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Rob Bradford: NFL ‘Didn’t Need to Accept’ Streaming Games

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Netflix recently completed its inaugural presentation of the NFL on Christmas Day, airing a doubleheader of games with playoff implications. Operating under the first season of a three-year deal with the league, the streaming platform amassed interest from around the United States and reported strong consumption throughout the day. The games featured commentators from six different sports entities, with CBS producing the game broadcasts and NFL Media responsible for studio coverage. Moreover, the day also included special musical performances from Beyoncé and Mariah Carey, along with several interviews and cameos from additional celebrities and Netflix stars.

During the Thursday morning show on WEEI, Rob Bradford explained that there has to be an acceptance of how sports media is moving towards streaming. Reacting to a phone call in which the listener outlined how Netflix did a good job and has been annoyed by everyone panicking over NBA ratings numbers being down, Bradford discussed the appeal of professional football and what has made it successful in these ventures.

“The NFL didn’t need to accept it, right?,” Bradford said. “They don’t need to because they’re so powerful. People are going to do whatever it takes, as we have seen with Amazon and now Netflix, do whatever it takes to find the games. Not so with the NBA, and I’ll give you the ultimate one. The MLB is chasing their tail so many times in so many things.”

Apple reached a seven-year deal with Major League Baseball in 2022 to broadcast Friday Night Baseball games on its Apple TV+ streaming platform. There have been plaudits surrounding the video quality of the broadcasts and other aspects of the presentation; however, Bradford feels that Netflix learned a lesson from the manner in which these endeavors were initially executed in landing “established people” for the doubleheader broadcasts.

“With the MLB for the Apple TV – no knock on these people; they’ve probably gone on to good things and they’re very talented – but at the same time, the Apple TV broadcast – the thing that everyone was saying, ‘Look at this broadcast,’” Bradford explained. “They had very inexperienced broadcasters on doing it to a point where you’re like, ‘No, that’s not how you want first impressions,’ and that was another mistake they made.”

Nick “Fitzy” Stevens, co-hosting with Bradford on Thursday morning, added that baseball moved into streaming the wrong way. Moreover, he delineated the different expectations and standards to which football has had to cater and emphasized that the league only chose to move in this direction when technology firms began to pay top dollar. In fact, he classified the streaming endeavors from the league as evidence of it representing “capitalism at its absolute finest execution” rather than following altered consumption trends.

“Football doesn’t have to dole out or dispense the product for free because of our insatiable need to consume it,” Stevens said. “I’ve always said, ‘There is no methadone for football.’ Once that becomes your thing, that’s all you care about, that’s all you want forever, and you’ll do anything, including watching it on Amazon, streaming it on Christmas Day on Netflix.”

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.

A Roundup Of Post Christmas Format Flips

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The list of format flips post-Christmas music has begun. Several more stations appear on the radar for a change between now and the New Year.

So far.

Valley Broadcasting has officially rebranded its station in Grand Forks, ND, transitioning from “Christmas 98.5” to Classic Hits “98 ½ – Q98” KQYZ. The new format was launched at noon on Christmas Day.

The new format will spotlight pop hits from the late 1970s to the early 2000s, positioning itself as a competitor to iHeartMedia’s “96.1 The Fox” KQHT. The station will continue its partnership with North Dakota State University and broadcast Green Bay Packers football games.

Glades Media has transitioned the format for the former Spanish CHR “Fiesta 96.9/94.7,” West Palm Beach, FL. After a month of holiday-themed programming, the station now features Variety Hits branded as “96.9/94.7 Jack-FM.”

The station launched at 1 pm on Christmas Day.

Steel City Media has rebranded the former AC “KC 102.1” KCKC to a new Variety Hits format, now known as “102.1 Bob-FM.” This change took effect today at 9 AM.

The new 102.1 Bob-FM is branded as “80s, 90s, and Whatever.” The launch lineup includes Milli Vanilli’s “Girl You Know It’s True,” John Mellencamp’s “Crumblin’ Down,” and Prince’s “Little Red Corvette.”

All Pro Broadcasting’s Hot AC station, “Hot 103.9” KHTI Riverside, CA, has transitioned to simulcasting the co-owned AC 101.3 KATY-FM.

Branding as “More Music More Variety for The IE,” the new station will showcase a lineup of talent drawn from both stations.

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Cynthia Frelund is Deciphering the Data Behind the Decisions on NFL Network

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As a football team faces a fourth-and-short situation on offense, there are often questions pertaining to whether the group should try and secure a first down or call its special teams unit for a punt. Some broadcast networks will reference ‘analytics’ in guiding the decision-making process, yet there are disagreements over the precise definition of the term. Cynthia Frelund recognizes that identifying just what systems and paradigms encompass analytics is an undertaking enterprises approach in different manners. The lack of standardization regarding the components of ‘analytics’ can create inconsistencies in how they are used and sometimes raise doubt or uncertainty.

Frelund joined NFL Network in 2016 as its first-ever on-air analytics expert and appears across programming throughout the season. Bringing a keen understanding of mathematics and passion for football to the airwaves, she has helped launch a new subset of sports coverage as fans follow the league and its teams. No matter the complexity, Frelund is always looking to decode the rationale behind her findings.

“It’s hard to find someone who can authentically connect with the numbers that wants to do it on air that is willing to be molded and shaped, and it’s a challenging landscape to work in sports media, especially the past couple of years, but we’re trying to do something different,” Frelund said. “So, I viewed it as an opportunity to be sort of an entrepreneur in this space that’s growing and emerging, but obviously it always helps to have the most viewed and cared about sports in the United States to be kind of your subject matter.”

In entering a role with no direct precedent, there has been experimentation surrounding how to best use Frelund across NFL Network programming. Over the last several years, she has contributed to shows such as NFL GameDay Morning, NFL Fantasy Live and NFL GameDay View, blending information with lighthearted revelry and showcasing personality. With her background in computer science and predictive analytics, Frelund possesses an innate penchant for curiosity and inquiry while gleaning the entropic nature of competition.

“I think it’s been an interesting journey to express my fandom showing that I still think some things are funny or not funny, even though it doesn’t bias my model,” Frelund said. “I do all my models – I model them blindly, so I don’t even know. When I push send, they turn into colors or they turn into whatever, so I can’t see when I have to make [changes] because there are some judgment calls you have to make, but you have to make them blindly.”

The NFL entered into a partnership with Zebra Technologies last decade that installed real-time location system technology into 17 stadiums for the season to collect data and information. Three years later, Amazon Web Services became the official technology provider for this platform, equipping its artificial intelligence and machine learning capabilities to drive innovation.

Frelund can evince the enhanced potency of these systems, referencing the premise of Moore’s Law in that computing power will exponentially grow by doubling in the number of transistors once per decade. Yet when designing models that apply data to outline trends, suggest probabilities and settle on predictions, she accounts for variation in the marketplace while examining causation and carrying out any potential modifications after evaluating overall accuracy.

“A lot of times, it’s creating parallel models that run on different metrics,” Frelund said. “Because there are so many different coding languages out there and you can do analysis in so many different ways, staying on top of the structure, limitations and capabilities of each type of software out there allows me to kind of see if something’s worth exploring more and integrating and looking through those parallel models to see, ‘Okay, this one’s actually been a higher value model [and] more predictive than that one.’”

Frelund started her career in private equity, but she decided to return to business school upon exploring how to best identify value and worked in the NFL finance department for a summer. After her graduation from Northwestern University, she joined Disney ABC Television Group in business development and had the chance to work with several accomplished media executives. From the rapid assessment and prioritization of ideas from Albert Cheng to the thinking patterns and leadership of Jimmy Pitaro, she was able to express her ideas and make an impact on the direction of the division. Two years later, Frelund moved to ESPN where she was an associate director for technology development and focused on innovation.

“It was really interesting to see what drove results and what didn’t, and that’s not dissimilar to how NFL teams now in my current role kind of see things as well or how the Next Gen Stats, how we tell stories with that on television,” Frelund said. “To me, it’s all kind of the same thing. It’s like, ‘Let’s identify a good reason for why, and if it doesn’t work, let’s identify what were the drivers of ‘Yes’ and what were the drivers of ‘No.’’”

Frelund attributes the Cleveland Browns hiring former baseball executive Paul DePodesta as chief strategy officer as a seminal moment for her starting to be on air. Combined with her passion for football and ESPN’s previous fantasy sports agreement with DraftKings, the network started to have Frelund on SportsCenter as a predictive analytics analyst spanning multiple disciplines. Devoid of previous on-air experience, she sought feedback from her mentors and focused on applying her studies of the craft in each repetition.

“I did an improv class to get over myself because I watched myself back, and I was like, ‘Who is that stiff, weird woman?,’” Frelund recalled. “I watched back, and I’m like, ‘Okay, my passion came through,’ but I felt like I needed to prove something – I felt like I had to say too much, I didn’t let things breathe.”

In thinking about the NFL, Frelund felt that she always had a home with the league and developed strong connections with key personnel. After keeping in touch with people involved over the years, she was extended an invitation to return and has since been utilizing data accumulation and application to distinguish trends and guide informed prognostication.

In addition to shows on NFL Network, Frelund started a digital program, titled Numbers Game, in which she immerses viewers deeper into the analytics and prioritizes what is most important to the niche audience. Frelund routinely looks for feedback through data, which she can discern through metrics such as engagement, impressions and click-through rate, and also speak with consumers through social media. Determining a proxy for demand has assisted in her quest to grow the show and surpass expectations.

“It’s very hard through a TV lens,” Frelund said. “It’s not like giving a presentation in school or something where you can watch people nodding, like a boardroom thing. You can’t see if someone’s paying attention, you don’t know how they’re reacting, so [with] Numbers Game, it specifically allows me to filter a little bit of what’s interesting and what’s not.”

In addition to writing code to decipher data, Frelund works in consulting gigs for teams not related to her media ventures, oftentimes helping with structuring analytics departments, selecting databases and asking salient questions to elicit strong answers. Upholding integrity and deviating from television content has helped her avoid conflicts of interest in this space.

“We fully define the problem, the scope, all of the dynamics of it,” Frelund said. “The thing that helps the team is really not something that we would talk about on TV. My producers define the segments, and the teams define the questions that they answer and deliver.”

Over the years, media companies have added sports media professionals who specialize in certain areas of the business. One of Frelund’s goals is to work on an NFL telecast in an analytics-based role in which she can break down the probabilities and make real-time adjustments based on various scenarios.

“Let’s not say, ‘The analytics would say, ‘Go for it,’’ Frelund outlined. “It’s like, ‘No, the yards, downs and distance would say, ‘Go for it,’ but that’s not the situation we find ourselves in.”

Frelund regularly evaluates what is happening within the space and looks for opportunities to contribute. The capabilities of artificial intelligence continue to proliferate, and rather than being averse to its evolution, she is finding ways to work with the systems and maintain the pace of innovation. As she dives into the calculations and empirical archetypes that presumably regulate determinants of success, Frelund is not losing sight of other variables and denoting implicit synergy between these measurements amid ostensible differentiation.

“It used to be called ‘Big Data,’” Frelund said, “…but as it keeps growing and expanding, [I want to keep] growing and expanding my ability to invest and to be a part of things that aren’t necessarily camera-facing, but rather impactful from, ‘How do you get more people that are into the space doing good things [in] the place they need to be seen by the right people in order to grow?’”

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.

It’s ‘Party 107.7’ Time In Norfolk VA

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Coming out of all Christmas music, Rhythmic AC “Movin 107.7″ WMOV, Norfolk has moved to a more gold-based Top 40 as “Party 107.7.”

On Monday, it was announced that “The Fred Show” was coming on January 6. (BMM 12/23)

Branding itself as the go-to destination for “Feel Good Hit Music.” Core artists featured in its lineup include Sabrina Carpenter, Rihanna, Eminem, Ariana Grande, and Shaboozey. The launch took place at midnight and kicked off with a selection of popular tracks: The Weeknd’s “The Hills,” Soulja Boy Tell ‘Em featuring Sammiie with “Kiss Me Thru The Phone,” Teddy Swims’ “Lose Control,” Ashanti’s “Foolish,” and Beyoncé’s “Irreplaceable.”

iHeartMedia New England and Virginia Areas Senior VP Programming David Miller commented, “With the launch of “Party 107.7”, we are flipping the switch on traditional radio in Norfolk, offering our listeners an exciting mix of music and entertainment that keeps the party alive all day long.

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Netflix Makes NFL Broadcasting Debut on Christmas Day: Sports Media Reacts

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Netflix presented two NFL Christmas Day games for the first time in its history on Wednesday, a new foray into sports content for the company. The three-year deal between the streaming outlet and the league for games on the holiday drew interest and intrigue from those around the country regarding its production, execution and delivery. Starting at 11 a.m. EST, the studio team from Los Angeles, Calif. featuring Kay Adams, Drew Brees, Robert Griffin III, Manti Te’o and Mina Kimes took the air to preview the first of two matchups. Within minutes of the pregame show going live, viewers in all 50 states tuned in to the broadcast.

More than 200 countries tuned in at some point during the matchup between the Kansas City Chiefs and Pittsburgh Steelers, which featured Ian Eagle, J.J. Watt, Nate Burleson, Stacey Dales and Melanie Collins on the call. Laura Rutledge hosted live coverage from Acrisure Stadium with Devin McCourty and Jason McCourty serving as analysts. Comedian Bert Kreischer reported on tailgates taking place in the parking lot, while the in-stadium field-level show welcomed special guests such as CM Punk and Nate Bargatze. Netflix passed peak concurrent viewers of any Christmas in the past four years during the first game, and one-third of its global concurrent viewers were tuned into the game at just after 4 p.m. EST.

After the Chiefs secured the No. 1 seed in the AFC, the Netflix broadcast moved to the game between the Houston Texans and Baltimore Ravens with the commentary team of Noah Eagle, Greg Olsen, Jamie Erdahl and Steve Wyche. Beyoncé performed at halftime of the game with guest cameos from Blue Ivy Carter, Post Malone, Reyna Roberts and Shaboozey among several others. Mariah Carey opened both broadcasts with a special performance of her hit single, “All I Want for Christmas Is You.”

Netflix currently has 283 million paid memberships in over 190 countries, and its ad-supported tier has attained 70 million global monthly active users two years after its launch, according to data from its latest quarterly earnings report. The company reported 65 million concurrent streams for its presentation of a fight between Jake Paul and Mike Tyson last month; however, there were complaints about the viewing experience surrounding buffering and lag. The consensus around the NFL Christmas Day broadcasts was more favorable ahead of the company beginning a 10-year agreement next month reportedly worth more than a total of $5 billion to become the home of WWE Raw.

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NCAA Women’s Volleyball Championship Averages 1.3 Million Viewers on ABC

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The NCAA Division I Women’s Volleyball Championship between Penn State and Louisville averaged 1.3 million viewers on ABC, representing the third-largest college volleyball audience on record. Emanating from the KFC Yum! Center in Louisville, Ky., the Nittany Lions secured a four-set victory that peaked with 1.9 million viewers, according to data from Nielsen Media Research. The tournament was down 23% from the record-setting 1.69 million viewers that the final between Texas and Nebraska averaged last year when the National Championship Game started airing on ABC.

The game action was called live by play-by-play announcer Courtney Lyle with analysts Holly McPeak and Katie George, and sideline reporter Madison Fitzpatrick. Studio coverage took place from the arena with Christine Williamson and Emily Ehman providing viewers pregame and postgame highlights and analysis. Semifinal coverage on ESPN one week earlier averaged 1.1 million viewers, representative of a 4% year-over-year increase. The Penn State-Nebraska matchup averaged 1.2 million viewers on ESPN, marking the most-watched NCAA volleyball semifinal on record. Louisville advanced with a win over Pittsburgh that averaged 1 million viewers, and both semifinal games peaked with an audience of 1.4 million.

The NCAA Division I Women’s Volleyball Championship is sixth among the most-watched national championship events in college sports, according to Jon Lewis of Sports Media Watch. College football ranks first with an average of 25.1 million viewers tuning in for the National Championship Game featuring Michigan and Washington. College basketball ranks second and third on the list for the final games within the women’s and men’s tournaments, which garnered audiences of 18.9 million and 14.8 million viewers, respectively. The third game of the Men’s College World Series and second game of the Women’s College World Series are the only other championships under this criteria to outdraw this year’s women’s volleyball championship.

ESPN will continue broadcasting NCAA championships under a new eight-year agreement that extends a four-decade collaborative relationship. The company has the rights for 40 NCAA championships, including women’s volleyball, men’s and women’s basketball and Division I/National Collegiate championships, along with international rights for all NCAA Championships. The deal reportedly has an average value of $115 million for these rights and also includes both entities working together to maximize opportunities for exposure on ABC and ESPN during the term.

ESPN also signed a new six-year media rights deal with the College Football Playoff, 11-year extension with the National Basketball Association and 12-year deal with the United States Tennis Association throughout the year. These agreements take place ahead of the anticipated launch of the company’s direct-to-consumer platform in Fall 2025.

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The 3 Qualities Joe Rogan Used to Dethrone Howard Stern as the King of All Media

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For decades, Howard Stern has been “The King of All Media.” If you believe that’s still the case, you couldn’t be more wrong. Joe Rogan holds the throne now.

2024 was the Year of Joe Rogan. Which is saying something, because you could probably argue every year since 2020 has been the Year of Joe Rogan.

The Joe Rogan Experience has been a dominant player in the podcast space. There are few other shows, if any, that command the audience that the comedian and UFC commentator does.

But as part of a new deal with Spotify, Rogan has been able to increase his media presence on YouTube in 2024. And that has made all the difference in earning the title of King of All Media away from Howard Stern. His channel has nearly 19 million subscribers on the platform while his backup channel, JRE Clips, features almost 8 million additional subscribers. According to figures quietly released by Spotify earlier this year, the show has 14.5 million followers on the app. And that was before the high-profile discussions with the Republican presidential ticket.

Rogan earned massive audiences on the digital video app during his conversations with Donald Trump and JD Vance. But they weren’t the only episodes that saw big viewership totals. Even conversations with more mundane subjects earned more than 3 million viewers on YouTube.

But how did Joe Rogan rise to the top of the media ecosystem? Well, he used the same three qualities that Howard Stern did.

Curiosity

I’m a big fan of the AppleTV+ show Ted Lasso. One of the resounding themes of the happy-go-lucky, loveable main character is his phrase “Be curious. Not judgmental.” It’s a motto I attempt to live by.

And Joe Rogan’s curiosity has propelled him to digital media stardom. Does that curiosity lead him into trouble at times? Undoubtedly. But that’s part of what makes Rogan endearing. He is curious about a variety of topics. He’s built an audience that is both curious about the topics but also about what Rogan’s thoughts on any given subject are.

Like Rogan, Stern is curious, too. He’s famous for asking inappropriate questions of the biggest newsmakers in the entertainment space. But they don’t come — at least in my opinion — from a place of depravity as much as he’s genuinely curious about people. That’s what Rogan has hung his hat on in recent years.

While discussing why an interview with Democratic presidential nominee Kamala Harris never came to fruition, Rogan shared that he wanted to do a longer discussion than the one-hour timeslot the campaign offered.

“I feel like if you give someone a couple of hours when you start talking about anything, I’m gonna see the pattern of the way you think,” he said. “I’m gonna see the way you process ideas. I’m gonna see whether or not you’re calculated or whether you’re just free. Or are you comfortable with you? Or are you projecting things?”

“My sincere wish is to just have a nice conversation and get to know her as a human being. I really hope we can make it happen,” he later added.

That’s coming from a place of sincere curiosity. And people respond positively to questions that genuinely seek information.

Authenticity

That need from Rogan to genuinely seek information is part of the authenticity he exudes, much like Stern. Howard Stern isn’t the sell-out many in conservative media today paint him to be. He’s simply a changed man. People change. They’re supposed to change throughout life. If you don’t, it says much more about you than it does him.

But Stern is still authentic and true to himself. And so is Rogan. He’s unapologetically himself. It’s a key to any form of media success. Listeners, viewers, or consumers — however they’re digesting your content — have a BS meter. They know when you’re telling the truth, they know when you’re lying, and they know when you’re saying something you don’t actually believe.

Joe Rogan, for better or worse, doesn’t ever say anything he doesn’t believe. Just like Howard Stern.

Indifference

Finally, Joe Rogan built his following largely by the IDGAF (if you don’t know the acronym, click here) attitude that Stern once exuded on terrestrial radio.

Many people are insecure. They don’t know or don’t like who they are. Rogan doesn’t fall in that camp. He knows who he is, what he does, what he means, and isn’t afraid to wield that power. So for those people who are insecure, they wish they could have that same “I don’t care what anyone thinks of me” attitude that people like Rogan and Stern have. They long for the ability to be so confident in themselves and their ability that they can show “the man” the double bird and not think twice about it.

And that “give a damn’s busted” mantra that Rogan has plays so insanely well in today’s digital media sphere. If you look at the average age of Rogan’s audience, it is noticeably younger than those of more traditional forms of media. He’s the perfect spokesman for younger millennials who are so notoriously afraid of conflict, while also appealing to Gen Z and their general disdain for any authority or longstanding institutions.

So, if Joe Rogan exudes the same three attributes that Howard Stern did and still does, how did he replace the longstanding titan on top of the media world?

It’s simple: Rogan took those three qualities — the same three qualities that led Stern to stardom — and did them on emerging platforms. He saw where the shift in the media space was going, and pounced on them like a starving man on a Christmas ham. Joe Rogan was ahead of the curve. And that’s how he replaced Howard Stern as The King of All Media.

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.

Here’s Hoping News Talk and Sports Talk Radio Had Their Holiday Wish Lists Fulfilled

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I hope everyone in talk radio land had a great holiday and hopefully you are reading this in your bed or on your couch around 10 a.m. after a long slumber, made even better by not having to work the next day. Then there’s the rest of us who see December 26 as just the day after Christmas and another day to get some work done.

In our line of work, we know ‘the show must go on’ although generally with the B or C team as many talk shows take a couple weeks off this time of year and we will hear them again come January 6.

As the new year approaches, I thought back on the year that was and started to put together a list of things I hope news talk radio and sports talk radio received for the holidays…

For both formats, I hope there was a box under the tree that had a magic wizard in it, or even just a younger, fresh thinker who comes from outside of the ‘radio business.’ Someone or something which can give the industry the desperately needed ideas to have it get out ahead of whatever is coming next. These two formats especially missed out on podcasting. They should have owned the podcasting space and the millions or billions of ad dollars that moved that direction. We were supposed to be the leaders in audio entertainment and information and most of us quickly found out we were not.

What can talk radio do in 2025 and beyond that will help the sales teams not have to start conversations by spending the first 20 minutes defending the industry and giving the reasons why it is not yet dead?

For News/Talk Radio I hope there was the gift of new material. Never has a format, and this goes for radio and television, become so centered around so few actual topics. And most of them lead all to one place – ‘why my side is better than your side’. Or some may prefer to put it, ‘why your side is a bunch of idiots and why everything my side likes and says is perfect’.

It’s gotten old. Like the format and most of the hosts.

What can be done in 2025 to freshen things up, to play the hits while not smashing people over the head over and over again with them? If you are not trying new ways to pull in younger listeners or new ways to keep the listeners that you have, each year is just going to get tougher and tougher. It will be a slow, painful death.

If you have not yet read about what KDKA in Pittsburgh is doing with their KDKA Next Take program, click on that link and read Garrett Searight’s story on it. This is an example of something being done that is completely different and is designed to drive reach and younger audiences. Yes, I said there is an actual idea being done right now in news talk radio in a big market, which any station could replicate, that is designed to drive reach and younger audiences. If you don’t think this idea is something you could implement where you are, what is your idea that will drive reach and younger audiences? What did you try last year? What are you trying this year?

For sports talk radio it would be great if the industry was gifted shackles to keep some of the talent from leaving. I think this actually all ties together with what I wrote above for news talk radio. Not only do some of the talent leave because they see the bright lights of television or one of their buddies got fired and is now much happier on their own doing digital content, but also because they don’t see the future with their company or the industry.

They assume leadership will come up with some strong ideas to be ahead of whatever is coming next. They want to see that the industry won’t just be reactionary to what happens elsewhere, then go spend a bunch of money trying to play catchup while also trying to cut corners – instead of developing something that makes local talk radio and its content creators really matter and makes other industries want to follow what it is doing.

I thought about this a lot recently when doing an eavesdropping feature on the ESPN Radio morning show, Unsportsmanlike with Evan, Canty and Michelle. I think Chris Canty is tremendous – but could he be too good? Especially at ESPN where there is a very easy transition to full time television. I hate the fact that the whole time I was thinking about how good he was on radio, I was thinking that probably means it won’t be too long before he moves on.

We are in tough times in radio overall. Over here on the talk side of things we are much better off than our brethren on the music side. That being said, we have got to get new thinkers, new ideas, new creators, new leaders who can really focus on how the talent that is in the space can grow their listener bases and consistently engage with them so they truly own that relationship. The talent we have need to be the ones people of all ages think of when they want to be entertained or informed.

And if that is not who you have on your roster…you might want to find some new players for your team.

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.

Tony Cortez Signs On For Mornings at Classic Hits 101.1 KONO-FM San Antonio

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Tony Cortez is set to return to Cox Media Group, where he will host the morning show at Classic Hits 101.1 KONO-FM. This announcement comes just over a month after he departed from his role at Hot AC “Hits 105.3” KSMG San Antonio.

Cortez will debut on Monday, December 30, stepping into the role vacated by the recent retirement of Music Director and midday host Steve Casanova. With this change, Tory Christopher will transition from the morning show to take over Casanova’s midday slot.

Cortez has spent most of his career in the San Antonio market, working with Top 40 “Mix 96.1” KXXM and Tejano 107.5 KXTN-FM. He spent seven years as Assistant Program Director and afternoon host at Alpha Media’s Top 40 “Energy 94.1.”

He had exited the cluster last month (BMM 11/7). He was hosting mornings with Jenny Lee.

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.

Nielsen Audio releases December Day One PPM 6+ 6 am-midnight

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#1 New York

Holiday Music is raising its hand in the Big Apple

WLTW – 7.8-9.7

Urban WBLS moves 5.5-6.0

Classic Rock WAXQ loses half a share 6.0-5.5

Top 40 WHTZ drops 5.4-4.9

#2 Los Angeles

Holiday Music for a big month for AC KOST 4.7-8.3

Classic Hits KRTH flat 5.6-5.5

Hot AC KBIG 4.9-4.8

Top 40 KIIS 5.1-4.8

#3 Chicago

The Holiday Music trend continues with WLIT soaring 5.5-9.8

Classic Rock – WDRV drops 6.5-5.6

Country WUSN steady 4.2-4.4

#4 San Francisco

AC KOIT 5.4-7.2

AC KISQ – 4.9-4.0

Classic Rock KSAN 3.1-2.7 This is one to keep an eye on with the exit of Lamont & Tonelli

#5 Dallas – Ft. Worth

AC KDGE propelled by Holiday Music moves 3.9-7.1

Country KSCS up 4.1-5.5

Top 40 KHKS drops 4.8-4.3

#6 Houston

AC KODA 7.7-11.1

Classic Rock KGLK 5.5-5.9

Country KKBQ drops 5.6-5.0

#7 Atlanta

Urban WALR has a big jump 5.7-7.8

Classic Hits WSRV is flat 7.0-7.1

Urban WAMJ up 6.0-6.7

#9 Philadelphia

Rock WMMR leads the way 8.3-8.3

Urban WDAS 8.4-8.1

AC WBEB jumps 4.9-7.8

Country WXTU 4.8-4.6

#20 Nassau-Suffolk

Classic Rock WBAB 7.4-6.4

AC WLTW 3.2-4.4

Hot AC WALK 4.9-5.0

#26 Riverside-San Bernardino

Classic Hits KOLA 9.6-8.7

Spanish Hits KLYY up big 6.8-8.5

Spanish Hits KLVE 4.2-5.6

#39 San Jose

AC KOIT 4.7-6.9

Classic Rock KUFX 4.2-5.1

Country KBAY 3.8-3.4

#42 Middlesex-Somerset-Union

AC WLTW 5.3-7.5

AC WMGQ 4.4-7.3

Classic Rock WAXQ 6.2-6.8

You can dive deeper into each market on Barrett Media’s ratings page. Powered by Harker Bos Group.

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