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FOX Sports Debut of Indianapolis 500 Secures 17-Year Audience High

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With FOX Sports televising the Indianapolis 500 from the Indianapolis Motor Speedway for the first time, the race reached a 17-year high with an average of 7.05 million viewers tuning in for the action, according to data from Nielsen Media Research. This marks the largest audience for the race since 2008 when it secured an average of 7.25 million viewers, and it is up 40% from the previous year when NBC averaged 5.02 million viewers for the proceedings.

Jon Lewis of Sports Media Watch notes that when combining Adobe Analytics data with the Nielsen figures from last year, the NBC average jumps to 5.31 million viewers. While there was a slight delay for the start of the race, it was significantly shorter than the four-hour weather-related impedance last year

Alex Palou attained the victory zooming by Marcus Ericsson amid the final laps of the contest, which peaked with an average of 8.4 million viewers tuning in during the 4:15 p.m. EST quarter hour. This race marks the largest motorsports television audience within the United States since the 2023 iteration of the Daytona 500, which averaged 8.17 million viewers on FOX. Lewis adds that this year’s Indianapolis 500 outdrew the Daytona 500 for the second time in at least the last 25 years, but the latter faced a three-and-a-half-hour-delay this past February. The NASCAR season-opening Daytona 500 averaged 6.76 million viewers on FOX this year, which was up by 13.4% from the previous occurrence of the race.

Concurrent with the move of the Indianapolis 500 to FOX, the Coca-Cola 600 left the company and started airing on Amazon’s Prime Video. According to Lewis, the Indianapolis 500 was the most-watched race among the Memorial Day weekend motorsports events since 2013, which is when the Coca-Cola 600 averaged 7.13 million. It is also the second-largest year-over-year increase for the Indianapolis 500 since 2005, and it could be further augmented based on final data from the Nielsen Big Data + Panel with the current numbers based on Nielsen Fast National data.

FOX Sports is the exclusive home of the NTT IndyCar Series and Indianapolis 500 race under a media rights deal that began this year. Throughout the season, FOX is presenting the property on 19 broadcast television network windows, marking a new record for the racing series. The Indianapolis 500 broadcast team featured Will Buxton delivering the play-by-play call of the venture, James Hinchcliffe and Townsend Bell providing analysis and pit reporting from Kevin Lee, Jamie Little, Georgia Henneberry and Jack Harvey. Pre-race coverage featured Chris Myers with former NTT IndyCar Series racers Tony Stewart and Danica Patrick.

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YouTube Maintains Largest Share of TV Viewing for Third Straight Month

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YouTube held its position as the top media company in Nielsen’s April 2025 Media Distributor Gauge report, capturing 12.4% of audiences’ time spent watching television. This marks the platform’s third consecutive month leading the gauge and its highest share of TV viewership to date.

For the first time since Nielsen launched the Media Distributor Gauge in November 2023, company rankings remained unchanged from the previous month. For reference, the Gauge is Nielsen’s monthly snapshot of total broadcast, cable and streaming consumption that occurs through a television screen, providing the industry with a holistic look at what audiences are watching.

Disney once again claimed the second-largest share of television viewership, accounting for 10.7% of total TV time in April. The 0.2 percentage point increase over March was fueled by extensive coverage of major sporting events, including the NFL Draft, the NCAA Women’s Basketball Championship, and the opening round of the NBA Playoffs.

Disney also benefited from the continued success of Grey’s Anatomy, which was April’s most-watched streaming title with 3.9 billion viewing minutes. The long-running drama drew strong numbers across both multichannel and multiplatform outlets.

Meanwhile, Paramount secured 8.9% of total TV watch-time and posted the largest monthly increase among all media companies, gaining 0.4 percentage points. More than half of this growth came from rising viewership at its CBS broadcast affiliates.

NBCUniversal maintained its fourth-place ranking, edging up to an 8.2% share in April from 8.0% in March.

Warner Bros. Discovery (WBD) held steady with a 6.7% share of TV usage, aided by a 58% surge in viewership on TNT. The network aired 18 NBA Playoff games through April 27. Additionally, WBD drew strong streaming numbers thanks to its HBO series The White Lotus, which was the second most-watched streaming title of the month with 3.7 billion viewing minutes on Max. The series also led Nielsen’s Streaming Top 10 during the weeks of March 31 to April 6 and April 7 to April 13, with 1.31 billion and 1.25 billion viewing minutes, respectively.

https://www.nielsen.com/news-center/2025/youtube-maintains-largest-share-of-tv-viewing-among-media-companies-for-third-consecutive-month/

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B-Rock 100.9 and Q96.5 Bryan OH Lose Studios To Fire

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Classic Rock B-Rock 100.9 and Classic Hits Q96.5 in Bryan, OH, had their studios destroyed over the weekend. The fire, which started Saturday night, has left both stations off the air.

The station posted on its Facebook page, “By now, most of NW Ohio has heard the news. Our work home suffered a devastating fire last night that has left the building and our hearts completely gutted. It is, for all intents and purposes, a total loss. Thankfully, nobody was in the building when the fire broke out, so the best news we can report is nobody was injured. 

According to a report from The Village Reporter, the fire began around 4 am. Six surrounding communities assisted in fighting the fire.

The article quoted a neighboring resident as saying the fire broke out suddenly and continued for a length of time before it was fully extinguished.

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CBS News Scott Pelley States Journalism Is Under Attack In Commencement Speech

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CBS News anchor Scott Pelley had the distinction of giving the commencement address at Wake Forest a couple of weeks ago. However, his remarks are making headlines this week as his network and the program 60 Minutes are under fire from the White House and the Trump administration. Following the resignation of 60 Minutes executive producer Bill Owens last month, Pelley addressed his departure on the long-standing program, saying that parent company Paramount “began to supervise our content in new ways” and that by Owens stepping down when he did proved “he was the right person to lead 60 Minutes all along.”

Moreover, Pelley built on the premise of journalism being under scrutiny. In his remarks at Wake Forest, he emphasized that the practice itself is under attack.

“In this moment, this moment this morning, our sacred rule of law is under attack. Journalism is under a attack. Universities are under attack, freedom of speech is under attack,” said Pelley. “If our government is, in Lincoln’s phrase, of the people, by the people for the people, then why are we afraid to speak?”

Meanwhile, Paramount, the parent company of CBS News, is in the midst of attempting to merge with Skydance Media, which needs approval from FCC chairman Brenden Carr, a Trump appointee. Furthermore, Trump has launched a $20 billion lawsuit against what he alleges is selective editing for a 60 Minutes interview the program featured with former Vice President Kamala Harris in the run-up to the 2024 presidential election.

In addition, Pelley’s speech, which took place last Monday, stressed the importance of engaging with those who disagree with you, but also listening above all.

“As a reporter, I’ve learned to respect opinions. Reasonable people differ about the life of our country. And America works well when we listen to those that we disagree with, where we listen to those we disagree with and have common ground and compromise. One thing we can all agree on, one thing at least, America is at her best when everyone is included,” said Pelley.

“To move forward, we debate, not demonize. We discuss, not destroy.”

Notably, the Trump administration has already filed lawsuits against CBS News and ABC News. In addition, it has signed executive orders to cut funding to PBS and NPR. On Tuesday morning, NPR and three public radio outlets in Colorado filed suit against Trump’s executive order, claiming it violates the will of Congress and the First Amendment.

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NPR, Three Public Radio Stations File Suit Over Trump Executive Order Cutting Funding

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NPR and three Colorado-based public radio stations filed suit earlier this morning in federal court against The White House and President Donald Trump over an executive order barring the use of congressional funds for National Public Radio and PBS. According to the filing, the plaintiffs include Aspen Public Radio, Colorado Public Radio, and KSUT Public Radio, which state—along with NPR—that the executive order violates the expressed will of Congress and the First Amendment.

Furthermore, the lawsuit names President Trump, White House budget director Russel Vought, Treasury Secretary Scott Bessent, and Maria Rosario Jackson, the chair of the National Endowment for the Arts, as defendants.

“It is not always obvious when the government has acted with a retaliatory purpose in violation of the First Amendment. ‘But this wolf comes as a wolf,'” states the legal brief for the public broadcasters. “The Order targets NPR and PBS expressly because, in the President’s view, their news and other content is not ‘fair, accurate, or unbiased.'”

Previously, last month, NPR CEO Katherine Maher told the network’s All Things Considered program about how the loss of government funding would be felt most by radio stations in rural communities.

“The big impact would be on rural stations, stations in geographies that are quite large or complex in order to be able to receive broadcast or infrastructure,” said Maher. “Costs are very high. You could see some of those stations really having to cut back services or potentially going away altogether.”

Subsequently, President Trump signed an order earlier this month directing that funds going to National Public Radio and the Public Broadcasting Company be stopped. He accused both networks of biased coverage.

In response, Maher released a statement following the lawsuit, stating that the executive order was “textbook retaliation” and an existential threat to the public radio system “that millions of Americans across the country rely on for vital news and information.”

“The Executive Order is a clear violation of the Constitution and the First Amendment’s protections for freedom of speech and association, and freedom of the press,” NPR President and CEO Katherine Maher said in a statement.

The White House has not commented on the lawsuit.

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Bill Simmons: ‘Mike and the Mad Dog’ Weighing in on Oscars ‘Created Podcasting’

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Amid the 19-year run of Mike Francesa and Christopher “Mad Dog” Russo hosting together on WFAN, the duo decided to start giving their opinions on the Academy Awards. The segments resonated with Bill Simmons, the founder of The Ringer and head of talk strategy at Spotify, and he recollected on the sports talk radio program during a recent episode of his podcast.

The conversation began with Simmons asking Jon Stewart, host of The Daily Show, his opinion about how the hosts would have reacted to the Game 2 loss by the New York Knicks against the Indiana Pacers. After doing an impersonation of Francesa and Russo, Simmons expounded on his memories pertaining to the Oscars segment.

“That was to me, that created podcasting,” Simmons said. “Mike and the Mad Dog decided they were going to weigh in. I feel like they created it when they weighed in on the ‘94 Oscars or the Emmys. I was like, ‘This is the mode for something down the road.’”

Stewart conveyed how influential the duo has proven to be for the broadcasting domain, highlighting how it is more Russo now than Francesa. In addition to his weekday SiriusXM program on Mad Dog Sports Radio, Russo also makes weekly appearances on ESPN’s First Take. Francesa is the host of a podcast through the BetRivers Network and has also been a guest on First Take for a special reunion episode featuring Russo alongside featured commentator Stephen A. Smith.

“I feel like a lot of the people that have huge platforms now, and I include myself, were massively influenced by that specific show because of the interplay back and forth with those guys is really what podcasting became,” Simmons acknowledged.

Stewart added that shows like First Take are directly from the ilk of Francesa and Russo’s radio program, and he concurrently reflected on the beginnings of WFAN when the station first took the air in 1987. In fact, he explained that the show lit up sports in such a manner that everyone kind of does their best impression of the duo today. Simmons then spoke about the current state of WFAN, describing some of the show as performative and admitting that the clips are really funny as well.

“The problem I have now sometimes with the FAN is a lot of the voices sound the same,” Stewart said. “The nice thing about Dog and Francesa is they were like Hall & Oates. Like one guy sang high blues and the other guy and every now and again with the – so that treble and bass really worked. Now you get shows that are like, ‘Treble, treble,’ and it’s you don’t know who’s talking and they’re all at the same pitch, and it’s just kind of cacophony and, like you say, pretty performative, pretty obviously takes with kind of holes in them. Still fun to listen to, but we’re also old heads.”

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Brady Quinn: Michael Jordan Joined NBC To Beat LeBron James to It

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NBCUniversal announced that basketball hall of famer Michael Jordan will serve as a special contributor to the network’s presentation of the NBA, coming this fall, at the network’s upfront presentation earlier this month. This will be the first official journey into the world of sports media for the global basketball icon. However, NBC has not officially stated what Jordan’s role will be in the network presentation yet, leading to speculation by many across the industry.

Meanwhile, former Notre Dame quarterback Brady Quinn, who co-hosts on FOX Sports Radio’s 2 Pros and a Cup of Joe, has a theory as to why Jordan would even consider a leap into sports media in the first place.

“Michael Jordan is the greatest of all time in basketball, fair enough,” said Quinn. “I think this is a GOAT move by the GOAT in Michael Jordan, to jump ahead of where I think LeBron James would want to be at some point in time. And if you were the GOAT, and if you were the authoritative figure when you’re on a major network like this, you’re a part of the broadcast, the coverage, it’s going to speak volumes.”

Quinn’s rationale is based on the heightened debate over who is the greatest basketball player of all time, which has led more and more people to insert LeBron James’ name into that discussion. As a result, the former standout Irish signal caller theorized that Jordan would want to beat James to the punch by entering the sports media landscape and building his own voice first—before LeBron would even have the chance to.

“LeBron James likes trying to control the narrative,” Quinn said. “In this case, [he] can’t really control the narrative, because no one’s going to want to listen to him as much as they will to Michael Jordan, in my opinion.”

To date, James has not stated if he has any interest in joining the ranks of sports media once his career is over. However, he has dabbled in podcasting with Mind The Game alongside Steve Nash and formerly JJ Redick.

NBC, which broadcast NBA games from 1990 to 2002, signed an 11-year agreement with the NBA to return to broadcasting games beginning next season. Specifically, Peacock will livestream exclusive national Monday night games, while NBC/Peacock will present national coverage of regional doubleheaders on Tuesday nights. Additionally, NBC Sports will launch Sunday Night Basketball in 2026 across NBC and Peacock, thereby providing NBA fans with three consecutive nights of national coverage across NBCUniversal platforms during the second half of the regular season.

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Shannon Sharpe Announces Postponement of Nightcap ‘NSFW Tour’

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When Shannon Sharpe announced he would be taking a temporary leave from his duties with ESPN following a civil lawsuit filed by a woman who claims that the former NFL star sexually assaulted, harassed, and committed battery against her, it remained unclear what that meant for his Nightcap and Club Shay Shay podcasts. Sharpe has not appeared on ESPN since mid-April. However, he has continued to release podcast episodes with Nightcap co-host Chad Ochocinco.

Meanwhile, on Friday night’s edition of The Nightcap, Sharpe announced that the upcoming NSFW Tour, which the nightly podcast had scheduled for eight cities across the United States, would be postponed.

“We’ve decided to postpone the Nightcap tour,” Sharpe said. “We look forward to seeing you guys in the summer of 2026. It’s going to be even bigger, even better. But Ocho and I have come to the conclusion that this is the best thing as of right now, was to postpone the tour.”

Originally, the tour was scheduled to kick off on June 13 in Baltimore, before visiting Philadelphia on June 14. There were four dates scheduled in July hitting the Charlotte, Los Angeles, Miami, and New York City markets. The tour was scheduled to wrap up the eight-city tour with two dates in August in Chicago and Detroit.

“Some of you guys that have already gotten your tickets, you’ve probably received the e-mails and further instructions,” said Sharpe. “I want to thank you for your support.”

Notably, the short announcement led off Friday’s episode, and no reasons for the postponement of the tour were discussed by either Sharpe or co-host Ochocinco.

Earlier, the former Bengals receiver stated last week on an episode of This Past Weekend with Theo Von that he’s going to be a part of Nightcap and support whatever Sharpe decides regarding the future of the highly successful podcast.

“Unc asked me to be a part of Nightcap, and I’m going to ride that wave because he asked me to come on,” said Ochocinco. “I’m not jumping ship because of his personal stuff. You handle whatever you need to handle, I’ll always be here. I’m going to be here. If the ship goes down, b***h I’m going down with it.”

Currently, the Nightcap podcast, which debuted in 2023 under Sharpe’s Shay Shay Media group, ranks in the top 30 of YouTube’s latest weekly top podcast rankings.

So far, the former NFL tight end has not spoken out in detail about the allegations in the lawsuit. Instead, he announced a temporary leave from ESPN to devote more time to his family while addressing what he referred to as the “false and disruptive” accusations. Nevertheless, Ochocinco has been unwavering in his support.

“I’m going to let Unc do what he needs to do. We’re going to keep on filming. Going to keep on trucking. We’ll keep our head down,” Ochocinco says. “He knows what he needs to do on his end, and I’m going to make sure I take care of my end and do what I need to do and show up. That’s it.”

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Charles Barkley: ‘It’s Going to Be an Honor and a Privilege to Work for ESPN’

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The Eastern Conference Finals between the New York Knicks and Indiana Pacers will mark the final time under its current media rights contract that TNT Sports will be presenting live game broadcasts of the National Basketball Association in the United States. The company will not be one of the U.S. media rights partners under the league’s new 11-year contracts reportedly worth a collective $77 billion with The Walt Disney Company (ESPN/ABC), Comcast Corporation (NBC, Peacock) and Amazon (Prime Video). Charles Barkley, analyst for TNT Sports on Inside the NBA since the turn of the century, has been part of the on-site studio coverage alongside colleagues Ernie Johnson, Kenny “The Jet” Smith and Shaquille O’Neal.

Barkley, on numerous occasions in the past, has referred to the people at ESPN as clowns and revealed that he learned about the sublicensing agreement from ESPN employees themselves. Before the two sides reached a deal or Warner Bros. Discovery officially lost the NBA, Barkley revealed he was retiring from television but ended up reaching a long-term commitment to TNT Sports a few months later.

On top of that, he divulged that he took meetings with Amazon and NBC Sports, divulging that he would inform the latter that he would not be accepting their offer. As it pertains to ESPN specifically, Barkley recently took a different tone when asked by street journalist and standup comic Adam Glyn about his future regarding basketball coverage.

“It’s a great opportunity,” Barkley said. “We just got to figure out how the dynamics, but it’s going to be an honor and a privilege to work for ESPN.”

Barkley and his teammates are expected to continue hosting the show next year when it will be sublicensed to The Walt Disney Company and presented throughout the year. The agreement took place after Warner Bros. Discovery and the NBA reached a settlement over the former’s lawsuit regarding broadcasting rights. Despite airing on Disney platforms starting next year, the cast of Inside the NBA are going to remain Warner Bros. Discovery employees and could be involved in other projects for the company going forward, such as an Inside Sports show in development for next season. TNT Sports and its brand portfolio is also receiving a global license enabling it to create, produce and distribute content featuring new and existing NBA footage.

Throughout the playoffs, Barkley is also working alongside Golden State Warriors forward Draymond Green. The four-time NBA champion is traveling with TNT Sports and taking part in live editions of Inside the NBA from Madison Square Garden and Gainbridge Fieldhouse, continuing his work with the company when he is not playing. Barkley was asked about Green’s future as a broadcaster, to which he expressed optimism that it would be his path.

“Oh, he’s going to be doing that for sure,” Barkley said. “Yeah – we already paying him, so he’s definitely going to be doing that.”

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It’s Time For Classic Rock to Reopen the Request Lines

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It may be the most romanticized piece of the radio experience. A host gives out the station phone number, and listeners call in asking to hear their favorite songs. The host coaxes a great soundbite out of the caller about why they want to hear that song or who they want to dedicate it to.

That conversation plays back as the song being requested starts to play, and the whole listening audience gets to hear the reason that song is the perfect song for that person in that moment.

And it never happens anymore.

Let’s face it, the days of listeners’ requests are all but over. There are a bunch of excuses why this simple interaction doesn’t happen anymore: no one is in the studio; everything is voice-tracked; no one calls anymore; and my favorite, the songs they call for are too far out of format, everyone will tune out.

There is, however, one place where requests are making a notable comeback: Spotify.

It started in February 2023 when Spotify announced the addition of a new feature: an AI-powered DJ. Using artificial intelligence, Spotify promised to give listeners a more personalized musical experience. Part of the new feature included a button so if a listener wasn’t “feeling the vibe,” they could tap the DJ button to switch it up.

Now they have improved this functionality. According to a recent press release, when users press the DJ button, they will now hear a beep, and that’s when they can “ask for the type of music they want to hear at that moment.” 

Listeners can’t ask for specific songs, but they can instruct the DJ to play a mix based on genre, mood, artist, or activity. Spotify included some examples like, “Surprise me with some indie tracks I’ve never heard before,” “Give me some electronic beats for a midday run,” or even “Play me some cry-in-the-car songs.”

Now, when it comes to picking songs to fit a mood, I would put most Classic Rock hosts up against an AI-powered DJ any day. I have no doubt our expert curators would do a better job finding just the right song to match a listener’s mood or meet their needs.

Except for one small problem, at most stations, no one is taking requests! So, unless we want to simply give that up to Spotify, it’s time to reopen the request lines, in a way that fits today’s reality.

So, let’s address the issues:

Unfamiliar song requests cause listeners to tune out.

This is the weakest argument. Classic Rock listeners scream for more variety. And while you can’t play a whole set of unfamiliar songs, weaving a few requested songs between huge hits will help satisfy the crowd that hates your playlist. Plus, half the requests you’ll get are for popular songs anyway.

Further, it highlights the songs as being something another listener asked for. I guarantee that gives you more latitude to play a song that other listeners aren’t familiar with. They may not know a song, but they will appreciate it because it’s a request, and they’ll hear the caller explain why it’s a great song.

I can’t play requests in my show because its voice tracked. Plus, nobody calls the station anymore.

It’s 2025, requests don’t have to be executed the way I described at the top of this column. There are a myriad of ways for people to make requests now. Voice messages from your app or their phone, email, text, a form on the website, social media, should I go on?

Review the requests as they come in, place them in the log for the next day and communicate back to the listener to let them know when their song will play. As we fight for every occasion of listening, tell a listener when you will make them a star, and I can all but guarantee a tune in.

We claim it’s our ability to connect with our listeners that sets us apart from a boring Spotify stream. Let’s prove it. Open the phone lines, text line, email, voice message or whatever and remind your listeners how much better our listening experience can be.

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