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Scott Shannon Reflects on Radio’s Past and Uncertain Future

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Scott Shannon believes radio lost part of its soul when creativity gave way to corporate oversight. Yet the legendary host and programmer still sees opportunity for personalities who understand branding, emotion and audience connection.

What We Know: Shannon joined the For the Record podcast to reflect on radio’s evolution and his lasting influence on Top 40 programming. During the conversation, he detailed how stations once operated as creative laboratories instead of corporate assets. He also expressed concern over the shrinking pipeline for future talent, arguing that fewer overnight opportunities prevent young personalities from developing naturally. Shannon criticized hedge fund ownership groups for prioritizing payroll reductions over talent retention, suggesting many executives now focus more on salary lines than audience impact. The conversation also revisited the creation of the “Zoo” format and Z100’s launch in New York. Shannon emphasized “phonetic magic” as a key ingredient behind memorable station branding.

What They Said: “Nobody knows where it’s going. It’s not going up,” Shannon remarked when asked about radio’s future. “When a new hedge fund company takes over a chain of radio stations, they look at one thing. How much are they making?” He also defended the future of radio personalities despite industry skepticism. “I think that disc jockeys will continue to be stars. However, how are they going to get there?”

What Remains Unclear: Shannon offered sharp observations about ownership trends and shrinking opportunities but stopped short of identifying a clear solution for rebuilding radio’s talent pipeline. The conversation raised broader questions about syndication’s long-term impact. Shannon acknowledged many new syndicated shows launch with limited resources and fewer local connections. Still, he did not fully address how terrestrial radio can better compete with podcasts, streaming and digital creators.

What It Means: Scott Shannon’s comments resonate because they come from someone who didn’t just talk about great radio. He helped build the modern CHR blueprint at Z100. His remarks also touch on a growing concern across the industry. Companies continue chasing efficiencies while many programmers worry that creativity and talent development are slowly disappearing. Shannon’s point about “phonetic magic” is a reminder that strong branding, emotional connection, and compelling personalities still matter in radio today.

Scott Shannon shared his insights during an appearance on the For the Record podcast with Dave Sholin and Rick Bisceglia. Click the video below to enjoy the full conversation.

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

Disney Revenue From ESPN, Disney+, Hulu, Hits $10 Billion During 2026’s First Quarter

Disney released its financial results for 2026’s first quarter. It saw positives from its investments in ESPN, Disney+, and Hulu.

What We Know: The first quarter of 2026, which for Disney ended on March 28th, is actually the second quarter of the company’s fiscal year. It also marks the first earnings report under new CEO Josh D’Amaro.

What the Numbers Show: In total, Disney earned $25.17 billion during the quarter. That figure was a 7% increase compared to the prior year. From its entertainment sector, it reached more than $10 billion between Disney+, Hulu, and ESPN.

Segment: Revenue: Change:
Disney+/Hulu $5.49 billion +13%
ESPN $4.61 billion +6%

What They Said: “At an important moment of change for Disney, we remain focused on executing our long-term growth strategy. Our creative and operational momentum drove strong quarterly results, and we continue to expect growth to accelerate in the second half of the fiscal year.” -Disney CEO Josh D’Amaro and CFO Hugh Johnston, in a joint statement.

What It Means: The price increase for Disney+ enacted in October 2025 obviously helped the financial results. The price went from $9.99 per month to $11.99 for the standard tier. The Premium tier, which doesn’t include ads, rose from $15.99 per month to $18.99. The premium version of Hulu, which will eventually be rolled into Disney+, remained at $18.99 per month. ESPN, meanwhile, said its advertising sales declined 2% due to an overall decrease in NBA broadcasts. The 2025-2026 season marked the first year of a new NBA TV deal that put games on NBC/Peacock and Amazon Prime Video, in addition to ESPN platforms.

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

4 Non Blondes’ Linda Perry To Receive International Songwriter Prize at Ivor Novello Awards

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4 Non Blondes’ front woman Linda Perry is heading to London. The legendary songwriter will receive the International Songwriter Prize at the upcoming Ivor Novello Awards.

What We Know: Perry earned this honor through decades of hit-making. Her credits include Christina Aguilera’s Beautiful, Pink’s Get the Party Started, and Gwen Stefani’s What You Waiting For? Additionally, she co-wrote 4 Non Blondes What’s Going On?, which peaked at number 14 on the Billboard Hot 100. The ceremony takes place May 21 at London’s Grosvenor Hotel.

What’s at Stake: The Ivor Novello Awards represent one of music’s most respected honors. Therefore, this recognition significantly elevates Perry’s already-impressive legacy. Brandon Flowers most recently received this same prize, with Bruce Springsteen presenting the award. Perry now joins that elite company.

What Remains Unclear: Perry’s full remarks and plans surrounding the ceremony haven’t yet surfaced publicly. Furthermore, details about potential performances or special guests remain unconfirmed. It’s also unclear whether collaborators like Adele, Ariana Grande, or Celine Dion will also attend to celebrate her achievement.

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

Joy Taylor Joins Urban One Launching ‘The Daily Play’ Podcast

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Joy Taylor has a new home. The former FS1 personality is launching The Daily Play, a daily short-form sports commentary series distributed by the Urban One Podcast Network.

What We Know: Taylor departed FS1 last year after a near decade-long run co-hosting The Herd w/Colin Cowherd, Undisputed, and Speak. Since then, she has focused on independent digital projects. Now, she’s returning to audio. The Daily Play airs Monday through Friday, delivering five-to-ten minutes of sports commentary built around culture, context, and sharp analysis.

What They Said: Joy Taylor “I wanted to create something fast, focused, and always authentic. Sports fans are busy, but they want the context behind the conversation. With ‘The Daily Play,’ I’m giving them what it means and what to watch next—in just a few minutes. Joining Urban One allows me to talk directly to a loyal, engaged audience across the country. I’m excited to get back to my radio roots!”

Dre Smith, Sr. Director of Podcast Operations Urban One: “We aren’t just launching a podcast; we are bringing one of the most insightful voices in sports to a national stage. Joy’s addition represents a shift in how we deliver daily sports content.”

What Remains Unclear: Taylor’s specific contractual terms with Urban One have not been disclosed. Additionally, the scope of her continued independent digital work alongside this new role is still unknown.

What It Means: Since her departure from FS1, Taylor has teased a potential return to sports media for some time. She has kept busy working on a number of independent projects while collaborating with other creators in the digital space. This is Taylor’s first re-entry back into a full time sports capacity since leaving Speak in the summer of last year. For Urban One, this is a massive addition to their growing podcast portfolio with a name that will grab attention across sports media.

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

101.5 Freedom-FM Comes to Fayetteville

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There’s a new conservative talk station in Fayetteville, as 101.5 Freedom-FM debuted from 479 Media on Tuesday.

What We Know: The station formerly known as 101.5 The Vibe has shifted from a throwback format to conservative news/talk. The station will feature a lineup completely made up of nationally syndicated shows. 101.5 Freedom-FM will have Michael DelGirono in morning drive (5-8 AM). Its midday programming consists of The Glenn Beck Program (8-11 AM) and The Clay Travis and Buck Sexton Show (11 AM-2 PM). The Dana Show (2-5 PM) will anchor afternoon drive. The Joe Pags Show (5-8 PM) and The Erick Erickson Show (8-11 PM) will air in late afternoons and evenings. Coast to Coast AM with George Noory will air in overnights.

What They Said: “479 Media is proud to be Northwest Arkansas’ only locally-owned full cluster of commercial radio stations. Freedom FM 101.5 reflects our mission to serve this community with meaningful content while giving local businesses a powerful and affordable platform to reach customers. We believe there’s a real need for this kind of station, and we’re uniquely positioned to deliver it with a local-first approach.” –479 Media Owner John Lykins

“Freedom FM 101.5 is built to be a daily companion for listeners who care about what’s happening locally, nationally, and financially. We’re investing in our newsroom and prioritizing timely, relevant information for Northwest Arkansas.” -479 Media GM Mark “Haystack” Wells

What It Means: As a result, a fresh news/talk battle has emerged in the Fayetteville market. Cumulus already operates 1030 KFAY, which has long held a presence in the format. That station leans heavily on syndicated talent, but it still offers a local voice in afternoon drive with Steve Finnegan. KFAY-AM broadcasts at 6,000 watts during the day. Meanwhile, 101.5 Freedom-FM pushes 5,500 watts on the FM dial, giving listeners another option in the space.

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

Why Spirit Airlines’ Failure Is a Mirror for Music Radio Stations

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Spirit Airlines was never really selling a good travel experience. It was selling access. Cheap flights, bright yellow planes, low fares, and a very clear message to the customer: we can get you there, but don’t expect to love it.

Ironically, that was also the general positioning of my Bumble profile. Another brand famous for yellow.

For a while, it worked. Spirit reshaped the travel business with an ultra-low-cost model that made flying more accessible for millions of people. But by May 2, 2026, the company was not just delayed. It was terminal.

This is not a column dancing on Spirit’s grave, although I realize I just walked directly past a Spirit Halloween joke and showed tremendous restraint. The airline had a real place in the market and served a real consumer need.

The lesson for music radio is not that low cost is bad. The lesson is that once the experience starts to feel stripped down, transactional, and emotionally thin, the audience may still use you while caring less every time they do.

Which, unfortunately, brings us right back to my Bumble profile.

Free Should Not Sound Cheap

Radio’s free model is still the greatest advantage in media. No subscription, login, or two-factor authentication. You turn it on, and it works.

That matters in a world where every form of entertainment has found a way to charge you monthly for the privilege of forgetting you subscribed. Hey, Rocket Money, I’m out here dropping endorsement gold in these Barrett Media articles.

But just because radio is free does not mean it should sound cheap. YouTube is free. TikTok is free. Instagram is free. Spotify has a free tier. The best free products still feel modern and alive.

Music radio cannot let “free” become an excuse for running the same listener liners from ten years ago.

No cap, I found a station doing that this week with audio so old it predated “no cap.”

The Songs Are the Seat

In the airline business, the seat gets you from one place to another. In music radio, the songs do the same thing. They move people through commutes, workdays, school drop-offs, bad moods, good moods, and the terrifying emotional journey known as Costco on a Saturday.

But the seat is not the flight. The flight is the full experience: the tone, the service, the announcements, and the in-flight credit card pitch that somehow always arrives the second you are trying to nap.

For music radio, the songs are the seat. So choose wisely, because somebody is out there Puddy-style raw dogging your radio station. No podcast. No playlist. Just sitting there, staring straight ahead, absorbing whatever experience you built around the music.

Radio Has Its Own Baggage Fees

Spirit became famous for the fees around the trip. Radio has its own version, except the listener pays with patience. Long stopsets. Promotions that sound like a flight attendant explaining how a seat belt works.

We know how seat belts work.

Your audience knows you have an app. They know they can text a keyword. That there is an email club, a contest page, and a seat cushion that doubles as a flotation device.

They know to secure their mask before helping others, and more of Today’s Best Mix returns after 12 minutes of commercials.

To be clear, promotion matters. Database growth matters. Apps matter. First-party data matters. Nobody serious about the business should pretend otherwise. But the best promotions feel like value.

And at some point, if everything around the product feels like an upcharge, it does not exactly lift the audience’s Spirit.

Branding Is Your Boarding Pass

Too many branding elements follow the same runway. Dial position. City name. Format descriptor. Empty adjective. “The best variety.” “The most music.” “The station that makes you feel good.” The best this. The most that. Congratulations, you have successfully described almost every station in America and somehow none of them.

Nobody gets into a car and says, “I am really in the mood for the station that combines today’s biggest hits with the most commercial-free variety for the workday.”

If the songs are the seat, then your branding is the airport lounge. It should feel considered, well-appointed, and useful.

That means imaging with actual personality. Promotions that feel like benefits, not chores. Talent that gives the station a point of view. Local moments that prove someone in the building knows the city is more than what is said in the legal ID.

The music may get them on the plane.

The brand experience is what makes them want to fly with you again.

Premium Is a Choice (™ iHeart, iThink)

There are companies and brands showing that free and easily accessible audio can still feel premium. Bauer Media, Global, K-LOVE, Cox, and TikTok Radio all present different versions of this idea. They do not sound the same, and they should not. They remind us that polish, intention, and design are not reserved only for subscription products. Right now, the Tidal snobs are laughing at me.

Efficiency Is Not the Enemy

Centralized systems can help. Shared resources can help. Airlines share the same airports, the same runways, the same terminals, and somehow still have to create a different customer experience once you board.

Radio is no different.

The resources can be shared, but efficiency should support the listener experience. It should not become the listener experience.

Nobody falls in love with the airport logistics.

They remember the flight.

I Don’t Have to Love You to Use You

Spirit had lots of passengers. That did not mean they loved Spirit.

Music radio still reaches a lot of people. That does not automatically mean the audience has passion, loyalty, identity, or an emotional connection to the brand.

Usage is not love, as repeatedly explained to me by my Bumble dates.

The danger for any brand, politician, movie, or radio station is not always that the consumer hates it. Hate requires energy. The bigger danger is that they feel nothing.

They use you because you are there. They remember you because you have always been there. And ultimately, tolerate you because the button isn’t easy to push, or because their phone fell between the seats and now they are stuck with you until the next red light.

Damn you, middle seat.

Free Can Be For Me

Radio does not need to apologize for being free. It should defend it. Free is powerful. Local is powerful. Habit is powerful. Personality is powerful. Shared listening is powerful. A great station can still do many things a playlist cannot.

But only if the experience is cared for by someone focused on more important things than building a perfect grid in MusicMaster and making sure they dubbed in the Mother’s Day sweepers for this weekend.

Even Delta Is Cutting Pretzels

As I am writing this, Delta apparently looked at the Spirit story and said, “hold my tiny Biscoff.”

The airline is cutting snack and beverage service on shorter flights. Delta has spent years building a more premium brand position, which is why even a small service cut gets noticed.

A listener may not be able to explain your music scheduling philosophy, your Selector rules, or your operational efficiencies. But they know when their favorite personality disappeared. They know when the imaging got generic. They know when the stopset feels longer than the flight from Portland to Cleveland for Morning Show Bootcamp.

In other words, your station should never feel like it is permanently boarding, because in radio, “boarding” is only one letter away from boring. And boring is the one destination no listener is choosing on purpose — that and maybe Cleveland.

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

Why Jason Whitlock is Fearless, Unapologetic, and Comfortable Challenging Sports Media’s Biggest Voices

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There are few names in sports media as controversial as Jason Whitlock. Over the past three decades, Whitlock has served as both a critic and a target of criticism across sports, politics, and culture. From an early age, he admired the sage wit and sharp words of Chicago-based columnist Mike Royko. Embracing a no-nonsense, fearless approach to challenging power through the written and spoken word.

“Everything about my career was based on Mike Royko, except trying to apply it to sports. That’s what I take the most satisfaction with my career,” explained Whitlock.

Early in his career, Whitlock emerged as a budding sports media star, showcasing the bravado it takes not only to offer critique but also to accept it. He caught national attention during his time as a columnist with the Kansas City Star. From there, he transitioned to writing columns for ESPN and began hosting a variety of the network’s studio programs.

Despite his growing national presence, Whitlock never lost his critical eye. He never shied away from speaking his mind, even when addressing his contemporaries.

“I entered this profession being critical of the media,” says Whitlock. “Sports media thinks that I hate them, and I don’t. I’m a critic. If anyone legitimately listens to what I have to say, I criticize myself more harshly than anyone else… I take the shots that I take because I love sports media and understand the important role we play. I’m just disappointed that sports media has been emasculated and had our power stolen from us.”

Shifting Power of Journalism

Whitlock has experienced both sides of sports media. He is a former Division I football player, offering an athlete’s perspective, and a graduate of Ball State University with a degree in journalism. He has also worked across multiple sectors of the industry, including print, radio, and network television.

Over time, he has come to believe that traditional sports media, once rooted in journalism, has been replaced. Not by artificial intelligence or happenstance, but by what he calls “idiot athletes.”

“We went from Tony Kornheiser and Michael Wilbon being the gold standard to former athletes being the gold standard. That’s a mistake,” notes Whitlock. “What I want to do is not roll over and inspire other journalists not to roll over and accept we’re being replaced in the industry by dumb jocks. We have a right to be frustrated about that.”

Whitlock argues that too many journalists have ceded control of sports opinion and conversation. While he says he likes many of the athletes now in prominent roles, he does not believe they belong in that proverbial driver’s seat.

Athlete Power Play

He attributes this shift largely to the power leagues have allowed players to acquire. According to Whitlock, today’s athletes operate in an era of empowerment, building business relationships with corporations that also partner with franchises and team owners.

This dynamic, he says, has reshaped how journalism holds players, owners, and leagues accountable.

“Who has power and authority changed,” explains Whitlock. “Players have some level of power, and they need to be held accountable. But in business with the corporations, they don’t want their partners [athletes] to be questioned. Corporations don’t want to be questioned. The athletes, media and executives have all formed a partnership… We’ve turned over too much power and influence over to the athlete.”

Whitlock believes these relationships extend to the networks that cover the leagues. Having worked for both ESPN and FOX Sports in various roles, he says networks have deprioritized developing strong studio programming in favor of maintaining league partnerships.

Instead of leaning on journalism as their foundation, networks often rely on athletes who already maintain business ties with the leagues.

“They’re very limited in what they can do. They need to create content that promotes these leagues, moving away from journalists who will say what they think from time to time,” said Whitlock. “I don’t think the industry moved away from journalism and truth. It’s because of the partnerships between the leagues, media companies, and the advertisers that has caused what we have now.”

Fearless Criticism

In 2021, Whitlock found a new home with Glenn Beck’s Blaze Media company. He hosts a daily podcast, Fearless, which he describes as roughly 95% sports content, with elements of culture and politics woven in. He believes sports provide a gateway to discussing broader issues in American society due to their wide-ranging touchpoints.

At his core, Whitlock sees himself as a media critic, a role rooted in his admiration for Mike Royko. That stance has led to numerous public disputes with high-profile media figures.

None more notable than his clashes with ESPN First Take commentator Stephen A. Smith, whom many view as having followed a similar career path.

“As a culture critic, sportswriter, and a commentator. He’s done nothing that I’m jealous of. He’s a really bad knockoff of what I do and have done in this industry. Does it disappoint me that the sports media world and corporations would rather have a horrible knockoff of what I do? Instead of the real authentic thing? Yes, it frustrates and irritates me,” explained Whitlock.

Whitlock insists he holds no jealousy toward Smith or his status with ESPN and SiriusXM Radio, among others. In fact, he says he praises Smith when he agrees with him—albeit a rare occurrence.

Regarding ESPN positioning Smith as the face of the network, reportedly with a $20 million annual salary, Whitlock believes more qualified journalists were overlooked.

“I’m just honest enough to say that’s a travesty. Everyone else will avoid talking about it because they don’t want to seem jealous. It’s not jealousy, it’s a travesty. People with real credentials in real sports journalism are there. ESPN choose otherwise,” explained Whitlock. “If ESPN is going to anoint someone as the face of their organization when there were so many other options, then shame on all of us.”

Building A Brand On Digital

Now in his fifth year hosting Fearless, Whitlock continues to chart his own course in the spirit of Mike Royko, leaving few opinions unspoken. He believes there is still much to accomplish in the evolving sports media landscape.

Even as he operates within a digital ecosystem driven by algorithms and news feeds, Whitlock feels he is only beginning to tap into what lies ahead.

“I’m going to continue my path in this new digital sports media environment,” notes Whitlock. “I know that I’m going against what you’re supposed to say. So, the algorithms are never going to be on my side. I think I got a lot to accomplish and look forward to.”

And perhaps that’s the full-circle truth. Jason Whitlock didn’t just admire Mike Royko—he built his entire approach around him. Not the platform or the popularity, but the posture: a willingness to be uncomfortable and to challenge power, even at the cost of access, approval, or applause.

In an era where sports media is shaped by partnerships, branding, and carefully managed voices, Whitlock has chosen a different lane—one that isolates as often as it elevates. It’s messy, polarizing, and at times undeniably abrasive.

Whether viewed as a necessary critic or an unrelenting provocateur, Whitlock’s career underscores a central question facing modern sports media: not just who gets to speak, but who is still willing to risk something when they do. In that sense, love him or loathe him, Whitlock remains what he set out to be—not a product of the system, but a throwback to a time when columnists like Mike Royko didn’t just cover the conversation—they challenged it.

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

How the NFL Schedule Release Can Be Sports Radio’s Multiplatform Success Story

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The NFL schedule release is one of the most important evenings for social media engagement. It’s also the last evening of off season opportunity till kickoff of the NFL regular season. The leaks, reports, rumors, and speculation drive listening, engagement, and reach unlike any other event on the NFL calendar. Who knew that the release of a schedule for 32 franchises could generate such attention that sports networks even craft special programming around it?

It’s a money-making, attention-grabbing, creativity-driven spectacle where teams and networks look to stand out among their peers plus earn digital clout.

While sports networks have found ways to cash in on the event and get creative themselves, far too many sports radio brands sit on the bench. That’s a huge missed opportunity—and not a small one.

The annual schedule drop has quietly evolved into a pseudo-holiday for the NFL content ecosystem. The moment the league office flips the switch, fans flood timelines, dissect matchups, circle revenge games, and begin mapping out their fall weekends.

For sports radio, this is not just a news event. It’s a live, multi-platform content engine waiting to be maximized, but only by those who plan and are willing to put forth the effort.

Understand the Gains

The first step is treating the evening like a tentpole broadcast, not a throwaway segment.

Stations in NFL markets should build out a full night of programming with a clear run-of-show, much like they would for the NFL Draft or trade deadline. That means pre-release buildup, live reaction during the rollout, and immediate post-release analysis.

Too often, stations wait until the next morning to react, ceding the most active engagement window to television and digital outlets. By the time morning drive hits, the conversation has already matured.

There’s also no excuse for not going live when the engagement is there. If you have play-by-play on your air, it has never been easier to go live on social platforms through free and paid streaming services. Can’t navigate a couple of hours behind the computer? Short-form video is a massive opportunity for radio to own the moment.

Forty-five seconds on the schedule layout can be a massive home run for engagement and reach.

Own the Hype

Leaning into anticipation is also key. The hours leading up to the official release often fill with credible leaks from insiders, which gives stations a runway to engage audiences before anything is confirmed. Hosts can react in real time, debate the validity of reports, and invite listeners to weigh in on rumored matchups.

This creates a sense of urgency and participation that mirrors the experience fans are having on social media. It also provides a strong cross-promotional opportunity for your audience and gives you the insider edge you want for credibility.

Equally important is embracing the second-screen experience. With attention spans shifting rapidly between forms of entertainment, this is where sports radio can excel.

Listeners are not consuming content in a vacuum during the schedule release—they’re scrolling, posting, and reacting simultaneously. Smart stations will integrate social media into their broadcasts by reading fan reactions on-air, running polls, and encouraging user-generated content.

The goal is to make the audience feel like they’re part of a live conversation rather than passive listeners.

Creativity Earns Revenue

Creativity should also extend beyond traditional talk segments. One of the biggest advantages sports radio has is personality. Lean into it.

Create themed segments around the schedule: Win-Loss projections, toughest stretches, trap games, and must-watch primetime matchups. If network television can execute this in real time, sports radio talent should be able to carry that responsibility.

Localize the content for your audience. Which games matter most to your market? Where are the travel challenges? What stretches will define the season?

Digital alignment is another critical piece. The best executions won’t live solely on-air. Stations should clip real-time reactions, post short-form videos, and publish quick-hit articles as the schedule unfolds.

If a host has a strong take, that clip should be on social within minutes.

While NFL teams have plenty of staff to create their schedule release sizzle reels, that doesn’t mean sports radio needs to sit on the sidelines. It has never been easier to create content for your digital audience using cloud-based platforms like Canva, Pixlr, BeFunky, and Adobe Express.

If your building doesn’t have a station account, get one. Don’t be left behind.

Revenue opportunities are also hiding in plain sight. The schedule release lends itself naturally to sponsorship integration. “Schedule Release Night presented by…” is an easy sell, especially for advertisers looking to align with football content and peak listening.

Stations can create sponsored segments, branded social posts, and even contests tied to the schedule—predict the record, pick the biggest game, or enter to win tickets. With proper planning, this night can generate incremental revenue without feeling forced.

Embrace the Chaos

Finally, stations need to commit to urgency and flexibility. The schedule release is not a linear event—it’s chaotic by nature. Embrace it.

NFL games are revealed in batches, leaks can contradict official announcements, and storylines emerge on the fly. Successful stations adapt in real time, shifting segments, extending discussions, and prioritizing what matters most in the moment.

In many ways, the NFL schedule release is a test of a station’s ability to think like a modern content brand. It rewards preparation, creativity, and responsiveness. Those that treat it as just another news item will continue to fall behind.

However, those willing to invest in the moment can turn a single evening into a powerful driver of audience growth, engagement, and revenue. In today’s sports media landscape, it’s not just about covering the story. It’s about owning the moment.

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

How SiriusXM’s Julie Mason Gets Politicians to Stop Using Talking Points

For nearly four decades, Julie Mason has made a career out of asking the questions others won’t — and getting the answers politicians would rather keep to themselves. The host of SiriusXM‘s The Julie Mason Show has become one of Washington’s most trusted voices.

Not by taking sides, but by refusing to.

Mason’s path to radio wasn’t a straight line — it was a calculated leap. After 25 years in print, she walked away from the page and into a studio, trading bylines for a microphone and building something she never had in newspapers: a direct, intimate relationship with her audience.

What she found on the other side surprised even her. The listeners who might have once scrolled past her stories without a second thought now treat her like a friend. For Mason, that’s not just a perk of the job — it’s the whole point.

“Sometimes in life, you’re presented with a challenge that is terrifying, but also really stimulating and exciting, and that’s what this opportunity was for me,” SiriusXM host Julie Mason told Barrett Media about her transition from print to radio in 2011.

“I was so delighted for a chance to take what I learned in print and apply it to radio. It was a really exciting mid-career change for me. I recommend it to anyone,” she advised.

For 15 years, she’s been in your ear, but Mason credits her incredible career path to one particular voice: “My whole life, my mom kind of had it in my ear, ‘Journalism would be kind of a great career, you’d probably be good at it,'” Mason recalled. “I’m certainly not one of those people who was pushed into medicine because their parents wanted them to. [My mom] just had a great idea for a career, and it turned out to be a great one for me [and] I’m really grateful for that.”

Breaking Into Washington

In 2001, she took Washington by storm — first with the Houston Chronicle, followed by the Washington Examiner and Politico. After 25 years in print, Mason had two options: “either go into management or become a columnist,” Mason laughed. “Neither of those paths were very appealing to me.”

Determined to keep her beat, Mason forged her own path. “I’d done some help for SiriusXM when I was on the board of the White House Correspondents Association, and Joe Matthew, who had had the job before me, urged me to apply [as] he was leaving.”

“[Matthew] was like, ‘they’ll teach you radio, they just want what’s in your head, just go talk to them.’ So I thought about it for a while and I thought, oh my God, this is so scary.”

It didn’t take long for Mason to decide. “I really want to do it. I thought it would be a wonderful challenge and a great new chapter in my career, and I would learn a new skill.”

You can teach almost anyone to operate a radio board, but it takes someone special to develop new sources every four to eight years when Washington turns over. “Every new president picks up and develops the bad habits of their predecessor. So it tends to get progressively worse in some ways.”

Getting Politicians to Ditch the Script

That dynamic is precisely why Mason’s non-partisan, pure journalistic tone has gotten her questions answered from both sides of the political aisle. “[Often] politicians are so fearful of making a mistake that they go into robot mode really quickly and easily, and they just want to sit on their talking points,” Mason said. “The constant challenge for my show is to get them comfortable and chatting in a friendly way, not to draw them into a gasp or a mistake, but to make them comfortable so they’ll talk like a normal person. That’s what I think is a real strength of my show.”

No gotchas, no sandbags — just real, honest journalistic questioning. “I’ll notice the first time a politician comes on my show, they’ll be very guarded,” she said. “They’ll be very careful, and they’ll be almost very stern. Then by the third, the fourth time, they’re making jokes, so it works. It’s a formula that works over time.”

Mason believes “robot mode” has become the default for so many politicians because “social media kind of ruined it. Things that were kept private were kept private before social media. Now everything is out in the open. Everything is fair game. Everything is content.”

Historically, she said, “There used to be a bit more of a gentleman’s agreement between the press and staff and politicians — like what we’re going to cover and what we’re going to talk about.” Today, influencers and social media are monetizing information, meaning “everything’s fair game. So there’s a lot less trust — and maybe that’s not a terrible thing.” Mason noted there is a trade-off, though: “There’s much more garbage content.”

She enjoys talking to the left and right sides of the political aisle because, quite simply, “You can find something of value in almost everyone you speak to. And I think that really helps make people comfortable and sort of gets the partisanship out of the way.”

The Journalists-as-Advocates Problem

It’s a feeling Mason believes is being lost on many Americans. “Everyone is so hunkered down in their partisan corners. [The] other side must be defeated, killed, decimated — and they expect [journalists] to do that work.”

Mason, an American University graduate, sees this across all generations. “When I talk to younger groups like college students [and] intern classes, one of the questions I get a lot is: ‘How do you use your journalism to further your values? Or to further feminism? Or to push your political agenda?’ And I just say, I don’t. That’s not what journalism is for.”

She noted, “I see them behind their eyes shut down because they don’t want to hear that. Because they got into it to push their agenda. And I think, ‘Man, you’re in for a really rude awakening.'”

It’s not just a Generation Alpha problem. “It goes all the way up to boomers who just expect you to crush their enemies as a journalist.”

Mason has no enemies to crush — just facts to find. It’s a sentiment evident through her nearly 40 years of work. Since making the change from print to radio, she’s noticed a difference in the way she connects with her audience.

“[Radio is] a lot kinder,” she acknowledged. “When I was in print, we would always say, ‘Never read the comments on your story, never answer your phone if you don’t know who’s calling — just keep the audience at arm’s length.’ They hate us.”

She added, “Radio is much more interactive with the audience. It’s much more supportive and friendlier, and the relationship has a lot more intimacy. You’re literally in people’s ears for as much time as they want during the day. And they feel like they have a friend. So the attacks are not as much.”

Mason’s advice for success in print or radio is simple: “Have a really diverse skillset. Be able to take pictures, shoot video, write clearly and legibly, be good on television, and be good on the radio. Every chance you have to add a new skill to your set is something you should seize upon.”

She added, “Even if it’s scary, even if it’s intimidating, or even if you blow at it and you aren’t any good, do it. Just have as many skills as possible in your toolkit. And that’s going to help you get a job and stay employed.”

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

AI Music Is Here, Should Platforms Be Required to Label It?

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AI music is no longer an experiment happening on the fringes of the industry. It is sitting at the center of a major commercial push. The audiences radio serves every day are about to feel its effects whether the industry is ready or not.

ElevenLabs has officially launched ElevenMusic. The platform designed to transform passive listeners into active music creators, and Billboard recently covered the story in detail. The implications stretch well beyond tech circles. This touches artists, audiences, and anyone in the business of connecting people to music. It forces a question the industry has been slow to confront. When AI music helps fill a playlist, a chart, or a streaming feed, should the listener know?

AI Music Is Changing the Fan Relationship

Streaming reshaped how people consumed music, but ElevenMusic wants to go further and change how people actually experience it. The platform lets users create original songs from simple prompts, remix existing tracks, and adjust tempo, genre, and overall feel. A fan can start with a lyric, a mood, or a melody, and the system builds a full track from there.

ElevenLabs describes this as moving fans from “passive listeners into active participants,” and radio programmers should recognize that language immediately. Call-ins, requests, and listener contests have always chased the same goal. ElevenMusic simply updates that strategy with tools that would have seemed impossible a decade ago. The more AI music enters the ecosystem, though, the harder it becomes to distinguish human artistry from machine output. At a certain point transparency stops being a preference and starts being a responsibility.

The Platform at Launch

ElevenMusic launched with approximately 4,000 human artists on board. Almost all of them emerging acts looking for exposure and a new path to audience connection. That detail reframes the narrative away from pure disruption and toward something more nuanced. A new discovery platform where independent artists gain access to new audiences while fans gain access to a creative process they never had before. But a fan generating AI music from a prompt and a professional songwriter crafting a track from lived experience are not the same thing. Even when the output sounds similar. The origin matters, and audiences deserve to understand it.

The Licensing Question AI Music Cannot Avoid

AI music and the broader music industry have a complicated history, and the tension almost always comes back to the same question of who gets paid and how. ElevenLabs addressed this directly at launch by securing licensing deals with Kobalt and Merlin, while also working with SourceAudio for synchronization rights. Building that infrastructure before controversy forced the issue is a meaningful distinction in a space littered with platforms that moved fast and cleaned up the mess later.

Artists receive a pro-rata share of a royalty pool based on how much their work contributes to the system, with popularity metrics across digital platforms factoring into the calculation. The model is imperfect, but the structure exists and that matters. Labeling requirements could strengthen it further. If listeners understand that a track is AI music with significant machine involvement, the compensation conversation becomes more honest and the royalty math becomes easier to defend to skeptical artists and their representatives.

Should AI Music Have Its Own Chart?

If AI music continues growing at its current pace. The question of whether it should compete directly against fully human-created work on mainstream charts becomes harder to avoid. A dedicated AI music chart would create both a fair competitive space and genuine transparency. Giving listeners, programmers, and industry professionals a clear understanding of what they are actually evaluating.

The counterargument draws on the history of rap. Which some believed needed separate commercial tracking when it emerged, only to integrate into mainstream charts and transform them entirely. But that comparison only goes so far. Rap was made by human beings finding their audience within a system built for other genres. AI music is produced by a machine that can crank out thousands of songs before a human artist finishes their morning coffee. Putting both on the same chart without distinction is not really a level playing field. it is more like slowly pushing human artists out of the room without anyone officially announcing it. The industry should ask itself honestly whether that is the outcome it actually wants.

Photo Credit: ChatGPT

The Artist-First Case for Labeling AI Music

Skepticism toward AI music runs deep and for understandable reasons. Artists have watched their work scraped, replicated, and monetized without consent, and that history creates distrust that press releases alone cannot overcome. ElevenLabs is trying to get ahead of it by positioning the platform as “artist-first by design,” a message reinforced directly by Derek Cournoyer, the company’s music strategy lead. “We’re building with the artist and songwriter communities, not around them,” he said.

That is the right framing, and mandatory disclosure requirements would actually help platforms like ElevenMusic make that case more convincingly over time. When the AI music label is built into the system by default, the conversation shifts from suspicion to structure. Artists see accountability embedded in the platform rather than promised in a quote, and that builds trust at a pace no marketing campaign can replicate.

Where Does AI Music End and Human Music Begin?

The labeling argument is straightforward in concept and genuinely difficult in execution, because the threshold question has no obvious answer. A song that uses AI for mastering is a fundamentally different thing from a fully generated AI music track where the machine wrote the lyrics, composed the melody, and produced the vocals entirely. Drawing a clear line between those two endpoints requires more precision than the industry has managed so far.

The streaming platforms are beginning to move on AI music labeling, but every one of them is moving differently, and that inconsistency is itself the problem. Spotify adopted the DDEX disclosure standard in September 2025. Apple Music launched Transparency Tags in March 2026. TikTok issues immediate strikes for unlabeled AI content. Deezer tags it and pulls it from algorithmic recommendations. Bandcamp banned it outright. Five platforms, five different standards, which means listeners cannot rely on any of them consistently and artists cannot plan around them intelligently. Deezer’s own research found that 80% of people believe fully AI-generated music should be clearly labeled, and 52% believe it does not belong in main charts alongside human-made music. The audience has already reached a conclusion.

Radio’s Advantage in the AI Music Era

Radio still owns something AI music platforms cannot manufacture quickly, and that is trust. Listeners believe their favorite stations, return to their favorite personalities, and rely on curated experiences that took years to build. That relationship becomes more valuable, not less, in an environment where the origin of content grows increasingly difficult to determine.

If radio does not address the AI music transparency question proactively, platforms will define the standard by default. Stations that get ahead of this — that tell listeners clearly when and how AI music touches their content — reinforce the trust they already hold and turn a potential vulnerability into a real competitive advantage.

The Road Ahead for AI Music

A full, usable AI music track now takes seconds to produce. And that single fact changes more about this industry than most people have fully processed. It changes workflows, expectations, and what the word production means inside a radio facility or recording studio. It also means the supply of music entering the market is becoming effectively unlimited, which is exactly why labeling matters so much. Without transparency, that abundance creates noise. With clear labeling, listeners and programmers have the signal they need to make meaningful choices.

ElevenMusic’s success will ultimately depend on whether ElevenLabs delivers on its promises around licensing, royalty fairness, and user experience. But the broader challenge for AI music extends well beyond any single platform. Without clear labeling standards and a serious conversation about chart classification. The lines between human and machine creativity will blur beyond the point where the distinction feels meaningful to most listeners.

The audience has already moved toward participation and co-creation. The industry now needs to move with equal urgency toward accountability. Labeling the AI music, defining the threshold, and deciding whether a dedicated chart serves the ecosystem better than the current ambiguity does. The core obligation has not changed. Be straight with the audience about what they are hearing and where it came from. That has always been the job, regardless of who — or what — made the music.

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