Industry Views

Who Gets to Decide If and Why a Guest is Newsworthy?

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By Matthew B. Harrison
TALKERS, VP/Associate Publisher
Harrison Media Law, Senior Partner
Goodphone Communications, Executive Producer

imgA political candidate sits down for a broadcast interview. The host asks questions. The conversation reaches into policy, personality, controversy, and campaign issues… just another day in the world of talk radio.

To the FCC, depending on the program and the circumstances, it may raise a different question: did the station give one legally qualified candidate a broadcast “use” of its facilities that now triggers equal opportunities for opponents? That question sits at the center of ABC’s dispute with the FCC over “The View,” and it deserves the attention of every broadcaster who books public officials, candidates, advocates, and political personalities.

This is not an article about whether anyone likes “The View.” That is the wrong question. The better question is whether the government should decide, after the fact, that a long-running interview program no longer qualifies as a bona fide news interview program because regulators dislike, distrust, or second-guess its guest selection.

The Equal Opportunities Rule, often called “equal time,” is not the Fairness Doctrine. The Fairness Doctrine is gone. However, equal opportunity requirements remain part of broadcast law. In general terms, when a broadcast station permits a legally qualified candidate to “use” its facilities, opposing legally qualified candidates for the same office may be entitled to comparable opportunity, unless an exemption applies.

One such exemption covers bona fide news interviews.

That exemption matters because it allows broadcasters to cover politics without turning every meaningful candidate interview into a scheduling trap. The law recognizes that a news judgment is different from a campaign favor. A host may interview a candidate because that candidate is newsworthy, controversial, powerful, interesting, or central to a public issue, not because the station has endorsed the campaign.

ABC’s argument is that “The View already cleared that hurdle more than two decades ago, when the FCC treated it as a bona fide news interview program. ABC now says the Commission has forced the issue back onto the table and is effectively asking whether the government should dictate which candidates the program may feature. That is why ABC’s filing points beyond daytime television and directly toward talk radio.

Talk radio should not dismiss that warning. The format routinely features candidates and officeholders without immediately inviting every opponent. Sometimes the reason is obvious: one guest is in the news and the others are not. Sometimes the reason is practical: a candidate accepts and the opponent declines. Sometimes the reason is editorial: the host believes one interview will better serve the audience.

Those are normal programming judgments. But if regulators start looking behind those judgments for partisan motive, the risk changes. The question becomes less “Was this guest newsworthy?” and more “Can you prove to the government that your reason was acceptable?” That is a dangerous shift for any medium built around editorial discretion.

This does not mean broadcasters should panic or stop booking candidates. It does mean stations, networks and programs should tighten their habits. Know when a guest is a legally qualified candidate. Understand when an appearance may count as a use. Keep clean records. Preserve the editorial reason for the booking. Make sure producers and hosts know the difference between a campaign appearance, a news interview, and paid political time.

The larger warning is simple: broadcast talk is regulated speech in a way podcasts, YouTube shows, and most streaming programs are not. That distinction already matters for indecency, sponsorship identification, public files, political files, and license obligations. Now it may matter again in the heart of the format itself: who gets invited to talk.

The government should not sit in the producer’s chair. But broadcasters should not pretend the chair is invisible. The best protection is not silence. It is disciplined editorial judgment, documented in real time, applied consistently, and defended as what it is: the broadcaster’s constitutional role in deciding what is newsworthy for its audience.

Matthew B. Harrison is a media and intellectual property attorney who advises radio hosts, content creators, and creative entrepreneurs. He has written extensively on fair use, AI law, and the future of digital rights. Reach him at Matthew@HarrisonLegalGroup.com or read more at TALKERS.com.

Industry Views

Harrison and Elci Discuss 250th Anniversary and Talk Industry Issues

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TALKERS founder Michael Harrison was interviewed by guest host Lee Elci on multi-media talk star Wayne Allyn Root‘s nationally syndicated program “The WAR Zone” this past Tuesday (7/7).  Elci, the daily morning host on WJJF, New London, CT, is an occasional guest host on the popular “WAR Zone” show.  Harrison and Elci engaged in a candid examination of the state of politics and media in America at this drama-filled juncture in the nation’s history.  Not to be missed.  To see the uninterrupted excerpted dialogue, please click here.

Industry Views

Monday Memo: Radio’s 2027 Talent Strategy: Destination by Design

By Holland Cooke
Consultant

imgIf your station is outside the top 50 markets, you already know the pressure points. A mature workforce stretched thin. Fewer applicants for on air and production roles – specifically the younger creators who don’t see radio as their first creative outlet. And a competitive landscape where streaming, satellite, and podcasts divert attention with the gravitational pull of a black hole.

But radio can absolutely attract these next-gen creators. We just can’t do it with yesterday’s playbook. In “Future Work World,” Barry Winkless argues that organizations must intentionally design themselves to “excite, entice, and engage” the next generation of talent. He’s talking about the future of work broadly – but his framework fits independent local radio like a blueprint. Especially in medium and small markets, where stations are fighting a two-front war: defending local relevance while competing with global audio giants. Accordingly…

  1. Redesign roles for the “Work Salad” generation.

One of the book’s core ideas is the rise of “work salads” – workers who blend skills, platforms, and creative identities rather than fitting neatly into a single job description. That’s today’s creator economy in a nutshell. For radio, this means offering roles like host+podcaster+social storyteller; or news voice+explainer video creator+local events personality. Younger creators don’t want an airshift. They want a mix – a portfolio of creative outputs. Stations that offer that mix will win talent that would otherwise bypass radio entirely.

  1. Make your station a Designed Destination.

Winkless’ “Destination Designer” mindset recommends environments where people want to be, because the place itself inspires them. For radio, this means a workplace that feels flexible, fluid, and creatively alive. You don’t need a big market budget to create a big market feel. You need intentionality and a willingness to break from “how we’ve always done it.” Turn a legacy operation into a future ready talent magnet.

  1. Use AI the way creators already do.

In one of the book’s fictional “jumps,” Winkless introduces the “cowerka,” an AI assistant that handles tasks, anticipates needs, and frees humans to focus on what only humans can do. AI can help prep shows, suggesting ways to localize trends and topics. Nextgen creators already use AI as a collaborator. Stations that embrace this reality will feel familiar – and attractive – to them.

  1. Sell the one thing no competitor can match: Local Reach

Streaming platforms offer scale. Podcasts offer intimacy. Satellite offers variety. Only radio offers local presence at scale.

Creators want audiences – podcasters hunger for what radio has: cume. Broadcast radio can give them something TikTok can’t: instant legitimacy in a real community. As I have explained here previously, we position client stations as reach engines: Instead of asking creators to serve radio, radio serves creators.

  1. Tell a Better Story About Who You’re Becoming

Winkless’ “Next Level Storytelling” chapter cautions that your recruitment story can’t be: “We need someone to do afternoons.” Instead: “We’re building the next chapter of local media, and we want creators who want to shape it.”

Creators don’t join job descriptions. They join stories.

The Bottom Line

Local radio doesn’t need to out tech the tech giants. It needs to out human them. By redesigning roles, modernizing culture, embracing AI, and positioning radio as a creator platform – not just a broadcast outlet – stations can attract the next generation of talent that will keep them relevant, resilient, and indispensable.

Your RIGHT NOW opportunity: As fill-in voices cover for vacationing full-timers, you can preview 2027 talent options. To help them smooth-out any rough edges – and assess how well they take direction – here are 12 Tips for the guest-hosts who are not career broadcasters and don’t share our second-nature performance routines.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Monday Memo: Those Lazy, Hazy, Crazy Days

By Holland Cooke
Consultant

imgNo two summers have been alike since the pandemic upended listeners’ lives and retailers’ businesses. So, we’ve seen this movie before. To sound relevant and relatable and helpful, connect the dots:

Gas prices and pricier airfares are scortching summer getaways many hoped for. Are there family day trips and local attractions that locals might take for granted, or not know about?

Do “Fun-formation.” Inflation is pinching everyone in every way… including YOU. Notice how you yourself are coping and share on-air. And interview locals who can suggest money-saving life hacks. Including… advertisers you have made household names. Airing their advice will result in even more “I heard you on the radio.”

Start with financial advisors. Heavy AM/FM users are in the worry-about-IRA / 401K demographic.

It’s a safe bet that listeners have the talk radio gloom-N-doom script memorized. Stuff like the above HELPS them.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

The Most Valuable Commodity AI Can’t Generate

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By Matthew B. Harrison
TALKERS, VP/Associate Publisher
Harrison Media Law, Senior Partner
Goodphone Communications, Executive Producer
imgThroughout the TALKERS 2026 conference, there was a recurring theme that bears repeating:

Technology creates abundance. Authenticity creates value.

Throughout human history, creating media required expensive equipment, specialized knowledge, or access to someone willing to open the door. Each technological leap removed another layer of friction. Desktop publishing challenged traditional print. Digital audio transformed radio production. YouTube made anyone with a camera a broadcaster or “content creator.” Podcasting removed the need for a transmitter. Today, generative AI can help write scripts, edit video, compose music, translate languages, and produce polished content in minutes.

That isn’t the end of creativity. It’s the beginning of an era with more creativity than we’ve ever seen.

We should cautiously embrace it.

Every time technology lowers the barrier to creation, more people get the opportunity to tell stories, share ideas, build businesses, and reach audiences that were once inaccessible. That’s a remarkable thing.

Abundance, however, changes the economics.

When content was scarce, simply producing it created value. Today, content is everywhere. Tomorrow, there will be even more. Artificial intelligence isn’t replacing creators nearly as much as it’s multiplying them.

When everyone can create, audiences need a different way to decide what deserves their attention.

They look for authenticity.

Authenticity isn’t about perfection. It isn’t about expensive production. It isn’t even about whether AI helped along the way. It’s about whether audiences believe there is a real person behind the work, someone with genuine experience, judgment, and something worth saying.

That idea also explains why fair use has always mattered.

Fair use protects commentary, criticism, reporting, scholarship, and parody because those activities add something new to the conversation. Copyright law has long recognized that society benefits when creators contribute insight rather than simply repeat what already exists. The principle hasn’t changed. The tools have.

Media has entered another frontier. The rules are still developing. Business models continue to evolve. New voices appear every day. Some will succeed because they mastered the latest technology.

The most enduring voices will succeed because people trust them.

Broadcasters have always understood this, even if we didn’t always describe it that way. Listeners return because they believe the personality behind the microphone.

The same is true for podcasters, streamers, YouTubers, journalists, and creators of every kind.

Technology will continue creating abundance. That’s worth celebrating.

The opportunity now is to create something abundance cannot replace.

Authenticity.

Matthew B. Harrison is a media and intellectual property attorney who advises radio hosts, content creators, and creative entrepreneurs. He has written extensively on fair use, AI law, and the future of digital rights. Reach him at Matthew@HarrisonLegalGroup.com or read more at TALKERS.com.

 

Industry Views

Former CBS Radio Head Dan Mason Guests on TALKERS Podcast – Discusses New Memoir, Colorful Career, Biz Philosophy, and the State of Radio

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Dan Mason, former president / CEO of CBS Radio, is this week’s special guest on the TALKERS video podcast, “Up Close Far Out.”

Podcast host Michael Harrison and Mason engage in a robust conversation about radio prompted by the release of Mason’s new book, FEARLESS: The Life and Times of a Media Maverick.  All profits generated by the sale of the memoir are being donated to the Broadcasters Foundation of America – the non-profit organization that helps those in need in the radio and television industries that Mason serves as chairman emeritus.

Mason is one of the most influential radio broadcasters of the modern era.  As head of CBS Radio from 2007 to 2015, he oversaw all aspects relating to the company’s portfolio of 117 stations across 26 markets, including all the top 10. In a prior stint at CBS Radio, he held the presidency from 1995 to 2002.  In addition to his roles at CBS, he advised and managed a number of other major broadcast organizations including serving as president of Westinghouse’s Group W Radio in the early 1990s

In 2016, Mason was inducted into the Radio Hall of Fame and, in 2022, into the Broadcasting and Cable Hall of Fame. He was a member of the board of directors of the National Association of Broadcasters, which presented him with the 2012 National Radio Award for outstanding leadership within the radio industry.  Michael Harrison states, “Dan Mason was one of the major leaders who guided radio from the analog to the digital era.”

To view this conversation in its entirety, please click here.

Industry Views

Monday Memo: Improving Results from Endorsement Spots

By Holland Cooke
Consultant

imgThe stations I work with make big money with live endorsement spots delivered by familiar local on-air personalities. Remember them? With most AM/FM broadcast hours now robotic or non-local, your relationship with the listener is precious and can be leveraged… carefully.

Quality vs. Quantity

The more products or services you endorse, the less special each pitch will be. You’re asking the listener’s trust each time, so asking too often can sound insincere. So back-to-back “I’m [name] for [account]” is verboten, and that can happen when spots you voice air outside your show.

“Tell me a story”

When the late, great Don Hewitt – the father of “60 Minutes” – spoke at a NAB convention years ago, he told us that he was often asked, “Why is this the most successful TV news show of all time?” And he said, “I can tell you in four words: ‘Tell me a story,’” which every piece does.

Describe your personal experience with the advertiser’s product or service in before-and-after fashion – problem was, problem solved – in a relatable way.

OOPS. Are you saying, “I haven’t sold you yet?”

Often, these are long-standing advertiser relationships.  Two cautions:

If you’ve been touting an advertiser for a while, DON’T say so. “For years, I’ve been telling you about [name of business].” Translation: “…and I haven’t sold you yet, have I?” Instead, keep the pitch fresh.

And keep it customer-centric; rather than talking about a store. In one spot I heard, for a sewing supply retailer, the well-intentioned host sounded awestruck as he recited the store’s inventory (“over fifteen hundred bolts of fabric!”). That’s the store’s problem. Instead, solve the listener’s problem: “Imagine the money you could save if you made all your kids’ back-to-school clothes this year?  [advertiser] will give you free sewing lessons!”

Avoid saying…

  • “MY GOOD FRIENDS AT [name of business],” which sounds phony.
  • “All-new:”Say “new,” if it IS new, AND if newness is a listener benefit (and say why).
  • “…AND MUCH MORE,” which means nothing. Weed-out stuff like this, and you’ll give copy more time to breathe.
  • “Needs,” as in: “FOR ALL YOUR [product category] NEEDS” (the ultimate “BLAH, BLAH, BLAH”).

More?

My video “Make Money with Endorsement Spots:” https://youtu.be/fReiC8WLTac

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Monday Memo: Time to Update Baseball Sponsors’ In-Game Spots?

By Holland Cooke
Consultant

img“Baseball is back!” was welcome in April (especially after a rough winter in many places). But it sounds embarrassingly old by now.

Does the advertiser have a new offer or other copy change? Even if not, you-being-in-touch sends a message… as does you not-being-in-touch.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

The Advertiser Gave It To Me. Isn’t That Enough?

Harrison's imagination of reality

By Matthew B. Harrison
TALKERS, VP/Associate Publisher
Harrison Media Law, Senior Partner
Goodphone Communications, Executive Producer

imgA local advertiser sends over a ready-made commercial. The music is catchy. The script is polished. The production value is surprisingly good for a company that spends most of its day installing garage doors.

The salesperson approves it. Traffic schedules it. The spot airs.

A few months later, somebody else’s lawyer hears it too.

Many media professionals assume that when an advertiser supplies content, the advertiser has already secured whatever permissions are necessary to use it. Sometimes that’s true. Sometimes it isn’t.

If a commercial contains copyrighted music, photographs, video, artwork, or other protected material, the fact that it came from a client does not automatically end the discussion. The advertiser may have obtained the rights. The advertiser may have assumed someone else obtained the rights. The advertiser may never have asked.

Artificial intelligence is creating new versions of the same problem.

Recently, I was asked about a commercial generated almost entirely through AI. The advertiser used one platform to create the script and another to generate the voice. Everything sounded original. No famous song. No movie clip. No obvious red flags.

Yet one question remained:

How do you know the advertiser had the right to use it?

That question can lead in several directions. Did the AI platform permit commercial use? Was the voice modeled after a real person? Does it sound enough like a celebrity to create endorsement concerns? Can the advertiser demonstrate where the content came from and what rights accompany it?

Fortunately, the solution is usually simple. Ask the advertiser.

Most legitimate advertisers are happy to explain how the content was created and what rights they possess. The conversation often takes only a few minutes.

Broadcasters, podcasters, streamers, and digital creators all face the same reality. Before a commercial airs, someone should know where the content came from and whether the necessary rights exist.

The technology may change. The question remains remarkably durable: How do you know you had the right to use this?

Matthew B. Harrison is a media and intellectual property attorney who advises radio hosts, content creators, and creative entrepreneurs. He has written extensively on fair use, AI law, and the future of digital rights. Reach him at Matthew@HarrisonMediaLaw.com or read more at https://harrisonlegalgroup.com.

Industry Views

Monday Memo: Because “Check-Out Our Website” Sounds SO 1995…

By Holland Cooke
Consultant

img…I’m sharing promo copy now airing on my client stations, which addresses listeners’ – and advertisers’ — 2026 apprehensions:

Voice1: Online safety and privacy were already a concern…

Voice2: …and that was BEFORE what we now see Artificial Intelligence doing.

Voice1: But digital media are now part of everyday life, and always will be.

Voice2: So WHERE you get your information matters more than ever.

Voice1: And your-only-local-news-radio also makes [domain name] a place you can visit with confidence…safely and securely.

Voice2: We don’t put spyware or junk on your browser. We don’t spy on you. We don’t violate your privacy.

Voice1: You can trust [domain name]

Here is a produced example, featuring our morning host and anchor: http://getonthenet.com/30-KTBB-Trust.mp3

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Therapy, Entrepreneurism, and Talk Radio

By Pamela Garber, LMHC
Grand Central Counseling Group
New York

imgThe iconic TALKERS conference is coming up this Friday (6/5) and, again, I am looking forward to it.  As a practicing therapist and prolific talk show guest for over two decades, I find this unique gathering to be a productive educational and social ritual. It provides an opportunity to make new friends, strengthen existing relationships, and learn new things about the ever-evolving talk media industry. We have similar issues in the mental health field marked by encroaching corporatism in a business once fueled by “mom & pop” operators and independent practitioners.

I am pleased to see that one of the prevailing themes of this year’s TALKERS gathering is a call for the rebirth of entrepreneurism in the radio arena. This is certainly applicable to those brave souls willing to buck the onslaught of consolidation and take the daring leap into station ownership. But it also applies to management-level pros who are faced with learning “intrepreneurship” in order to be effective, productive, and at home within the potentially stifling environment of a large corporation. Entrepreneurism also applies to “talent” now presented with endless opportunities to be their own persons in podcasting, blogging, and myriad online endeavors. Talk show hosts are the “brand managers” of their own personas.

I like talk show hosts for reasons that go beyond their political ideologies. For the most part, talk show hosts are brave, informed, outgoing (at least in performance), quirky and, no matter how seemingly tough on the air, sensitive to being easily bruised and emotionally pained.

Talk show hosts and therapists share similar functions and traits in the performance of their jobs, not to mention their commonality with entrepreneurs. It takes entrepreneurial thinking in identifying and solving problems – the backbone of both therapy and talk show hosting. To a certain degree, therapists are talk show hosts and talk show hosts are therapists.  And both groups are in need of developing their entrepreneurial instincts.

All professions attract individuals with certain emotional and behavioral challenges. Clichéd therapist portrayals show common clinician flaws such as being rigid, or overly analytical, as well as being too distant and reserved. Talk show hosts are not as burdened by behavioral pressures as therapists which include strict licensing regulations and the potential threat of bad “reviews,” but they have a slew of their own restraints to contend with in keeping their audiences and their jobs.

Talk show hosts DO have one enviable option in dealing with callers, not as readily available to therapists for handling patients. They actually get to hang up on people.

Pamela Garber, LMHC is a practicing therapist based in NYC and South Florida and a longtime guest mental health commentator on radio and television news programs across the nation. She can be contacted by phone at 646-745-6709 or email at Pamelagarber@gmail.com.  Her website is Grandcentralcounselinggroup.com.

Industry Views

Monday Memo: Hungry for Some Summer Fun Next Month?

By Holland Cooke
Consultant

imgIf you are doing talk radio, much of your programming is syndicated. If you do music radio, your most formidable competitors are robotic streams that live in the cloud. Either way, YOU, being local, can make friends — and money — if you plan now to exploit these occasions.

  • Monday, July 6: National Fried Chicken Day
  • Tuesday, July 7: World Chocolate Day
  • Friday, July 10: National French Fry Day
  • Tuesday, July 14: National Mac & Cheese Day
  • Sunday, July 19: National Ice Cream Day
  • Wednesday, July 29: National Chicken Wing Day

And after all that, may I suggest a National Alka-Seltzer Day? JUST kidding. Wash-it-all-down on Friday, July 24, National Tequila Day.

For more upcoming opportunities to mingle with listeners — and engage advertisers – download my FREE 2026 Events + Occasions Calendar. Scroll down the home page at HollandCooke.com

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

SABO SEZ: Look at the Actual Numbers

By Walter Sabo
A.K.A Walter Sterling
Host, The Other Side of Midnight
WABC, New York / Red Apple Audio Networks

imgBillionaires make predominantly good investments, which is why they are billionaires.

John Malone saved Sirius with a $500 million investment just days from the company missing payroll. He remains the controlling shareholder.

Warren Buffett just made a significant investment in highly profitable SiriusXM.

George Soros owns Audacy. Audacy’s robust list of major market radio stations are jewels that require a better financial structure. Soros Fund Management bought $400,000,000 of the company’s debt and controlling ownership. Note that Soros now owns all but one of the country’s all-news stations.

Apollo Advisor’s billionaire CEO Marc Rowan  a former candidate for Secretary of the U.S. Treasury – owns Cox Radio and Television. Apollo was an original investor in Sirius.

John Catsimatidis wrote a check for WABC-AM and is buying more properties. Radio properties. Cats owns an oil refinery, land, and the Gristedes supermarket chain, but his focus is on WABC Radio.

The health of radio? The future? Those sharp investors, brutal businesspeople, determine the business future of radio, and they are apparently very optimistic!

Failing industries don’t expand

In 1970, there were 2,126 commercial stations in the U.S.

Today there are:

  • AM stations: 4,342
  • FM commercial stations: 6,589
  • FM noncommercial (educational) stations: 4,755

Sell the biggest number

Cable channels are investor valued by “Homes Passed.” Not audience or cash flow. How many people who can see the programming rather than how many people actually see the programming.  Now apply that logic to radio station values.

BILLBOARDS sell impressions. Impressions represent the total number of people who could potentially see a billboard ad.  That is the biggest number by which billboard can be measured, so that’s what they sell.

DIRECT MAIL is the number one local ad medium. It is data driven beyond your wildest dreams. Direct mail automation uses real-time signals and integrated data to deliver mail at the most meaningful point in the customer journey. For example, when someone abandons a shopping cart or repeatedly views a product online, you can design a programmatic mailing campaign to automatically send print pieces in response to that specific consumer behavior.

Rather than pushing the biggest, stable number – CUME – radio sells the smallest measurements. Radio’s 100+ years of success, astonishing outlet growth, 92% penetration of American homes, 65% daily population usage deserve has earned a much higher commercial unit price.

Walter Sabo has been a C-Suite action partner for companies such as SiriusXM, Hearst, Press Broadcasting, Gannett, RKO General, and many other leading media outlets. His company, HITVIEWS, in 2007, was the first to identify and monetize video influencers. His nightly show “The Other Side of Midnight” is heard on WABC, New York and the Red Apple Audio Network 1:00 am – 5:00 am. His syndicated show, “Sterling On Sunday,” from Talk Media Network, airs 10:00 pm-1:00 am ET, and is now in its 10th year of success. He can be reached by email at sabowalter@gmail.com.  He can be phoned at 646-678-1110.

Industry Views

Pakman Suggests YouTube Systems are Reducing Exposure for Left-Leaning Indie Channels

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David Pakman, a major online liberal political commentator, is publicly alleging that YouTube’s recommendation and distribution systems are dramatically reducing exposure for left-leaning independent media channels, creating what he describes as an “existential crisis” for progressive political creators on the platform.

In a recent video, Pakman said that since early April, “YouTube has dramatically reduced performance for the vast majority of left-leaning independent media shows,” while asserting that right-leaning content does not appear to be experiencing the same decline.

Pakman framed the issue primarily through platform analytics rather than overt accusations of intentional censorship. He pointed to a sharp decline in impressions – the number of times YouTube displays a video thumbnail to users – while claiming audience engagement metrics remain largely stable.

“We were getting 15 million impressions a day,” Pakman said, explaining that the figure later dropped to approximately 10 million despite what he described as an unchanged audience response rate. “The click-through rate is still close to 8%. But impressions go from 15 million down to 10 million.”

Pakman argued that the consistency of click-through rates undermines the idea that audiences have simply lost interest in progressive political content. “It appears that people are just as interested in hearing from the left on YouTube right now, but they are not being shown the videos,” he said.

He also cited viewer feedback as evidence that something unusual may be occurring within YouTube’s recommendation ecosystem. According to Pakman, subscribers have repeatedly reported needing to manually search for his content despite being subscribed and having notifications enabled.

“You were being suppressed in distribution,” Pakman quoted one viewer as saying. Another viewer reportedly wrote: “I’m not seeing your new videos, and I’ve been subscribed for years.”

Pakman stopped short of alleging direct political targeting by YouTube employees or executives. “I am not arguing that someone at YouTube has flipped a switch and is deliberately suppressing left-wing channels,” he said. Instead, he suggested the platform’s recommendation systems may be reacting to engagement patterns or retention metrics in ways that inadvertently disadvantage certain political content.

At the same time, Pakman said performance on other digital platforms remains strong, including TikTok, Instagram, Snapchat, Facebook, and podcast distribution channels. “Every single other platform is doing fine,” he said. “It’s only YouTube.”

The comments add to a broader ongoing debate among digital creators regarding algorithmic visibility, platform transparency, and the growing dependence of independent media companies on recommendation systems they neither control nor fully understand.

Pakman urged viewers to subscribe directly, enable “all notifications,” and join his Substack mailing list in an effort to reduce reliance on platform algorithms. “We don’t want to rely on AI for recommendations,” he said. “We have to go back to telling the platforms what we want.”

To view David Pakman’s recent video in which he discusses this issue in full detail, please click here.

Industry Views

The Case for Radio “Trading” Shows

By Charles Heller
Host
“Swap Shop Radio”
“Liberty Watch Radio”
KVOI – AM 1030, Tucson

imgAdam Smith‘s “invisible hand” is a metaphor he used to describe how individuals pursuing their own self-interest in competitive markets can unintentionally produce socially beneficial outcomes – such as efficient allocation of resources and increased wealth. Smith uses the phrase in The Theory of Moral Sentiments in 1759 and more famously in The Wealth of Nations in1776.

Radio’s ability to connect to a phone line to air has evolved since its inception in World War II. Barry Gray is widely credited for being an establishing influence for the talk show format (although it is difficult to truly identify “firsts” in radio). As the story goes, initially a disc jockey, Gray was working for New York City radio station WOR in 1945 when bandleader Woody Herman called in while Gray was talking about him. Gray shared his end of the call with the audience, and the spontaneous live narrative was a hit with both his listeners and station managers. This led to the invention of the “delay” unit and contributed to the practice of connecting live listeners to the air.

Since the 1950s, programs all across the country began to arise that offered people the ability to buy and sell their own goods over the radio, starting first in rural markets. One of the longest running of them started in 1950 on WLIL in Tennessee and runs daily from 9:00 to 10:30 am. I have heard programs like it in my travels across the country from Sycamore, IL to Baltimore, MD, which have a Sunday morning trading program. Today, most markets have one form or another of those shows, either on a daily basis in smaller markets, or in some cases, covering large market areas. I heard one in Bentonville, AR station that took calls from Arkansas, Oklahoma, Missouri, and Kansas while I was listening.

These programs enhance people’s ability to live their lives more easily, by offering a format for buying, selling, and trading goods in the free market. Those programs also use the influence of radio to form all important communities of interest that are part of the glue that keeps a free republic together, as the great Tucson Broadcaster John C. Scott said, “over this back yard fence.”

This month marks the start of my 28th year of broadcasting “The Swap Shop” on AM 1030 KVOI. In 27 years, the program has only missed two weeks of broadcast. It has become what the great Dave Sitton of ESPN and FOX used to call “appointment radio” for a lot of folks in the Tucson market. I have listeners in Maine that call in for non-rusted auto parts, and a loyal listener in Traverse City, MI and a submarine hunter in the Navy in Norfolk, VA.

I call Swap Shop, “The unregulated free market, governed only by common courtesy and common sense, where you are free to buy, sell or trade anything lawful and moral.” All of these shows do a lot more for people besides the enabling of the free market. My favorites have been a lady who called in when her parakeet got out, and a fellow who called 45 minutes later from his garage sale where the parakeet flew in. They both just happened to be listeners. Another favorite was an older lady whose husky had gotten out during a thunderstorm. She called in tears. The animal control officer who had the dog in her truck heard it and called her, returning her dog.

My point is that as broadcasters, we are all stewards of that “unseen hand” of the free market, either by enabling the free trade in goods between private parties or enabling our advertisers to become known and trusted by their communities. If you run a Swap Shop type program, or know of one in other markets, I’d like to hear from you. Let’s develop an informal network of us around the country.

Charles Heller hosts “Swap Shop Radio” and “Liberty Watch Radio” 0n AM 1030 KVOI, Tucson.  He can be reached via email at charles@libertywatchradio.com.

Industry Views

A Thank You to TALKERS and the Voices Behind the Mic

By Jessica Crotty
CEO
C. Crane

imgRadio has always been about connection, the feeling of belonging to something larger than yourself, of being drawn into a story told by a voice you trust. Perhaps, that’s why you tune in as well. There is little that is more rewarding for us than finding a way to connect you to what you want to hear, whether that’s your favorite jazz station, a particular show, or your former alma mater’s student-run station. It’s why we do what we do, and why we show up for the people who keep those stories alive.

If you’ve ever wondered where the people who make talk radio gather – the hosts, station owners, program directors, engineers, the visionaries behind the scenes and in front of the mic – look no further than TALKERSTALKERS magazine’s annual conference is one of the industry’s premier meeting grounds, where talk radio and the evolving world of spoken-word media get taken seriously as a craft, a business, and a cultural force. Talk radio: The original influencer.

Michael Harrison has spent decades as one of radio’s most honest champions. He has consistently pushed the industry to think harder, challenge the status quo, and defend the freedom of speech that gives every great story room to breathe.

Crane was part of that world very early on, when we attended our first TALKERS conference in New York. We’ve been back many times since as attendees and sponsors, and Michael and the TALKERS crew have always been genuinely good to us. We make the radios people use to listen to radio, and being welcomed into the room where those stories get made is something we don’t take for granted.

Over the years, those rooms have introduced us to some extraordinary people. Gene Burns was a favorite long before seeing him at TALKERS. C. Crane had advertised with him on KGO, and his gift for drawing you in came through in everything he did. He hosted many shows over his career; “Dining Around with Gene Burns” was a personal favorite, and Gene and his producer Joel Riddell could point you to the best restaurant in almost any city and just nail it. The speech Gene gave on freedom of speech was one of the best I’ve ever heard, a fierce and passionate defense that stayed with you long after it ended. I also remember the head engineer ar WOR (at the time), Thomas Ray, taking the time to walk me through the mechanics of radio towers while I was manning our booth. That kind of generous, unguarded knowledge sharing is something you don’t forget.

We’ll be back in New York again this year for TALKERS 2026: Radio’s Next Chapter. The landscape continues to change, but what hasn’t changed is the seriousness with which the people in that room take their craft, and their commitment to the stories only radio tells. We’re proud to be part of it. Thank you, TALKERS. Thank you to everyone in that room, past and present, who continues to show up for this event and for radio. We certainly wouldn’t be the company we are without you.

Jessica Crotty is the CEO of C. Crane, a major manufacturer and distributor of radios and radio-oriented devices.  She can be reached via email at jcrotty@ccrane.com. Meet her at TALKERS 2026 on June 5 at Hofstra University.

Industry Views

Monday Memo: Sayonara CBS

By Holland Cooke
Consultant

imgAlthough I don’t have a machine to play it, I have saved the cart. December 9, 1980, the sad morning-after John Lennon died, Charles Osgood, doleful: “I read the news today. Oh boy.” That morning’s CBS World News Roundup – and on-hour newscasts throughout that day – delivered more moments that would keep you sitting in a parked car at your destination. As they would 3 months later when President Reagan was shot. Then soon again when Pope John Paul II was severely wounded in St. Peter’s Square. And five years yonder, when the Space Shuttle Challenger exploded just 73 seconds into its flight.

There have been countless other such moments we emotionally bookmark. But it is the dependable day-in-day-out certainty of its on-hour newscast – what we programmers call “a benchmark” – that we will miss most after Friday, when CBS News Radio ends. Among the stories they will cover that day: Stephen Colbert’s CBS “Late Show” finale the night before.

The CBS Radio Network would have turned 100 next year. It sent home the sounds of war, live from a rooftop: “This… is London,” reported by Edward R. Murrow, whose name adorns the news award broadcasters still strive for. His trademark sign-off “Good Night and Good Luck” titled a 2005 biopic directed by George Clooney, who starred in last year’s ambitious Broadway production (available on Netflix). The New York Times: “Clooney makes Edward R. Murrow a saint of sane journalism for a world that still needs one.”

“It’s no secret that the news business is changing radically, and that we need to change along with it,” is the CBS corporate spin. But neither supply nor demand failed. What failed is the supply chain, 1996 deregulation run-amok. And news/talk stations have borne the brunt of it. Depopulated of local talent and starved for promotion and other resources allocated to co-owned music stations now losing to streaming, too many talk stations became angry, non-local, one-sided political caricatures, too predictable to seem vital. Other stations, with diligent owners hellbent on Doing It Right, are all-the-more conspicuous. They will continue to succeed, even without precious CBS assets. But those stations are anomalies, now outnumbered by others in unattended operation mode, some of which could end up broadcasting dead air on-hour Saturday morning.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

When Your Voice Becomes the Product

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By Matthew B. Harrison  
TALKERS, VP/Associate Publisher
Harrison Legal Group, Senior Partner
Goodphone Communications, Executive Producer

imgFor years, Harrison Legal Group has informed media creators about the legal risks of using copyrighted clips, songs, images, and broadcasts without permission. The issue became central enough to inspire my book, Playing the Clip: The Definitive Digital Media Creator’s Guide to Fair Use (TALKERS Books, 2026). The premise was straightforward: modern media runs on borrowed material, but borrowing comes with legal exposure.

Now the fight is shifting toward something more personal.

The voice itself.

Not the recording. Not necessarily the script. The identity embedded in the sound.

That distinction is becoming increasingly important as AI voice systems improve to the point where listeners can recognize a performer even when the company insists it used a “different actor” or synthetic generation. The Scarlett Johansson dispute with OpenAI may become the defining example. Johansson alleged that OpenAI created a voice assistant that sounded “eerily similar” to her after she declined the company’s request to license her actual voice. OpenAI denied intentionally imitating her and stated the voice belonged to another actress but still paused what they branded the “Sky” voice after backlash intensified.

The case matters because it exposes a legal gray area many creators misunderstand.

A voice is generally not protected by copyright law in the same way a song recording is. But a recognizable voice may still trigger claims involving the right of publicity, false endorsement, unfair competition, or misappropriation of identity. In other words, the legal risk is often not “you copied audio.” The risk is “you exploited identity.”

That distinction matters for broadcasters, podcasters, advertisers, and AI companies experimenting with synthetic hosts, cloned announcers, or celebrity-style narration.

If listeners reasonably believe a celebrity endorsed, participated in, or authorized the content, the legal exposure changes dramatically.

Read more….

Another recent example involves Dua Lipa and Samsung. According to reports, Lipa alleges Samsung used her image on television packaging without authorization, creating the impression she endorsed the product. Samsung reportedly claims the image came from a third-party provider that assured the company all rights were cleared.

That defense may sound familiar to media professionals.

“We got it from somebody else.”

Legally, that is often not enough.

A broadcaster cannot avoid defamation liability merely because a guest made the statement. A publisher cannot automatically avoid infringement exposure because a freelancer supplied the material. And a company may not avoid publicity-rights claims simply because a vendor promised the paperwork existed.

The underlying legal theme is the same: delegation is not immunity.

The AI layer complicates things further because modern systems do not necessarily reproduce exact copies. Instead, they generate approximations that may still evoke a specific person strongly enough to create marketplace confusion.

Courts have dealt with similar issues before. Bette Midler and Tom Waits both successfully sued over soundalike performances used in advertising after declining to participate themselves. The principle is not new. AI simply makes imitation faster, cheaper, and easier to distribute.

That should concern media creators who assume these disputes only affect billion-dollar tech companies.

They do not.

A local station, podcast producer, YouTube creator, or advertiser can now generate celebrity-adjacent voices in seconds. The barrier to entry collapsed. The liability did not.

The safest question is no longer merely “Do we own the audio?”

It is: “Whose identity does this remind people of?”

That answer may determine whether the next lawsuit is really about technology at all.

Or simply old-fashioned commercial exploitation wearing futuristic clothing.

Get your copy of “Play the Clip: The Definitive Digital Media Creator’s Guide to Fair Use” by filling out the request form at HarrisonMediaLaw.com.

Matthew B. Harrison is a media and intellectual property attorney who advises radio hosts, content creators, and creative entrepreneurs. He has written extensively on fair use, AI law, and the future of digital rights. Reach him at Matthew@HarrisonLegalGroup.com or read more at TALKERS.com.

Industry Views

We Sad Frogs

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By Pamela Garber, LMHC
Grand Central Counseling Group
New York

imgThese are scary times. People on all sides of the mic are on the front lines. Not just “them,” otherwise referred to as the audience. We try to fool ourselves into thinking that society and civilization are relatively “safe.” However, simply being alive and stepping outside in the morning, turning on the computer, or checking the annoyingly smart phone, puts us smack dab in the middle of a war. Literally and figuratively. But like so much else in this modern era, this war lacks foundation.

We have no base upon which to support conflict and, at every turn, from the most mundane moment of waiting in line at the store to fulfilling a day’s work; from meeting a friend for lunch to using a credit card or answering a phone – danger is just a breath away.  Rest assured, YOU are not the only one who feels this way. As much as we try to maintain a professional “distance” from those we serve and with whom we engage from our “platforms” on high – they are us and we are them.  I am my patients.  You are your listeners. We are all brewing in the same stew. Are you worried about losing your job (or business) as a result of the cutbacks in the media?  If you’re not, perhaps you should dig deeper. Or at least get in touch with your empathy – for self and others.

We frogs, who still remember living life in cooler water, are increasingly sad. Underneath one-issue pigeonholing, ideological frustration, or brief political triumph on a so-called good news day, the temperature is still rising. It feels like the world was robbed from us, and, on the inside, we are afraid. We have no baseline within the fundamentals of basic life – medical, legal, family, economy, clergy, education, fidelity, intimacy, and even the justice department.

Humans on both sides of the speaker miss the days when pain could exist in a single file. Today even the specific pain of loss gets steady competition within a backdrop of boiling chaos. Our relatability to each other is increasingly unseen. Our pain breeds ugliness. Ugliness of the verbal and behavioral variety breeds isolation, rage, destruction and an urgent need for help. Expert help. At a time when everyone is an expert, there seems to be no one to call… except maybe a therapist. Or maybe a talk show host.

Pamela Garber, LMHC is a practicing therapist based in NYC and South Florida and a longtime guest mental health commentator on radio and television news programs across the nation. She can be contacted by phone at 646-745-6709 or email at Pamelagarber@gmail.com.  Her website is Grandcentralcounselinggroup.com.

Industry Views

SABO SEZ: Jay Clark, A Real Program Director

By Walter Sabo
A.K.A Walter Sterling
Host, The Other Side of Midnight
WABC, New York / Red Apple Audio Networks

imgJay Clark was the first program director of WABC as a talk station. He set the tone and path for modern talk radio. This week I had Jay on as a special guest on the Red Apple Audio Networks all night show, “The Other Side of Midnight.” We celebrated the anniversary, May 10, (1982) of WABC’s switch from music to talk on the giant signal at 770 AM.

There could not have been a better owner at launch: ABC Inc. Facts about ABC Inc (that’s it, it was just ABC Ink):

  • ABC Inc. had launched KABC, Los Angeles and KGO, San Francisco in the mid 1960s. By 1982, when WABC switched to talk, those two stations were golden businesses. KABC was the highest grossing station in any imgformat in America. KGO was the killer biller in San Francisco. The execs who ran them were mighty proud: Ben HobermanEd McLaughlinAl RaccoChuck Debere. Yes, they ran those stations, but they also invented the caller-driven talk format. There were other winning talk stations, but they were guest centric rather than listener centric (i.e. WOR, WGN). At the time, there were 43 stations listed as “talk” stations. 43. Not many models.
  • Clark explained that KABC and KGO took 10 years to turn a profit. The business assumption was that WABC would also take 10 years to achieve that goal. Audience research, which came back after the switch, showed it would take 10 years to win a viable audience. 10 years was fine with ABC management. That’s what it would take. It took 11.
  • WABC launched primarily as live and local. Upper radio management was passionate about the talk format, they freakin’ loved everything about it. They understood its prestige. It was and is a sales format. Management nurtured talk radio and evolved it. They were committed to talk and understood the key fact for growth: YOU CAN’T SAVE YOUR WAY TO SUCCESS. At the time management’s love was essential to success because New York’s feelings for WABC as a rocker ran deep, and not many citizens or clients were in a hurry to witness its end. They were, however, in a hurry to tune to the FM band.

When walking the halls of WABC during the first talk year, one could feel the excitement and the pride. Those feelings permeated the airwaves and propelled success. One can’t find feelings on a spreadsheet, one can’t find success on a spread sheet either.

The return of feelings

When John Catsimitidis bought WABC, pride and passion returned to the halls and to the air. John and bride Margo love the station, the staff, the format, and the potential. “Cats” and station president Chad Lopez have a simple goal: “We want it to be number one.” You would be shocked at how many managers I’ve met who will never be number one – of any format – because they don’t want to be. They actually say they don’t want to be number one… or can’t.

As of today, as it was at launch, WABC’s owner is proud and passionate and will be number one. PD Kevin Droesch is very much in the Jay Clark school of understanding talent and winning.

Sure, sure you could be a cynic and assume I’m writing this because I work for Red Apple Media. But I don’t assume that you’ve met me.

Walter Sabo has been a C-Suite action partner for companies such as SiriusXM, Hearst, Press Broadcasting, Gannett, RKO General, and many other leading media outlets. His company, HITVIEWS, in 2007, was the first to identify and monetize video influencers. His nightly show “The Other Side of Midnight” is heard on WABC, New York and the Red Apple Audio Network 1:00 am – 5:00 am. His syndicated show, “Sterling On Sunday,” from Talk Media Network, airs 10:00 pm-1:00 am ET, and is now in its 10th year of success. He can be reached by email at sabowalter@gmail.com.  He can be phoned at 646-678-1110.

Industry Views

Monday Memo: AI Side Hustles

By Holland Cooke
Consultant

imgJason Reddick’s The Complete Guide to AI Side Hustles is aimed at beginners trying to build passive income. But read it through a broadcaster’s lens and it suggests a blueprint for how radio talent and podcasters can leverage AI to expand their influence, diversify revenue, and stay indispensable in a media economy that rewards relevance and speed.

His central thesis is simple: AI doesn’t create talent – it amplifies it. And that’s especially advantageous if you are already a communicator.

AI Enhanced Audio Services: Your Voice, Supercharged

Reddick writes about “leveraged skills,” and the most leveraged skill you have is your voice. Consider exploiting AI tools to offer:

  • local tourism audio guides,
  • church or nonprofit announcements,
  • fundraising video narration,
  • audio newsletters for local businesses,
  • corporate training narration,
  • e-learning or product demonstration voiceovers.

Each of these is high-trust, high-value, and repeatable. Businesses want a real human voice, and if you’re on radio or have a popular podcast, local businesses already know and trust your voice. AI simply lets you scale it. 

Repurposing: Your Secret Weapon

Reddick emphasizes turning one idea into multiple assets. You already generate hours of content. With AI, that becomes:

  • a monologue turned into a newsletter or newspaper column,
  • a segment turned into a blog post,
  • a rant turned into a daily, shareable email.

You’re already doing the hard part. AI helps multiply the output.

“Small, Fast, Useful”

Reddick likes what he calls “microproducts” – simple digital items that solve a problem quickly. As a broadcaster or podcaster, you already know how to explain things clearly and in plain English.

Whether you are repackaging interviews you already do or advertisers you already have (or want), or exploring your own personal interests, or simply addressing the everyday issues you yourself confront as a consumer, what can AI help you produce?

  • “How to Explain Tech Problems to Customer Support”
  • “How to Write a Complaint That Gets Results”
  • “Explaining Big News Stories to Young Children”
  • “Talking to Teens About Online Safety”
  • “How to Cancel SiriusXM Without the Runaround”
  • “Welcome! Starter Kit if You’re New to the Area”
  • “How to Sound Confident on Conference Calls”
  • “Airport Survival Guide for Infrequent Flyers”

Why These Work: They’re “evergreen” (relevant today and a year from now), high-utility (solves a problem quickly, low-lift (AI drafts, you refine), and trust-based (your voice + clarity = credibility).

If AI can scale your talent, the only limit now is your imagination. You can read the first two chapters of “The Complete Guide to AI Side Hustles,” free, here.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Monday Memo: You Will Save the Aircheck

By Holland Cooke
Consultant

imgMay the Fourth be with you today, as DJs and talk hosts are bumping with Star Wars music. And with Mother’s Day looming, here’s a tune that can be a wake-up call for forgetful listeners this Friday and Saturday – and a topic for Sunday’s show if you’re live-N-local then.

Got a mom in your family? Make a fuss. She earns it, every day. And if your mom has passed, I suspect that you have found – as my brothers and sisters and I have – that she never really leaves you. And THAT is a call-in/text-in topic that always clicks: “The best advice she ever gave you?”

You will hear stories. Some are so laugh-out-loud familiar that you may finish the caller’s sentence. Other callers’ tearful reminiscences will hit a nerve.

Emotion drives engagement. The most shared moments aren’t the clever bits that jingle-out. They’re the ones that connect. When listeners hear someone choke up talking about Mom’s advice, they lean in. That’s the magic of radio: real people, real time. Whether it’s “Star Wars Day” or “Mother’s Day,” what keeps radio relevant is what keeps it human: shared moments that make listeners feel seen.

And set a reminder now: Same bit for (and approaching) Father’s Day, June 21 this year.

Holland Cooke is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Conservative Talk Media Star Larry O’ Connor Interviewed on Harrison Podcast

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Cumulus Media’s WMAL-FM, Washington, DC morning show mainstay Larry O’ Connor is this week’s guest on the TALKERS MEDIA YouTube channel video podcast, “Up Close Far Out.” The episode, hosted by radio industry icon Michael Harrison, dives into the details surrounding the just-announced expansion of O’Connor’s DC-based 6:00 am to 9:00 am ET daily “O’ Connor and Company” to now being carried on the Salem Radio Network and Salem News Network’s 140-plus affiliates. Harrison also probes O’Connor’s position on a wide variety of political and social issues making for a fascinating discussion about the brave new world into which our society is rapidly transitioning. To experience the video in its entirety, please click HERE.

Industry Views

The Power of First-Hand Experience

By Pamela Garber, LMHC
Grand Central Counseling Group
New York

imgTo quote a radio friend, “Some talk show hosts think the news of the day only exists to serve up interesting fodder for their shows.” Many media practitioners, whose jobs encompass letting their audiences know about the pain and suffering of “others,” feel personally exempt from experiencing a connection to the talking points of poverty, ignorance, violence, and injustice that they eagerly collect (and even welcome) as fresh “content” for their platforms. It’s all just “material” to them.

That was a largely overlooked aspect of last Saturday night’s Washington Hilton debacle in which some 2,600 members of the press, media, and political punditry came face-to-face with the sheer terror of not knowing if they were about to be caught in a spray of deadly bullets from an insane perp’s automatic weapon. During those fleeting seconds of horror we witnessed, in excruciatingly real time, a political cross-section of America’s media insiders understandably cowering in the face of such a deadly possibility. A critical mass of the nation’s observers, influencers and content creators, might never again be numb to what had seemingly become a normal occurrence in schools, malls, churches, theaters, and other public places.  Empathy comes from experience…  and experience has a way of transforming the abstract into the concrete.

The WHCD (alleged) shooter “incident” forced several thousand formally attired, champagne-sipping, Saturday evening socialites into becoming terrified participants – actors in a very real-life news story that they had told countless times – looking for a table under which to take cover or a rolling tray behind which to hide.

First-hand life experience reshapes us (or our core beings) more profoundly than any other learning format curriculum. This concept is especially applicable to talk radio – one of humanity’s most personally influential forms of mass communication.

Pamela Garber, LMHC is a practicing therapist based in NYC and South Florida and a longtime guest mental health commentator on radio and television news programs across the nation. She can be contacted by phone at 646-745-6709 or email at Pamelagarber@gmail.com.  Her website is Grandcentralcounselinggroup.com.

Industry Views

Monday Memo: The 2026 Win-Win Audio Alliance

By Holland Cooke
Consultant

imgStations I work with are confronting a generational revenue issue: Local direct retail business owners who are Baby Boomers are retiring. And their heirs are moving the radio dollars that built their parents’ businesses to search engine optimization and elsewhere-digital. The narrative we present them: “Radio is ‘a reach engine’” for the digital content people their age personally favor. In this mode, the station feels less like “your father’s Oldsmobile;” and more present tense. Many of these next-generation businesspeople are avid podcast listeners, and that presents an opportunity.

If you still have a stack of TALKERS issues going back 36 years to when it was a newsprint trade delivered by snail mail – you will find my reports from the very first podcasting conventions. I wrote then that the energy in those rooms felt like radio conventions felt before consolidation thinned our herd. As AM/FM programming was settling into predictable grooves – music “safe lists” and talk radio’s political caricature – enthused podcasters were gleefully coloring outside the lines. Many podcast topics were too narrowcast for broadcast radio, whose superpower will always be relevant, helpful local content. Yet podcasters were already building listener communities, and finding related advertisers, on what we then called “the World Wide Web.”

Back to the future: Among takeaways from last week’s NAB Show: Podcasters are no longer the Rodney Dangerfields of audio. 2026 Edison Research pegged the turning point: Time Spent Listening to podcasts has surpassed TSL to spoken word radio. Podcasting is now mainstream media, available on smartphones and smart speakers, which outnumber many households’ radio receivers.

Meanwhile, radio’s own podcast efforts have been – putting it charitably – underoptimized.

  • Too many talk stations simply post hourlong airchecks. No highlights. No hooks. Magic moments – the caller who lit up the board, the guest who surprised you, the host who finally said the thing everyone else tiptoed around – are buried inside a 48minute block like a prize in a cereal box. And listeners won’t dig. Research also tells us that podcast listeners’ attention span is less-forgiving than radio listeners.
  • Without stopping the music on FM, some smart DJs are also podcasting about their personal passions. Ditto the radio talkers who podcast hobby topics and other things off topic to their on-air show. But for many radio personalities, being told to – effectively – do a second show for the station’s podcast repertoire? It’s just one more thing dumped on them as cutbacks continue.

Here’s the opportunity: Radio has what podcasters want, and podcasters have what radio needs.

  • Radio = credibility. Anyone with a USB mic can podcast. But stations have earned trust. While many podcasters toil in obscurity, radio can promote them to its habitual listeners. Where better to find audio consumers? People tune-in without being nudged by an algorithm. And even as touchscreen dashboards now hide AM/FM among umpteen audio alternatives, broadcast radio is still #1 in-car.
  • Podcasters excel where radio rarely ventures: narrowcast depth. They cover high affinity topics that don’t justify live airtime but can absolutely attract targeted advertisers. These would-be influencers build communities. They create evergreen content. They understand digital promotion instinctively.

Put these two together and you get a synergy that moves the needle for broadcasters and podcasters… and advertisers.

For all these reasons – and because consolidation, automation, and syndication have clobbered radio’s farm team – stations and podcasters should seek each other out. 1 + 1 can = 3… or more, with coordinated, scalable workflow. Here’s the schematic.

There’s more on podcasting in my daily TALKERS updates from last week’s NAB Show. If you missed any, they’re archived at HollandCooke.com

Holland Cooke is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

TALKERS Books Announces Publication of Playing the Clip: The Digital Media Creator’s Legal Guide to Fair Use

TALKERS Books announces the release of, Playing the Clip: The Digital Media Creator’s Legal Guide to Fair Use, by media attorney (and imgTALKERS magazine associate publisher) Matthew B. Harrison, a work designed for today’s news/talk media environment where audio, video, screenshots, and quotes are not just supporting elements – but serve as the actual content itself. This technique has become particularly prevalent on YouTube and even cable news/talk TV but increasingly appears in audio form as what used to be called “actualities” – sound from another source.

The book introduces and defines what TALKERS identifies as the “Play the Clip” technique: the now-standard practice across broadcasting, podcasting, streaming, and social platforms of presenting the source material rather than merely describing it. Although this practice has become ubiquitous, it leaves content creators and providers vulnerable to legal ambiguity, uncertainty, and consequences.

At a time when creators increasingly rely on third-party media to inform, critique, and engage audiences, Playing the Clip addresses a persistent gap between how content is created and how the law evaluates it. Theimg book explains the legal concept of fair use not as a permission structure, but as a legal defense raised after copying has already occurred – an uncomfortable but essential distinction that underpins the entire analysis.

Rather than offering abstract theory or checklist-style guidance, the book focuses on how courts actually evaluate real-world uses. It examines the operational realities creators face: platform incentives, inconsistent enforcement, monetization pressures, and the false sense of security created by what “everyone else is doing.”

The central premise is straightforward: infringement is the starting point, not the conclusion- and fair use, when it applies, is the justification that must be built from there.

Playing the Clip is now available:

  • Print Edition (Amazon): $24.95
  • Kindle Edition (Amazon): Limited-time promotional price of $1.00

Free to TALKERS subscribers

In addition, TALKERS is making the book available at no cost to its readership for a limited time.

Below is a form just for TALKERS readers. Just submit your email address to receive access to a free digital copy, available in either EPUB or PDF format, depending on preference. This offer is intended to ensure that working media creators -regardless of platform or budget – can access the material during its initial release window. To receive a free book, please click here.

Industry Views

NAB Show: Hot Digital Trends: What to Know About Video, Podcasts, AI

By Holland Cooke
Consultant

imgMy notes from a real useful session with Amazon’s Andy Slater, Audacy’s Michael Biemolt, and YouTube’s Neha Taleja, moderated by WTOP’S John Wardock.

Video trends: 

  • Internet Advertising Bureau: Digital video revenue is strong, +25.4% year-over-year.
  • “It’s an accelerant” to podcasting. “Multi-modal engagement finds your audience where they are.”
  • Adding video to audio work builds trust. When they see the-face-behind-the-voice, they know you more.
  • “You’ve likely created the bulk of the content.” Adding video, “you’re repurposing.”
  • Low cost of entry. “You have an iPhone, buy a tripod.”
  • 233 million Americans have at least one smart TV, another distribution channel.
  • To be smart TV-friendly: solid lighting, quality mic, upgrade camera, catchy graphics/colors, make-up.
  • What makes someone click? Thumbnails!
  • NOT doing video is “a lost opportunity.”

Podcasts:

  • Podcast Time Spent Listening recently eclipsed Spoken Word radio TSL.
  • 58% of Americans are monthly podcast consumers.
  • “Audio + Video = podcasting in 2026.”
  • Service used most for consumption: YouTube 39% — Spotify 20% — Apple Podcasts 11%
  • “YouTube [#2 search tool, second only to owner Google] is a podcast discovery engine.”
  • IAB: 2025 podcast revenue: $2.9 billion.
  • “If you’re a radio station, you’re already in the audio business.”
  • Cannibalizing radio listening? No. “Your audience wants to spend time with your talent. Make it more convenient.”
  • “Podcasting was in ‘the training mode.’ Now it’s ready to run a marathon.”

AI trends:

  • Check out new YouTube AI tools! Among features: A/B testing thumbnails.
  • See also: OpusClip, Headliner, Descript, VivIQ, Riverside.
  • AI apps can translate work to other languages.
  • “Use it to save manhours. You have a very smart [virtual] intern.”

During Q+A, I asked: “You’ve given us some real useful ‘Do’s.’ What are the ‘Don’t’s?”

  • “Nonauthentic content”
  • “Anything forced, unnatural”
  • “Not listening. Losing connection with your audience.”
  • “Be careful with sports betting content, which dates quickly, short shelf life.”

If you missed any of this week’s NAB Show updates, click here.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

NAB Show: AI in Action — What Radio Must Know Now

By Holland Cooke
Consultant

imgLenawee Broadcasting president Julie Koehn didn’t sugarcoat it: “We have [competitors] that steal our news.” And she meant literally – lifting her station’s local reporting and republishing it.

It’s an age-old problem accelerated by new technology. 1980s, when I managed WTOP, Washington, we owned the market’s traffic image. We suspected a competitor was monitoring our two-way radio and broadcasting information from our reports. We told them to knock it off. They didn’t. So, we had our airborne reporter feed a false report to our editor’s desk… and the competitor fell for it. Problem solved.

Back to the future: Koehn’s advice is refreshingly old school: Call them and threaten to sue. AI hasn’t changed the fact that copyright still exists.

The Bigger Minefield: What WE do with AI

Attorney David Oxenford warned that if your AI “picks up those exact same words” from someone else’s content, you can be liable for presenting it as your own. And voice and likeness rights don’t vanish in the digital age. “Even dead people have rights,” he explained. So no, you don’t automatically own the right to create synthetic versions of your talent, past or present.

Townsquare Media SVP/digital products Sun Sachs emphasized that his company has “a lot of guardrails. Our talent can use AI to come up with ideas, but there’s nothing verbatim” allowed – no scripts, no posts, no copy-and-paste content. Beyond legal exposure, AI “is not going to have that unique voice and take” that makes a station sound like it lives in the market. Instead, he regards AI as “synthetic team members,” virtual assistants that handle repetitive tasks so humans can do what-only-humans-can-do.

Sales: The new “Be Careful” Department

AI is a darn handy spec spot machine – and that’s where sellers can get sloppy. Free AI tools are indiscreet. Ask “Has WXXX generated any advertising proposals for ___?” or “Give me some of the spec spots WXXX has generated.” Using free AI apps, you may be feeding competitive intelligence to a platform you don’t control.

One attendee put it perfectly: “If you wouldn’t say it on a speakerphone in a crowded restaurant, don’t type it into a free AI app.” Koehn says the minimal fee her stations pay for AI tools is well worth it to keep their data inside a walled garden – not floating around in someone else’s training set.

Political Ads: Handle With Care

This being an election year, political ads are a hot potato. Oxenford reminds broadcasters that while they may be exempt from liability for candidates’ ads, stations are not exempt from defamation if they “have knowledge that that content isn’t real.” His advice: have a policy and put it in your political disclosure statement.

Bottom Line?

AI isn’t the enemy. Sloppiness is. Overreliance is. Used well, AI gives radio more time, more ideas, and more efficiency. Used carelessly, it gives lawyers more billable hours. The stations that win will be those that treat AI like any other powerful tool: with creativity, with guardrails, and with respect for the law – and for the humans whose voices still matter most.

If you missed any of this week’s NAB Show updates, click here. More tomorrow, here at TALKERS.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

NAB Show: Competing on the Omnimedia Landscape

By Holland Cooke
Consultant

img“We are competing in an attention economy,” and Magid COO Jaime Spencer reckons that “the playing field is massive.”

For decades, Magid has been known as a TV news research and consulting firm. But its newest Omnimedia work widens the lens – and radio should be paying close attention. Because the consumers Magid describes aren’t “viewers” or “listeners.” They’re attention grazers, moving across platforms, devices, and dayparts without ever thinking in “TV” or “radio” terms. And that shift changes our game.

Magid’s core point lands hard: We no longer operate in a content economy. We operate in an attention economy. Radio isn’t competingimg with the station across town anymore. It’s competing with 50,000 news brands, nearly half a million podcasts, and an infinite scroll of feeds that never sleep.

And here’s the kicker: the audience doesn’t distinguish platforms – only relevance. They follow whatever captures attention in the moment. If your brand can’t travel across social, smart speakers, mobile, and on air with a consistent voice and value, you could be invisible to the modern consumer.

Spencer also flags a new disruptor: AI as a news gateway. “17% of people now discover news first on AI platforms – higher than push alerts and newsletters. Considering that platform didn’t exist two years ago, that’s a big number.” That’s also a flashing red light for radio. If AI becomes the first stop for facts, radio must become the first stop for context, clarity, and humanity – the things AI can’t localize, empathize with, or improvise.

“Consumers are overwhelmed.” They’re juggling nearly six streaming services and still feel behind. That’s an opening. Radio’s superpower has always been curation – a trusted voice cutting through the noise. In an Omnimedia world, that skill becomes a premium product.

Finally, Magid’s emotional driver research reinforces what great programmers already know: passion beats function. Utility alone (i.e., “Breaking News”) won’t hold audience. Emotional gravity will. “Consumers are looking for comfort and affirmation.” Per Magid’s Trust Index research: Public media outlets like NPR perform strongly, while polarizing figures such as Glenn Beck, Rachel Maddow, and Sean Hannity also rank in the top quartile, skewed by affirmation of audience beliefs.

The bottom line? The Omnimedia consumer is already here. Radio wins by being the most human, most local, most emotionally resonant voice in a chaotic media diet – not by being “radio,” but by being essential wherever the audience happens to be.

See Jaime Spencer’s deck here.

If you missed yesterday’s NAB Show update, click here. And if you are here in ‘Vegas this week, look for me. Maybe we can grab a cuppa cawfee. If you aren’t here, look for my NAB Show update here tomorrow.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Monday Memo: The Future of Radio isn’t Radio, It’s Reach

By Holland Cooke
Consultant

imgAs a newly minted program director (remember them?), I found the 1980 “NAB Radio Programming Conference” downright enchanting. New-tech cart machines (remember them?) would FIND the splice! And after the cart played, a flashing light saved careless DJs from accidentally playing it again.

Back to The Future: Hello from fabulous Las Vegas, where radio has been folded-into what is now called The NAB Show. Among sessions I will be attending here this week:

  • “Improving the Listener Experience,” which has suffered from cutback-after-cutback;
  • And I will be the guy typing as fast as I can at “The Local Advertising Buying Landscape: Find Out What’s Driving Digital Sales, Revenue and Growth Opportunities.”

At the annual TALKERS conference 20+ years ago, publisher Michael Harrison coined the term “Media Station,” meaning: “Analog-rooted media such as radio stations, TV stations, and newspapers will have the digital capability of assuming each other’s roles in the multi-platform environment of the 21st century. No media brand will be limited to the AM/FM dial, the VHF/UHF TV set, the printed page delivered to the front porch, or even a specific channel. Every small AM radio station could be a sleeping SiriusXM Satellite Radio.”

This year’s NAB Show goes-there, with, among other sessions:

  • “Hot Digital Trends: What to Know About Video, Podcasts and AI;” and
  • “The Omni-Media Landscape: Mapping Reach, Affinity, and the Future of Media.

Recently, when CBS Legal wouldn’t let Stephen Colbert air his interview with surging Texas U.S. Senate candidate James Talarico (D), he posted it to YouTube, where it got roughly FIVE TIMES the views his TV show gets most nights. So… with technology now enabling individuals, I sure won’t miss:

  • “A Crew of One: Solo Storytelling Strategies,” where the NAB Show says we will “Learn how to manipulate space and time as a solo storyteller, getting set up for success, working with multiple cameras, and keeping the flow from start to finish.”
  • Ditto “The Ultimate Creator Studio Tips and Tricks;” and
  • “The Fandom Flywheel: Building Scalable Media Ecosystems in The Bravoverse.”

With Uncle Sam’s big birthday looming, there’s “America 250: Owning the Moment – How Radio and TV Will Drive Community, Culture and Revenue in 2026;” and “The First Amendment and Press Freedom in Today’s Media Landscape.”

If you are in ‘Vegas this week, look for me at all-of-the-above. Maybe we can grab a cuppa cawfee. And no matter WHAT the dealer is showing, always-always split Aces and 8s. If you aren’t here, look for my NAB Show report again here tomorrow.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Talk Radio Mile Markers

By Pamela Garber, LMHC
Grand Central Counseling Group
New York

imgIn a piece I recently wrote for TALKERS I encouraged talk show hosts and producers to book more guests from the mental health profession to provide much-needed relief from the alarming level of anxiety afflicting American society. Since then, the non-stop news cycle, replete with the media pushing people’s buttons to keep them sucked in, has me further convinced this need would benefit the medium as well as the public. Win-win.

People today are negatively impacted by fear, pressure, disgust and confusion. Pressure to keep up with runaway technology. Fear of crushing financial responsibilities and institutional betrayal. Anger over ever-lurking danger from scams, identity theft, and violent assault on the street. Confusion over rapidly changing values, diminishment of ethics, and contentious relationships.

The result: talk radio listeners (as well as potential ones) are drowning in anxiety.

Where does the tumult of an increasingly noisy and uncertain world reach a daily crescendo?  On news/talk radio, of course. That unto itself is not a bad thing. The airing of news and views in the public marketplace of ideas is both therapeutic and a healthy exercise of our First Amendment rights. It is also grimly entertaining.

However, as both a therapist in practice for over two decades and a guest on many talk show interviews, I strongly believe that people need an occasional “spoonful” of relief to “help the medicine go down.” It’s not that I’m advocating sugar coating the content. But even just acknowledging the problems real people are facing from a human perspective can alleviate pain.

Mile markers to the rescue

My experience as a running enthusiast evokes a talk radio reference to the “mile markers” that dot the paths of long-distance races.

It was at mile 18 in the New York Marathon when I first yearned for a mile marker. Mile markers are those coveted little stations along the running races where everyone who extends their arm to offer runners a cup of water or Gatorade is Florence Nightingale to each participant who grabs the “reward.”

A little mile marker has such a big impact on going the distance in races (and in life). Life is hilly, sometimes suddenly downhill, with sprints and injuries, struggling to keep pace, and pretending to be slow. Mile markers in real life give us a boost.  That occasional mental health expert popping up every now and then as a news/talk radio element can put things in context, offer solutions, and stop the spread of those deadly words: “I can’t listen to this anymore; It make me too anxious.”

Check out this talk radio hit, “Close My Ears,” by Gunhill Road by clicking here.

Pamela Garber, LMHC is a practicing therapist based in NYC and South Florida and a longtime guest mental health commentator on radio and television news programs across the nation. She can be contacted by phone at 646-745-6709 or email at Pamelagarber@gmail.com.  Her website is Grandcentralcounselinggroup.com.

Industry Views

Monday Memo: The 2026 Case for Weekend Talk Radio

By Holland Cooke
Consultant

imgTime Spent Listening to podcasts has now surpassed TSL with spoken word radio. And both are fraught.

Anyone can do a podcast, and everyone seems to be. How to get found/subscribed-to/shared?

  • And in this listen-when-ever-you-want culture, basing Return On Investment in a brokered-time weekend ask-the-expert radio show that only reaches real-time listeners is increasingly dubious.

So, I’m helping podcasters I work with to do both. To amplify the impact of all the work you put into a podcast, make radio your content engine.

Yes, radio, for two big reasons:

  • Credibility, because? Anyone can do a podcast. But being on broadcast radio makes you seem “real.” The station delivers you an existing audience that trusts its information, supports its advertisers, and listens habitually. You are live, interactive, and “car radio.” And interview guests will be easier to attract to your on-air show than to a podcast.
  • As a podcaster, you are already an audio publisher – but you’re doing all the work yourself, reckoning what’s relevant to your listeners – a slow, lonely way to build an audience. Host a call-in radio show, and everything changes. Your callers and guests become the content pipeline that makes your podcast more than just you-talking. Their questions position you as an authority and offer proof of what your audience wants. No guesswork. No blind spots. Just nonstop relevance that keeps listeners leaning-in, coming back, and sharing your podcast with friends.

This 1 + 1 can = lots more than 2, when your show and podcast promote each other; and as this process repurposes content to social media, E-newsletters, video, and other online resources. Here’s the schematic: http://getonthenet.com/workflow.png

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

Creators, Commentators, or Publishers: Liability Remains the Same

By Matthew B. Harrison
TALKERS, VP/Associate Publisher
Harrison Media Law, Senior Partner
Goodphone Communications, Executive Producer

imgThe rise of independent, talk show-style political commentary on YouTube has created a new class of media actors who do not see themselves as broadcasters, journalists, or publishers. They see themselves as creators. That distinction is real in terms of identity, tone, and platform. It is not real where it matters most: liability.

The difference exists in how the work is produced and presented. It disappears the moment the content is published.

In practice, these creators are engaging in acts that courts have long recognized as publication. They are selecting topics, framing narratives, editing clips, and distributing content to large audiences. Those decisions are not neutral. They are editorial.

The absence of FCC regulation in this space has created a persistent misunderstanding. Traditional broadcasters operate under a regulatory framework that includes licensing and content restrictions. Independent creators do not. But the lack of FCC oversight does not reduce exposure. It removes one layer of regulation while leaving the core legal risk fully intact.

Defamation law applies equally to both groups. A false statement of fact about a real person that causes reputational harm can give rise to liability whether it is spoken on a licensed radio station or uploaded to a monetized YouTube channel. The standards may differ depending on whether the subject is a public or private figure, but the underlying obligation remains the same: accuracy matters.

There is no YouTube exception. There is no creator carveout. The law does not care how the content was distributed, what the platform calls you, or how you see yourself. It cares who made the statement, who chose to publish it, and whether it was false.

The structure of YouTube content introduces additional risk. Many creators rely on rapid production cycles and clip-based commentary. This increases the likelihood of error, particularly when context is compressed or omitted. Editing choices that seem minor from a production standpoint can materially change meaning, which is precisely the type of conduct that courts examine in defamation and false light claims.

Monetization further complicates the analysis. Revenue from ads, memberships, or sponsorships strengthens the argument that content is commercial in nature. That does not eliminate First Amendment protections, but it can influence how a court evaluates intent and reasonableness.

There is also a tendency to assume that platform norms provide a form of protection. If a piece of content is allowed to remain online, or even promoted by an algorithm, it can feel implicitly validated. That assumption is misplaced. Platform enforcement decisions are not legal determinations. They are business judgments.

The most important point is simple and often overlooked. Liability does not turn on intent. It turns on what was said, whether it was false, and whether reasonable steps were taken to verify it.

The platform may change how content looks. It may change how fast it spreads. It may change who gets to participate.

It does not change the consequences of getting it wrong.

Time passes. Technology and fancy packaging change. Exposure and liability do not. 

Matthew B. Harrison is a media and intellectual property attorney who advises talk show hosts, content creators, and creative entrepreneurs. He has written extensively on fair use, AI law, and the future of digital rights. Reach him at Matthew@HarrisonMediaLaw.com or read more at TALKERS.com.

Industry Views

Sabo Sez: The “Constant Threat” Isn’t Exactly What It’s Cracked Up to Be

By Walter Sabo 
A.K.A. Walter Sterling, Radio Talk Show Host

imgAssessing the hourly threat to the very existence of the medium of radio is a popular hobby among conventioneers. The audience levels for radio are astonishingly constant since 1970, but according to “radio people,” they are living at the edge of a volcano. Spotify radio, SiriusXM radio, Pandora radio, TuneIn radio, Internet radio, there are all kinds of radio! General Motors wants to throw AM/FM radio out of the car as in “do you really need radio in the car?” Radio’s response to the in-car-removal threat is by promising non-stop typhoons and hurricanes.

The actual threats to established radio companies are non-established radio companies. With the death of meaningful on-air competition, a consolidated industry can easily anticipate the strategies of all major “brands” (formerly known as stations). What cannot be anticipated are actions that are a true threat: Outlier owners throwing creative grenades into the sleepy radio ecosystem.

All viable radio formats launched as unanticipated surprises. New formats are greeted with hostility and predictions of doom. All of them. Yes, even adult contemporary. Eventually – or tomorrow – a new format will be deployed by a desperate owner with a handful of stations, an owner with a retailer’s mentality will go for broke with a format – or a series of shows – that will not be anticipated, cannot be duplicated and is not cheap.

See the threat? A true threat will be a new format that successfully attacks the core of dozens – hundreds of established stations, stations owned by venture capital. It will not be anticipated, cannot be duplicated by hundreds of stations and does not “scale” i.e. isn’t cheap. But the new format would be so rapaciously embraced by the public that it would force all other stations to completely change their on-air content and their sales strategies. Imagine the impact of that threat.

Walter Sabo has been a C-Suite action partner for companies such as SiriusXM, Hearst, Press Broadcasting, Gannett, RKO General, and many others. His nightly show “Walter Sterling Every Damn Night” is heard on WPHT, Philadelphia. His syndicated show, “Sterling On Sunday,” from Talk Media Network, airs 10:00 pm-1:00 am ET, and is now in its 10th year of success. He recently began hosting “Another Side of Midnight” weekends on WABC, New York. He can be reached by email at sabowalter@gmail.com or phoned at 646-678-1110.

Industry Views

Monday Memo: Why Local Media Still Moves Communities

By Holland Cooke
Consultant

imgIn “When Everyone Knows That Everyone Knows” (Scribner) cognitive scientist Steven Pinker unpacks a deceptively simple idea: Society runs on common knowledge. Not just what people know individually, but what they know OTHERS know-they-know.

Read that again, aloud. It describes the invisible wiring that drives humans to coordinate, trust, cooperate, and sometimes revolt.

If that sounds abstract, it shouldn’t. Radio and television are the most powerful common knowledge machines ever invented. And in an era when media fragmentation has turned audiences into isolated microtribes, broadcasters who understand Pinker’s point gain a strategic advantage.

Broadcasting creates the “Shared Reality” communities run on

When a radio or TV station says, “Schools are closed,” that’s not just information. It’s a signal that everyone else in town heard the same thing. That shared certainty is what lets a community move in sync. Pinker reckons that this is the essence of coordination: people don’t just act on facts – they act on what they believe others believe.

This is why broadcasters remain indispensable during storms, emergencies, elections, and civic moments. Digital platforms can inform individuals. Only broadcasting can inform everyone at once, and – crucially – make it known that everyone else heard it too.

Trust and legitimacy flow from common knowledge

Pinker notes that institutions derive their authority from shared understanding. Money works because everyone knows everyone else accepts it. Laws work because everyone knows everyone else knows the rules.

Local broadcasters occupy that same psychological space.

A trusted anchor or morning host doesn’t just deliver news – they confer legitimacy. When they say, “Here’s what’s happening,” they’re not merely reporting; they’re establishing the community’s shared frame of reference. In a fragmented media world, that’s gold.

Dueling Realities: FOX News vs MSNow

Inside each bubble, people know what everyone-like-them knows. When national narratives clash, local broadcasters become the last shared reality left.

Local radio and TV, by contrast, still operate in the realm Pinker describes: weather, schools (and EVERYTHING ELSE that triggers a parent’s concern), roads, emergencies, local elections, shared rituals and routines. These are not ideological. They’re lived. Local broadcasters still produce the kind of common knowledge that makes a town function. Cable networks and partisan talk radio produce the kind that makes a tribe feel coherent.

Local broadcasting is still where a community becomes a community.

Holland Cooke (HollandCooke.com) is a consultant working the intersection of broadcasting and the Internet. Follow HC on Twitter @HollandCooke and connect on LinkedIn

Industry Views

SABO SEZ: Common Sense is Always the Solution

By Walter Sabo
A.K.A. Walter M Sterling
WPHT, Philadelphia
Sterling Every Damn Night
Sterling on Sunday Syndicated, TMN
Another Side of Midnight, WABC, New York

imgIn 1952, the success formula for today’s radio was discovered and put into practice by two hungry entrepreneurs:  Todd Storz and Gordon McLendon. Both men owned dying radio stations in medium and major markets. The industry was suffering from a lack of purpose or solutions due to the advent of television which drove the migration of hit network radio shows to television. Lucille BallBob Hope, and Gertrude Berg were on radio first.

Storz and McLendon developed “Top 40” with their own brains and money. Top 40 was research and focus group based, as well as. Storz tried it first in Omaha, then Kansas City and Miami. McLendon in Dallas, Houston, Minneapolis, and New Orleans. The formula was simple but not obvious. Their common-sense solution worked in all formats: music and talk.

Ruth Meyer was Storz’s PD in Kansas City and I worked with her at ABC. She was very clear when outlining the Storz history, “It was all Todd.”

Success ingredients

The formula: Target one demographic. Play their hits – often. Call out the names of as many people in the audience as possible – make the listener a star.  Present with enthusiasm. Promote at every local crowd event possible. Repeat.

All of the McLendon and Storz stations grew instantly, usually to number one.

That ingredient list works repeatedly for station after station for decades. But, and here’s the but, all of those ingredients have to be in the recipe. Leave out promotion, for example, or research, and it doesn’t work. But the full ingredient list does work for every single format.

I asked Mickey Luckoff, who ran talker KGO as the number one station in San Francisco for most of our lives, how he selected his on air talk hosts to which he replied, “They all come from top 40 because I can teach them talk but I can’t teach them radio.” His promotions were non-stop and smart, TV campaigns were non-stop and research, yes, research – non-stop!

When Adult Contemporary was evolving, my team was responsible for the NBC FM properties. Corporate finance people who went to Wharton urged me to go slow, layer in expenses when launching this odd new format. I knew layering was a recipe – for failure!!! All the ingredients had to be rolled out at once. In 1981, WYNY in New York had a $2 million dollar cash and a $2 million barter promotion budget. Result, a $3 million profit and a 5 share.  Thanks to PD Pete Salant and GM Al Brady Law. We used the Storz/McLendon recipe with AC music and Dr. Ruth, it obviously works.

WGMS-FM was a classical station in Washington, DC. When it was owned by RKO and run by visionary Jerry Lyman, it applied the Storz/McLendon recipe to classical music. Their promos announced that WGMS played “Real Oldies – Your favorites from the 1600s, 1700s and 1800s!” WGMS aired a tight playlist of hits. Special weekends were popular, such as a “Beethoven Weekend” with t-shirt giveaways. The station was a profit monster, top 10 in Washington DC.

Five years ago, WABC-AM was about 28th in NYC as a result of cutting costs, by god the cost cutting was epic and so was the failure. Today, John Catsimatidis, the owner, and Chad Lopez, the president, have grown the station to a 4 share and number eight in New York. An AM talk station, number eight and growing. What? How? They put in all the ingredients. The station is data driven. The talent is live. External paid ads run for WABC almost every single day. The air team goes to local events to meet the crowds. WABC airs live listener music requests and dedications on the weekend with Cousin Bruce Morrow and Joe Piscopo – live. Did I mention live?

Today not history

The team is happy. They are making radio. This isn’t nostalgia. Mr. Cats is a very current based businessman who expects results. Like Storz and McLendon he is an entrepreneur, a private owner deploying common sense. He’s doing what is proven, what works. Bravo.

Conclusion: There is nothing wrong with radio. Just stop. Include every ingredient in the proven recipe; expect stunning results.

Walter Sabo has been a C-Suite action partner for companies such as SiriusXM, Hearst, Press Broadcasting, Gannett, RKO General, and many others. His nightly show “Walter Sterling Every Damn Night” is heard on WPHT, Philadelphia. His syndicated show, “Sterling On Sunday,” from Talk Media Network, airs 10:00 pm-1:00 am ET, and is now in its 10th year of success. He recently began hosting “Another Side of Midnight” weekends on WABC, New York. He can be reached by email at sabowalter@gmail.com or phoned at 646-678-1110.