and Duncan’s audience are two perfect circles that never touch. He took a swipe at her because he could—with no consequences.

Herbstreit was careful to note that there is an exception for people like McAfee and Stephen A. Smith. I don’t think he really believes that there is anything written in stone for guys like that. I think he knows that singling out McAfee’s daily three hours of Colts propaganda or Stephen A. Smith’s New York Knicks pep talks would come with pushback. Neither of those guys could get Herbstreit fired, probably, but ESPN clearly holds those two in different esteem.

I’d also note that if this is a SportsCenter thing, Scott Van Pelt was right there. If Herbstreit thinks the show is some kind of institution of professionalism, isn’t SVP’s slobbering over Maryland a bigger problem? Herbstreit could also have pointed out Kevin Negandhi. He sits next to Duncan on every edition of SportsCenter she does. Negandhi is as outspoken about the Eagles as Duncan is about UGA.

I am not calling Kirk Herbstreit a misogynist. For all I know, he has a personal problem with Elle Duncan, but brother, this doesn’t look great. If showing allegiance on SportsCenter is really his problem, there are higher-profile targets that should be in his sights.

For her part, Duncan fired back on Twitter, noting that all she has ever done to show she is a Georgia fan on air is bark. It’s silly, but it’s not unprofessional.

As an SEC fan myself, it tells me that she’s the real deal. McAfee leads sing-alongs on College GameDay. That’s tourist stuff. Duncan is one of us. She earned her bona fides, in my eyes, with her reaction to Tua Tagovailoa’s game-winning touchdown pass in the 2018 CFP National Championship Game.

I don’t think Kirk Herbstreit is a bad guy. I just think this position is silly. Fandom is good. Fandom makes what we do possible.

It’s 2025. The ’90s ideals of professionalism are dead. That doesn’t mean no one is a professional anymore. It just means that “you’re unprofessional” is an insult that rings hollow. Professionalism is a spectrum in a business where everyone is a personality. Each person’s place on it is based on individualized expectations.

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.

Understanding Nielsen Audio’s Response Rate And Why It Matters for Your Radio Station

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It’s been a while since I tried to explain a part of the Nielsen Audio system that you may not know much about. So let’s look the reporting of one of the basic parts of a survey: the response rate.

Why is the response rate important? Consider the concept of “non-response bias.”

Very simply, do the people that respond have similar behaviors — in this case, radio listening habits — to those that don’t respond? If so, wonderful! If not, well, that can be a problem.

For Nielsen Audio, because we slice and dice the estimates so finely, non-response bias can take on greater significance. Let’s say you’re working for an urban-formatted station. Like any other commercial radio station, you want the largest audience possible, but your focus will be on some specific age cell within the black population of your market. If your metro is 20 percent black, you’ve probably chosen to ignore the 80% of the market that isn’t black. The remaining 20 percent will be sliced up because you might be after 18-34 or 25-54 or more interested in what men or women within the target cell are doing.

The sample for your target demo will be small. Even with Nielsen’s best efforts, let’s say the company has recruited households that listen to less radio than the average would be if we could measure everyone in the market at the same time.

You’ve made sure your station sounds great, the music is right, the talent is connected, the clocks are perfect, etc., but the results will likely be less than you need to stay competitive. On the other hand, if Nielsen happened to recruit a black sample that spends a lot of time with radio, well, don’t spend your bonus too quickly.

In the diary service, Nielsen may end up recruiting households that use a lot of radio or households that use very little, if any, because they don’t ask up front (and shouldn’t). Unlike in the past when interviewers called random households to ask for participation, the service has evolved to use what’s known as an “address-based sample”. The old system was based on landline telephone numbers which worked very well last century when nearly everyone had a landline.

As we moved to a large majority of homes having only cell phones, the frame evolved to include residential addresses. The reality is that this is more inclusive with essentially everyone in the frame except those living in group quarters (dorms, prisons, military bases, etc.) and the homeless.

It used to be that response rate was a key element of how the services were evaluated, but response rates have dropped to such a low level that the only reason to harp on them today is to make sure that Nielsen doesn’t focus on cutting costs at the expense of quality in the surveys. With private equity owning the company now, you can bet the top people are looking for any way they can to bring down costs while maintaining or increasing revenue.

Response rates in just about all private surveys are poor. It’s just a fact of life. My recent column about the Pew Center’s public broadcasting support questions noted a net response rate of three percent. And Pew is rightfully considered one of the best survey operations out there.

Nielsen uses a somewhat convoluted response rate, but not because the company is trying to be sneaky. Let’s examine the diary service. The sample is a two-step process. First, questionnaires are sent to randomly selected residential addresses.

If Nielsen’s vendor can add other information (names, household size, ages, race/ethnic) to the address, they will. Nielsen mails the questionnaires using a set procedure and if you check your E-book, you’ll find a twelve month questionnaire response rate (click on “Market Info”, then “Population Estimates and Diary Placement” and then “Diary Placement/Return” and go to the bottom of the page). The average response rate for the questionnaire will probably range from the teens to the low 30s).

From the returned usable questionnaires, Nielsen pulls a sample to receive diaries as the company now knows the composition of the household based on the questionnaire responses. They can mail the proper number of diaries with the correct monetary incentives.

If you look at the same page in the E-book that I pointed you to in the previous paragraph, you’ll see something called a “Metro Unified Response Rate” which will range from the single digits to probably as high as 20 percent. That’s a response rate based on how many usable diaries came back (intab) divided by how many were sent out.

The real diary response rate is the response to the questionnaire times the “Metro Unified Response Rate” which will be abysmally low. You can complain about it to Nielsen but gaining tenths of a point will not change matters. It’s just how surveys work today.

How about PPM and the Sample Performance Indicator (SPI)? That’s another column entirely and another set of explanations.

Let’s meet again next week.

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.

20 Brands In 20 Days: Patti Marshall, Q102 Cincinnati

Patti Marshall is Managing Director of Branding and Content for Hubbard Cincinnati. She also handles the day-to-day programming of Q102, which is today’s featured brand.

The DNA of Q102 is made up of personalities and Cincinnati.

“Local Personalities, a curated playlist.  We straddle two different format lanes, Hot AC and Top 40,” said Marshall. “We are a personality-forward radio station. And we have a show in mornings and we have a show in afternoons.”

I wanted to drill down on the idea of a team in afternoons and how that evolved from the days of Hot Hits and the 7-second break. Marshall has “Roy, Nat & Freddy Mac” in the afternoons.

“We’ve been doing this for a very long time. Very soon after I became program director in 2004, I teamed up Brian Douglas with our traffic person at the time.  And they began that back in the day.”

“ That helped build the foundation for what we have today, which is a radio station that’s built on fun and friends in Cincinnati. We are not just about the music. Although that is a big part of our DNA. But at the end of the day, it has really helped us that we started a long time ago to build this idea that  you come to us for this unique experience. You’re not going to get that experience anywhere else in town.”

Marshall believes that it’s a lot more than just pairing two people and calling it an afternoon show.

 ”You could be up against a competitor that’s playing a lot of music. So, you have to make sure that your content is worthy. It’s funny and it’s targeted and entertaining. You’re not going to get there with just two people talking about what remote you’re going to do on Saturday.”

 ”It takes hard work. It’s not just this is, and that was. Otherwise, you might as well just do the seven-second Hot Hits kind of thing.”

Meeting listener expectations is at the top of Marshall’s list.

“ For a radio station like Q102, which is built on personality and contesting. We have a lot of levers to pull, and I think the people that listen to us have an expectation of what we’re going to deliver when they come to our station.”

“And we’ve spent the last 21 years that I’ve been program director building that expectation or feeding that expectation. I expect that people do come to us to hear the latest music. We still believe in exposing our audience to new music.”

Admittedly, Marshall gave me something to think about when I suggested that the audience might already know the new music from social media sources.

“ Let’s not forget that they may know about it from us. I think that radio has taken this kind of backseat attitude that, well, they’re going to get that on this platform, or they get that there. Or they’re going to be exposed to it over here, so I need to react as a result.  How about we do what we think our audience is interested in and not worry about where they might see it first.”

Q102’s Morning Show is “Jeff & Jenn.”

 ”I’m so blessed to have a show of that caliber in this market. They’re such pros, such just absolute conversationalists. They’re the people that you want to get trapped in a road trip van with because it is going to be fun.  It’s going to be interesting.”

“ I don’t think there’s any way that you can argue their dominance in the marketplace. They’re just great to listen to. And they’re not fast. They talk a lot. They talk about all sorts of things. This morning, they had a whole conversation about what you’re taking to your July 4th cookout.  They’re just interesting people.”

Marshall hit on another interesting point when I brought up the subject of young people and their seeming lack of interest in radio.

 ”I think it’s fricking cheeky as hell of radio to go we need to target the younger demographics when we flat abandoned them 30 years ago when we decided that advertisers only wanted 25 to 54. So, forget 12-year-olds and their taste in music. We did that with conscious intention; we said we don’t care about teenagers anymore.”

“And now we look back and go, well, what are we going to do to get them back?

Strategic marketing is important to Marshall and Q102.

“I believe in marketing, and I believe in strategic marketing with partners like Point to Point.  I’m a big believer in direct marketing and Tim Bronsil in particular. He loves radio and the way he views it. I’m lucky that he lives in Cincinnati.  The way his brain thinks and the way he targets. I think he’s super special. And he’s one of the pieces of secret sauce for our radio station.”

“Along with our app. Our app is a part of our secret sauce. The not-so-secret sauce is the air personalities and the talent that work at this radio station.  They’re extraordinary, every one of them in their own way.”

With all the competition for the ear, Marshall recognizes she is not competing against just other radio stations or Spotify.

 ”Anybody can plug into their car whatever they want. Whether it’s some downloaded music they have on their phone, it’s not just Spotify or Sirius. It’s also audiobooks and podcasts.”

“ The onus is on us to provide a level of entertainment that people feel like they’re going to miss out if they don’t hear this thing that you’re offering on the radio. The other thing that we have to compete with is the phone.”

 ”You’re trying to call and connect with your mom. Call and pick up the kids, and call your husband on the way home. There are relationships that happen in the car, on the phone, every day. We have to play harder to be one of the people in our listeners’ relationship circle.

Any final thoughts?

“ I work for a company that, at its core, believes in talent. Believes in the local management decisions and input. It’s a rare thing. The company I work for, Hubbard, has been an amazing chapter in my career. I can’t thank Ginny (Hubbard), Greg Strassell, and Dave Bestler enough for believing in us.”

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.

Rebuilding the Adult Contemporary Playbook

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Veteran broadcasters remember a Radio Bible? The Program Director would distribute it as part of the onboarding process once you joined a team.

Built – literally – so every team member would be on ‘the same page’.

The contents were (among other things) part strategy education, part tactical approach to the brand and who we’re trying to attract.

On and off air.

The Adult Contemporary Playbook universally covers the market-dependent and prevailing strategic landscape forces, including the following:

  • Target and Demographic Composition
  • Mission Statement
  • Talent and Imaging Specifics
  • Music Matrix
  • Christmas Music Philosophy
  • Promotional Outline
  • On Site Specifics

Your Brand Playbook should also include:

  • Community Impact
  • Target Listener Profile importance
  • Promotional Philosophy
  • Music Content
  • Formatic Terms

Let’s build a Starter Kit for YOUR AC Brand!

Target Demographic

  • Every team member should know who we’re engaging with our music and content philosophy. While most will say their target is Adults 25-54, that audience spread is more like a family reunion than a specific target.
  • When you narrow your focus, you receive wide results. Adult Contemporary brands create a hyper–focus for research, music design and promotions.  And it doesn’t need to be a Nielsen demo. For example, Females 38- 47 are a solid focus for the Adult Contemporary brand.
  • So, what about the Men? Successful Adult Contemporary stations are predominantly Female, with Men coming along as P-2 or P-3 listeners. Men are there, just not raving fans. The typical AC demographic composition is 75% female and 25% Male.

Mission Statement

In the spirit of ‘being on the same page,’ a solid yet concise mission statement helps keep your team focused.  A few examples follow:

  • A winning Adult Contemporary station needs a smile-generating, vibrant and engaging experience for the listener. Music will be tightly focused, consistent with listener expectations and aligned with our designed target audience. To succeed, Adult Contemporary stations must dominate At-Work listening (midday) and be the top choice during the workday. It’s essential for the station to be deeply connected to the community and foster a strong relationship with its most loyal listeners—the P1s.
  • This guide outlines the strategic approach to reach our target audience. Specific tactics are outlined here, including music, personalities, and promotions, to deliver compelling and relevant programming that connects with our audience. We are committed to strengthening this foundation by providing listeners with song and album details, artist interviews, concert tickets, and event experiences whenever possible. Music remains our constant with an at-work focus—the core connection that keeps us grounded to our listeners, our “capo d’astro bar.”

Talent and Imaging

  • Talent must be relatable, natural, warm, and concise. Music comes first. Keep breaks short but engaging with forward momentum. Stay active in the community with a vibrant social media footprint and stay likable (non-controversial).
  • Use quick, local, compelling content (hit the hole) with a smile. Avoid long, unfocused breaks and always give forward, promote a song, promotion or content.
  • Morning shows should exude a fun atmosphere. Be local, brief, and focused on the audience. Never overshadowing the station. Benchmarks must be strong, clean, and to the point. Get in and out of content quickly with a bold hook and an exit point planned.
  • Our music carries meaning, and every artist has a story. Share brief, relevant stories or facts about the music two to three times per hour as a pre-sell, front-sell, or back-sell. Interview clips are also available to enhance your content. Update morning show imaging daily with a bit from today or a pre-promote for tomorrow.
  • All liners and sweepers must clearly promote the station’s strategy and position. Highlighting the benefits of listening at work. Keep them fun, upbeat, and on-brand with natural, relatable voice delivery. Use an upbeat jingle package with tempo transitions that fit today’s Adult Contemporary format.

Music Matrix

  • Our music is scheduled with purpose. Each hour is crafted with careful attention to flow, considering tempo, mood, test scores, appeal, vocal balance, intro length, and artist separation. It’s imperative NOT to move music.
  • Music will be focused, consistent, and highly familiar. Strong active Adult Contemporary library targets 350 to 400 active titles. Hold full library audits quarterly. Today’s AC mix should be familiar, upbeat and without slow or sleepy sweeps. Prioritize proven hits, avoid weak titles and check rotations weekly.

On-Air Promotions

  • Promotions should be focused, lifestyle-driven, and designed to grow Time Spent Listening (TSL) without overshadowing the station. Use Appointment Listening for major promotions and connect all key contests to our database. Keep contests fun, relevant, and easy to play. Offer lifestyle prizes that our target audience desires.
  • We will always have one on-air Time Spent Listening (TSL) promotion running. It will be family-friendly, have broad appeal, and air multiple times daily.
  • Smaller TSL promotions may also run, focused on specific dayparts or days, such as morning show giveaways or weekend ticket promotions.

On-Site Events

  • For Adult Contemporary stations, event presence is an extension of YOU and your brand. Our appearance, interaction, and overall presentation reflect your station’s core values of approachable, community-connected, upbeat, and family-friendly.
  • Brand our setup. Tents, banners, table skirts, and vehicle wraps should be clean, polished, and consistent with our on-air imaging. Use updated station logos and colors to create instant brand recognition.
  • Along with being approachable, be enthusiastic and work as a team. Be present when possible—interacting naturally, not as ‘celebrities’ but as part of the community. Street teams should be trained to engage attendees with warmth, positivity, and clear station knowledge.
  • Music at our setup should match the station’s music matrix – upbeat, familiar, and family-appropriate. Our on-site contests, giveaways and games should be simple, fun, and appeal to a broad, adult audience without complication.

That should get you underway toward the development and completion of your own Playbook.

Make certain you add:

  • Community Impact – design a goal to create community events EVERY quarter that help the area (not just at the holiday).
  • Target Listener Profile – Choose the target AGE for your listener and build a profile (with picture and name) of what’s important to your target audience and post in the studio
  • Music Content – what are the expectations of the listener for music content, and outline this in your Playbook.
  • Formatic Terms – Every station has its own ‘lingo’ for pieces of imaging through the hour (sweepers – liners – whispers – ramps, etc.). Outline yours in here.

We understand it’s a different world today than when these custom ‘playbooks’ filled our stations. People are remote, and few shows are LIVE. Promotional teams represent an entire cluster if you’re fortunate to have these teams.

The Playbook is created to share and review with new team members and to be readily available for review when questions arise.

We can assist you in building one for your Adult Contemporary brand.

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.

Why Countdowns & Specialty Content Still Matter in Hot AC Radio

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In the world of Hot AC radio, core music rotation is three-quarters of the game. That other quarter is specialty content! I sense that with reduced budgets, staff and Programmers juggling multiple jobs and often stations, it is one thing that falls by the wayside.

After all, there is a reason it’s at the top of the pyramid and not the base building block that your overall music library occupies. But it’s still very important and should not be ignored.

First and foremost, everything considered for a specialty should pass through the filter of whether it creates emotional connections, drives appointment listening, and builds brand personality. It’s becoming increasingly vital.

In a format that lives between Top 40 urgency and Adult Contemporary familiarity, Hot AC thrives when it delivers more than just a playlist. Specialty content provides the texture that separates one station from another, giving listeners a reason to engage more deeply and return more often.

Hot AC’s broad demographic, typically adults 25-54, responds best to content that hits both relevance and nostalgia. Specialty features that frame current hits with context, artist personality, or listener involvement work exceptionally well. Features like “Behind the Song” stories, acoustic sessions, fan-voted “Battle of the Hits,” or artist interviews with a lifestyle lean (not just promo plugs) give the station cultural currency and credibility. These types of content elevate the listening experience from passive to personal.

Another ripe area is lifestyle-driven content that aligns with your audience’s values and interests. Stuff such as wellness tips with an artist angle. Pop culture recaps, or short-form true stories, just think “This Is Us” meets pop radio!

When these segments are brief, consistent, and well-produced, they become reasons to stay locked in. Local also matters. Specialty content that leans into your market concert series of local music spotlights, “Hometown Hero” shoutouts, or community-driven charity initiatives work well and build a bond between brand and listener. These features don’t have to be long; they just need to feel relevant, authentic, and human.

Why Countdowns Still Work

In a world of on-demand streaming and personalized playlists, it may seem counterintuitive that something as traditional as a countdown still holds water, but it does. In fact, countdowns work because of their structure and predictability. They create appointment listening. Whether it’s a daily Top 5 at Five. or a weekend Top 20, countdowns give listeners something to look forward to and a reason to stay tuned.

At their best, countdowns aren’t just song lists. They’re experiences. When hosted by a strong personality, peppered with artist soundbites, pop culture commentary, and local flavor, countdowns become both a content vehicle and a branding tool.

They tell the story of what’s hot now. Both nationally and within your station’s specific vibe. And for listeners who aren’t deeply engaged in streaming culture, countdowns offer a curated snapshot of the moment—essentially, a trusted filter.

Countdowns also provide a unique social and digital extension opportunity. Weekly polls, “predict the #1 song” contests, and real-time interaction on socials during the airing can all boost engagement. Countdowns also offer a psychological edge,

There is a huge appeal factor at work, too. Humans are drawn to lists and rankings. They provide clarity, create anticipation, and provoke discussion. That’s why platforms like BuzzFeed, Spotify Wrapped, or Billboard charts still capture attention.

A countdown satisfies the same urge—a neatly packaged, emotionally satisfying listening journey. For Hot AC, where the emotional connection with artists and songs is often deeper than in Top 40, a countdown can even feel intimate.

“You’re not just hearing what’s popular—you’re hearing what we love together.”

In a cluttered media landscape, Hot AC stations that invest in curated, emotionally resonant specialty content win. It’s not just about playing music. It’s about making moments. Countdowns remain one of the most effective, low-cost, high-return ways to create those moments. They offer routine, community, anticipation, and brand identity all in one neatly programmed feature. As long as music matters, countdowns will, too!

So, don’t ignore this important part of the Programming Pyramid. In this day and age, where you are looking to keep your station relevant with so many competitors from different platforms, thinking that “specialty programming” is too much effort and doesn’t make a difference is a good way to fail!

Be strategic and purposeful about it, and the payoff can be huge!

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.

Why Most News/Talk Radio Hosts Fail and 3 Tips on How to Stand Out

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The art of hosting a talk radio show is quite a difficult thing. Are you interesting? Are you predictable? Your show must have surprises.

There are many two-dimensional hosts. According to classical physics, there are four dimensions. Many hosts that I hear are limited in their ability to delight their listeners. Without naming these artisans, I am going to share the dilemma and give a few ideas.

Even though this is a news/talk radio column, this applies to anyone in spoken word radio. There is a sports talk host that I met briefly early in his career. Talented, and that has paid off with weekend shows on several of the sports talk networks where this individual works today. Unfortunately, he is totally predictable. Seemingly worried about offending the suits and/or the audience, his show has zero wrinkles or water cooler talk moments.

If I was to have the pleasure of coaching him, I would try to figure out why he is so reserved. It may just be him. He may be a very predictable and uninteresting man who just has an encyclopedic knowledge of anything related to sports. He obviously loves sports but has muted takes.

If a host is going to make it to the next level, this is not a recipe for greatness. Dan Patrick, Colin Cowherd, Pat McAfee, and Stephen A. Smith are defined by their strong opinions and unique observations. If you want to be great, these hosts are perfect examples, whether you are a sports talk or news talk host. So, this host that I am referencing has hosted by himself or with a partner and cannot be overly compelling.

Obviously, the guy is not a terrible host. Unless he can become more interesting, he will be relegated to a weekend shift and likely never move to even a weekday fill-in role.

There is a well-regarded conservative talk host who often just reads the opinions of others. As I have stated before, this is audio plagiarism. Even though the host will mention the writer of the article once, he will read that article from beginning to end. This is very lazy radio.

Listeners should be enjoying this guy’s thoughts, opinions, and observations. This particular host is unable to give them. I don’t know if this is a timid fellow who is unable or unwilling to put himself front and center. He has solid but unremarkable ratings. He must be producing enough return on investment for his employer so that he keeps his job. Reading someone else’s thoughts and observations is a sign of a lack of original thinking. This is not good.

People come to a radio show for the host’s opinions and observations. The host is the star. It is problematic to dilute that impression. I have often warned against reading opinion pieces. It is too damn easy to adopt a compelling argument that may differ from your point of view. I’ll make a compromise, though. If you are enamored by a point in a piece, read one sentence. Build your topic off that.

Every great radio topic is like a three-legged stool. These three essential ingredients are the host’s opinion, personal observations that helped form said opinion, and actual news stories or dilemmas. These legs to your topic help create an intimate bond between host and listener.

Radio is an intimate medium. As people commute or listen to the radio station’s app, your opinion is a non-negotiable ingredient. Opinion allows the listeners to build a personal reference point with the host. Most people — and sadly some talk show hosts — cannot state a clear opinion on many things.

For the spoken word host, the most important trait is someone who has an opinion over everything. Simon Conway of WHO Radio is exactly that kind of person. Without prompting, Simon will tell you about his clear opinion over anything. I mean anything. This is one of the great reasons he is a top talk show host. I hear many hosts who have a problem clearly stating their opinion. This would be a disqualifier for many great program directors to hire an otherwise talented host.

Try this as a thought experiment: find your favorite sports talk or news talk host. Listen to their show’s setup. You will always hear that clear opinion. Stephen A. Smith, Clay Travis, and Mark Levin are as opinionated as anyone. These people always share a straight, unvarnished opinion. There is no wobbling on their thoughts.

So, take an hour a day over the next week and evaluate the host on the three criteria of opinion, observation, and the actual news story. You will find all of those ingredients. You will then be able to listen to an hour of your personal show and see if you hit those marks.

If you are falling short on one or another thing, you will be able to pivot. I find more shows informational, which can be very problematic. Speaking about a big news story or community happening does not create a bond with your listener.

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.

Will Blackmon Joins ‘Good Morning Football’ Roster on NFL Network

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It’s a season of change at NFL Network, as the flagship morning show Good Morning Football has undergone a number of changes in the past year. Now, adding to that list is the announcement that former NFL safety Will Blackmon is joining the show in a full-time capacity as an on-air contributor for the upcoming season.

Blackmon made the announcement via X on Monday and expressed his excitement to be joining the program on a full-time basis.

“LET’S GO! WE BACK,” exclaimed Blackmon via X. “I’m fired up to announce that I’ll be OFFICIALLY joining the Good Morning Football roster for the entire 2025–2026 NFL season as an on air contributor.”

Over the past year, Good Morning Football has experienced significant location and on-air staffing changes. The show, which originated in New York City, relocated to Los Angeles before the 2024 season. Additionally, the program lost the services of Akbar Gbajabiamila after just one season, as well as longtime co-host Peter Schrager, who departed NFL Network to join ESPN.

Throughout the NFL offseason, the network cycled through several potential co-hosts for the program, including Blackmon. With his announcement, it now appears the show’s core lineup will be rounded out by Blackmon and new co-host Manti Te’o, alongside returning hosts Kyle Brandt and Jamie Erdahl.

Furthermore, Blackmon is no stranger to the world of sports media. He has launched his own podcast and contributed to multiple outlets, including guest spots on FS1, NFL Network, and The Jim Rome Show’s After Hours.

Meanwhile, Blackmon’s promotion to a full-time role comes at a time when talks between ESPN and the NFL have reportedly resurfaced regarding a possible acquisition of NFL Media. This potential deal would include the NFL Network and several related properties. The league has the option to opt out of its current agreement with Disney following the 2028–2029 season. Therefore, finalizing a deal for NFL Media in the near term could benefit ESPN by bolstering its already extensive 24/7 NFL programming. Moreover, the league could offload assets that have not performed as well as originally anticipated.

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.

Mark Robertson to Retire After 48 Years at 98.7 The River

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Mark Robertson, morning host at AC 98.7 The River in Savannah, GA, has announced his retirement after 48 years with the station. His last day will be Friday. (7/11).

Andy Woods will take over the morning slot. He joins from Country 94.3 The Dude in Columbia, SC, where he was Brand Manager and PM Driver.

Robertson, who is wrapping up a 50-year career, made the announcement in a Facebook video.

Reach Robertson 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.