Industry Views

Harrisons Take a Shot at the Fermi Paradox with The ALIEN

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TALKERS publisher Michael Harrison is a longtime advocate of talk radio and associated talk media expanding the scope of their spoken-word content to include a wider spectrum of popular subject matter. One such realm that has fascinated the iconic broadcasting figure since childhood is space exploration, and the search for extra-terrestrial life. According to Harrison, “One of the hottest non-partisan topics in social and digital media today is ‘The Fermi Paradox’ – a discussion that centers around a simple burning question, considering the extremely high odds of life existing throughout the universe, where is everybody?”  

Harrison and his son, TALKERS associate publisher, media attorney, and digital content producer, Matthew B. Harrison –

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The ALIEN as portrayed by Michael Harrison

whose online vignettes, commercials, and Gunhill Road music videos have attracted well over a million views on the internet – have teamed up to produce a 4:30 “digital film” titled, The ALIEN which tackles the Fermi Paradox from a perspective that is extremely contrary to popular science community sensibilities.  Regarding that, Michael Harrison boldly proclaims, “Our message – delivered by an extremely advanced alien individual played by me – borders on blasphemy by YouTube standards.  I hope I’m not banished from the galaxy.” To view The ALIEN in its entirety, please click here.  To arrange an interview with Michael Harrison to discuss this far out topic, please email info@talkers.com or phone 413-565-5413.        

Industry Views

Changing the Words Isn’t Changing the Use

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

imgAI can make someone else’s story sound like you. What have you added?

Imagine this morning’s show prep: a host finds a terrific newspaper feature, drops it into an AI tool, and types, “Make this 90-seconds, conversational, in my voice.” Seconds later, there is a polished script. The sentences are different, the pacing works, and it even sounds like something the host would say. The software has changed the words. But has it changed the use?

That question deserves a moment before the microphone opens. “Rewrite this” is an instruction to software, not a legal clearance process. Copyright reaches beyond identical sentences: an abridgment or adaptation can still use protected material from the original. Replacing the vocabulary does not necessarily remove the underlying copyright issue.

First, though, let’s protect something equally important: the freedom to report the news. A newspaper does not own the facts it uncovers, and broadcasters can report those facts in their own words. Copyright protects the author’s expression, not the event, information, or idea itself. An AI-assisted factual summary is therefore not automatically an infringement, either.

When a use does borrow protected expression, fair use requires more than checking whether the wording changed. Courts consider the purpose and character of the use, the nature of the original, how much protected material the user took, and the effect on the original’s potential market. News reporting and commentary can qualify, but neither label guarantees the result. A shorter version that serves as a substitute for the original raises a different question from an excerpt used to examine or criticize it.

For a host, a useful editorial question follows: What am I adding besides my voice? Perhaps the story prompts an interview with the reporter, a challenge to the conclusions, or an explanation of what the issue means locally. Those choices give the audience a reason to hear your treatment. They do not automatically establish fair use, but they help distinguish developing a segment from repackaging a feature.

AI can help with that development. Ask it to suggest follow-up questions, identify assertions worth checking, or organize your own notes into a workable outline. Then read the source, verify the facts, and make the editorial decisions yourself. Credit the reporting that helped you, while remembering that attribution and permission serve different purposes. A source acknowledgment is good practice, but it does not authorize an otherwise infringing use.

The opportunity here goes beyond avoiding a claim. A host’s value includes judgment, curiosity, experience, and the relationship with listeners, all things worth bringing to the microphone. Use AI to make room for more of that work. A script can sound like you without giving the audience anything of yours.

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 TALKERS.com.

Industry Views

Monday Memo: Clock Shock

By Holland Cooke
Consultant

imgUnless you live in Hawaii or most of Arizona (except the Navajo Nation) or American Samoa, Guam, the Northern Mariana Islands, Puerto Rico, or the U.S. Virgin Islands, we “Fall-back” to Standard Time at 2:00 am Sunday morning… when, suddenly, it’s 1:00 am again.

This past July, the House passed proposal 308–117 which would make Daylight Saving (NOT “Savings”) Time permanent – which President Trump favors – and the Senate recessed without acting on it.

  • Fun Fact: States can choose permanent Standard Time under federal law, but they cannot independently adopt permanent Daylight Time.
  • Fun Fact: We already did that, under President Woodrow Wilson during World War I. President Franklin Roosevelt revived it as year-round “War Time” during World War II.
  • Not-So-Fun Fact: During the 1973 oil crisis, Congress passed the Emergency Daylight Saving Time Energy Conservation Act, signed by President Richard Nixon, placing the USA on year-round Daylight Time in January 1974. Public backlash – especially over school kids at the bus stop in darkness – led Congress to restore Standard Time less than 10 months later.

Back to the future: It’s uncanny how just this one-hour shift impacts listeners’ lives. And if your dog eats at 5:00 pm, just TRY telling him it’s only 4:00 pm. Among humans, this change is a big topic of conversation. So, plan now to empathize with their emotional and practical adjustments.

  • Bump with or play songs related to time (i.e., Cher’s “If I Could Turn Back Time”).
  • Explain the history of DST. Your show prep is above.
  • Ask listeners’ opinions on DST. Do they love it or hate it? You’ll hear both.
  • “What’s the first thing you’ll miss doing after work when it gets dark earlier?” (This invites stories beyond the permanent DST debate.) Also: “How will you spend your extra hour?”
  • Give away nostalgic items (like retro vinyl records or vintage tech).
  • Sleep tips from health professionals and mental health experts.
  • Coffee or breakfast gift card giveaways.
  • Pertinent commercial copy hooks, i.e., “It’s time for a new ___!”

When listeners get an extra hour, give them a reason to spend it with you.

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 Radio Sales Playbook: All Aboard!

By Harmony Tenney, MBA

EDITOR’S NOTE: This is the first of a series of TALKERS marketing articles by Harmony Tenney, a nationally respected veteran radio sales executive and author.  

imgAsk broadcasting professionals what they need, and you’ll hear the same three answers: finding salespeople, keeping them, and growing revenue. The order varies, but the concerns are on repeat.

First, run recruitment ads on your own station. It’s how I got my first radio job. I was traveling between cities when I heard an ad for an account executive. I knew immediately it was the job for me. Three interviews later, it was.

That third interview was in front of the entire sales team, and they would decide whether I joined them.

I gave them plenty of reasons to say yes:

  • I had a local bakery make a radio-shaped cake with the dial tuned to their station.
  • I created a PowerPoint proposal and asked them to role-play a board of directors considering hiring “me.”
  • Then I asked for the order and closed the deal. I was in!

That’s the kind of candidate a recruitment ad can bring through your door: someone who sells themselves the way you’d want them to sell your station.

Remember, recruitment advertising reaches beyond active job seekers. It also reaches their family and friends, plus passive job seekers who are employed but open to a change. In your ads, share a bit about your company’s culture, what your station is known for, and how your employees serve the community, not just the job duties.

Second, stay alert during your everyday activities, especially at community events and festivals. Take note of anyone who is personable, attentive, or offers you an upsell. Hand out your business cards everywhere and invite each person to apply.

Third, ask your employees to do the same, and offer a cash bonus when someone they refer is hired.

Fourth, promote area job fairs and attend them personally. They’re usually organized by your community college, a veterans’ organization, or your local economic development department.

Harmony Tenney, MBA, is the author of The Ultimate Radio Sales Playbook (Amazon), connecting communities through radio’s superpowers. She’s spent more than two decades selling local radio in the Charlottesville, VA market, working with small business owners, local governments, and area non-profits; twice named a Top Ten U.S. Radio Marketing Consultant by Radio Ink. She can be reached via email at Harmony@UltimateRadioSales.com or phone 540-255-5686.

Industry Views

Monday Memo: Occasions, Not Duration

By Holland Cooke
Consultant

imgFor 100 years, radio programmers have tried to keep listeners listening longer. “Coming up next…”

Another few minutes? Yes! Ask! And do so as-seductively-as-possible, saying “you” and “your.” But there’s very little you can say to keep someone sitting in a parked car after they’ve turned the engine off.

A more realistic opportunity?

Life is fragmented. Audio is everywhere. Listeners move among broadcast radio, podcasts, streams, satellite, YouTube and whatever their phones serve up next. Oh, and off-air promotion – billboards, TV, direct mail – remember them – cost money.

Sales 101: Say it with me: “Your best prospect is…?”  An existing customer! Sell ‘em again, in this case inducing an existing listener to listen again later – specifically later-today, and same-time-tomorrow. You can’t win by earning TSL when they’re not listening. So, seem useful-enough that they’ll want to come back again.

  • First thing in the morning…
  • Before leaving home…
  • During the commute…
  • At lunch…
  • Before the drive home…
  • When weather threatens…
  • When big news breaks…
  • When the game will air…

All-news stations have understood this for decades. The very first one – 1010WINS/New York, to-this-day #1 in morning drive – said, “Give us 22 minutes and we’ll give you the world.” The product was designed for repeat use.

This also changes how we use digital tools 

Too many stations treat the app, stream, and social media as separate products. They should be pathways back to useful content. A push alert can invite immediate listening when something important happens. A social clip can preview what the morning show will develop tomorrow. A podcast can serve someone who missed the original conversation while promoting the next live one.

The objective is not to trap listeners. It is to accompany them. Try this…

  • Map your target listener’s day. Identify five moments when your station could be helpful, entertaining or reassuring. Then ask yourself…
  • Do we offer something worth returning for at each moment?
  • Do listeners know we offer it?
  • Do we remind them when to return?

And when they do return, do we deliver immediately? Or make them wait through clutter?

Duration still matters. Every unnecessary word still spends attention. So, program at-the-speed-of-life. But focusing only on longer listening per-occasion overlooks how people actually live. You can’t keep someone sitting in a parked car. You can earn more visits.  

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

That’s My Voice but Those Aren’t My Words

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

imgA Tokyo ruling has revisited a question that Bette Midler raised decades ago.

For anyone earning a living behind a microphone, your voice carries more than sound. It carries your reputation and your audience’s trust. An AI imitation can borrow both. Paying for the technology doesn’t necessarily buy permission to use the identity.

A September 30, Tokyo District Court decision recognized that a voice’s commercial appeal can receive publicity-rights protection. Actor Kenjiro Tsuda sought removal of 188 videos allegedly imitating his voice through AI. The court dismissed those claims because the material was already gone, leaving actual infringement undecided. Still, the underlying question should sound familiar to Bette Midler.


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After Midler declined a Ford commercial, the advertising agency hired a former backup singer to imitate her. The agency had licensed “Do You Want to Dance.” It hadn’t secured Midler’s participation. In 1988, the Ninth Circuit held that deliberately imitating a professional singer’s distinctive, widely known voice to sell a product could violate California law. Permission to use the song didn’t settle permission to borrow the identity.

The Tokyo court described the voice as 「個人の人格の象徴」- “a symbol of individual personality.” Also, the perfect spring break tattoo: a generic phrase announcing how unique you are.

The Japanese decision doesn’t establish American law, and Midler doesn’t make every imitation unlawful. But together they frame a practical question for broadcasters using synthetic voices: whose identity is helping sell this, and what permission covers that use?

AI has changed the machinery. The person behind the voice still matters.

Matthew B. Harrison is a media and intellectual property attorney advising broadcasters, content creators, and creative entrepreneurs. Reach him at Matthew@HarrisonLegalGroup.com

Industry Views

Monday Memo: Stop Selling Commercials

By Holland Cooke
Consultant

imgNo, don’t stop selling them entirely. But you have lots more in your repertoire, including the shiny objects advertisers are now buying instead of commercials… and the trust that can drive attention to them.

The Big Idea: Local retailers don’t want commercials. They want attention, trustworthiness, customer traffic and sales.

Stop selling containers

“60-second spots” describes what the station delivers, not what the advertiser receives. Example: Help a bank or insurance agent or some other local business sound like an institution, because listeners associate it with weather. Increasingly it is extreme, often suddenly. Via repetition, you have pre-sold “the WXXX Unibank Storm Center Forecast” that will enable listeners when conditions threaten their routine.

And don’t just sell ‘em that intro, and the ROS 60s that explain the advertiser’s outcome. When I meet with client station reps, we brainstorm how to flex each of their various platforms to do what it does best:

  • Live on-air broadcast (now referred to as “the linear feed” by competitors who sell all the other stuff): Spots deliver reach, repetition, urgency, credibility, #1 in-car audio.
  • Streaming: Extends the linear feed to that-thing-in-the-pocket-we-used-to-call-a-phone – and on the smart speakers that resurrected in-home listening. On both: the sponsor’s pre-roll.
  • Podcasts and/or weekend ask-the-expert shows: Demonstrate expertise in next-level-of-detail, enhancing trustworthiness. An attorney isn’t buying airtime. She is becoming the local voice people already trust when they eventually need an attorney. Real estate agents I work with pre-sell themselves this way.
  • Station website: Explain, register, download, redeem.
  • Email and text database: Reach listeners directly, and with alerts.
  • Social media: Show faces, link to clips, encourage sharing and interaction.
  • Events: Personal contact unavailable from streams or SiriusXM.

Selling “digital” as a mysterious add-on misses the point. Each platform should move the prospect closer to the desired outcome.

Bundle what only you can offer

  • Got major league play-by-play? When you take a client or prospect to a game, bring ‘em up to the booth. Introduce them to the radio voices, who will pose for selfies with that great view of the field or rink down below. Those pictures will be on Facebook THE MINUTE your guests get back to their seats.
  • Breakfast with your morning show cast?
  • VIP concert experience? Make up some laminated logo’d lanyard passes.
  • Private tasting event?
  • WHAT OTHER “access to restricted areas” can you come up with?

Try this, with American Heart Month ahead in February (and National Wear Red Day on Friday February 5):

Stage a “Know Your Numbers” event, offering free screenings for high blood pressure – quick, painless, familiar and broadly relevant. If available, cholesterol screening, and/or cardio-vascular risk questionnaire.

Prospects: fitness centers – or ANY retailer who wants traffic. Incentives could include same-day store coupon for everyone screened; or enter-to-win smartwatch/fitness tracker, gym membership, or a heart-healthy grocery basket.

Sure, spots-R-us, but they’re just one asset in your inventory.

When a prospective client says “We tried radio. It didn’t work,” I ask to hear the commercial 

Within seconds I can tell why. It opens with the business name. It lists products. It rattles off prices. It stuffs in an address, a website, a phone number, and a slogan. Then it ends. Nothing happened. Nothing memorable. Nothing emotional. Nothing that gave a listener a reason to care. Yet radio gets blamed. Like blaming a fishing rod because you cast with no bait.

FREE for TALKERS subscribers, my E-book “The Outcome Method: A Storytelling Framework for More Effective Local Advertising.” [PDF]  

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

Remembering My Friend, Mike Horn

By Doug Stephan
CEO, Stephan Multimedia

imgThe phone would ring; I recognized the number… call always started the same… in his best radio voice, “Doug Stephan…. Michael Horn”

And then it was off with a deal or a discussion of my show “Good Day”… or chatting about his daughter… or the latest person he reached out to help.

I don’t remember meeting Mike… our friendship just sort of fell into place. I knew him before I was at KABC, Los Angeles – probably from a TALKERS convention… it’s not important. What was important is that I knew him.

He often referred to me as brother, which played well at the many family get togethers he and his daughter Jen would invite me to at his house where there was always a collection of CRN luminaries, from Bill Shatner to Fred Dryer, to everyone from his family and extended family. I was grateful to be remembered.

I was also grateful to Mike for so much more… not sure I ever really told him that in so many words.

He was a helper.  We shared the philosophy of being on this planet to help, and because the business – even though it had a fabulous, exciting side – was and is cruel.

So many fabulous personalities would think they were at the end of their career, and Mike would throw them his lifeline. Look at the list of people who have been a part of CRN over the years, and as you look at that list, see how diverse their programming and backgrounds. There was room for everyone under Mike’s tent.

From the time when I started the syndicated “Good Day” program… through today, He has carried every program I ever did.

He was so proud of his daughter. Frankly, I’ve known Jennifer Horn most of her life. She learned early about the business from all sides. As his trusted and confident partner, they nursed and nourished CRN from the awkward beginnings of that weird technology to today’s “everybody can get everything” platforms, the astonishing thing is that CRN still holds that unique position of being so helpful to so many people on either end of the signal. I remember the day he convinced me to try putting Jennifer on the air with me. She was so bright, fun and quick, and then he said to me… “Don’t you think it’s about time you stated paying her?!!!!”

Yes… and away that train went. I have no misconceptions. Even though he carried my stuff on one of his channels, the “Good Day” show with Jen ended up on ALL his assets. Go figure.

Those of you who know me know I could go on and on about Mike, but I think I’ve made my point. Mike was all about knowing his way around and figuring stuff out. I remember a movie I was watching and there is a helicopter reporters voice… It was Mike! Fun!

He was the number one helper and fixer in LA. and hundreds of people owe him big time thanks for all he did to help friends, no matter their stripes or requests. His being an idea guy with a broad canvas made it all work… not easily, but no one was ever left out to dry.

God love you, Michael. The many years of friendship and great memories will be with me and so many others forever. You lived a unique life of purpose and distinction.

Doug Stephan, CEO of Stephan Multimedia,  is a veteran talk radio personality, producer and entrepreneur. He can be reached by phone at 424-508-2525 or emailed at doug@dougstephan.onmicrosoft.com.

Industry Views

DEA Honors John and Margo Catsimatidis, WABC Radio’s ‘Back the Blue’ Team for Standing With NYPD Detectives

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By Robert Pearl

The Detectives’ Endowment Association honored 77 WABC Radio owners John and Margo Catsimatidis (pictured above) as its 2026 People of the Year, recognizing their longstanding commitment to New York’s law enforcement community and the influential role of WABC’s “Back the Blue” team in bringing the voices and concerns of police officers and detectives to the public.

The awards dinner, held October 8 at Russo’s On The Bay in Howard Beach, Queens, marked the 109th year of the DEA, which represents the men and women of the NYPD who investigate the city’s most serious crimes. DEA president Scott Munro and the association’s leadership welcomed law enforcement representatives, supporters and distinguished guests for an evening celebrating service, sacrifice and the partnerships that sustain the department’s mission.

For the DEA, recognizing the Catsimatidis and WABC was about more than media visibility. It acknowledged the importance of having influential business leaders and broadcasters willing to stand publicly with the men and women who protect New York, particularly at a time when the challenges facing law enforcement remain a subject of intense public debate.

“Back the Blue” honorees included WABC personalities Sid Rosenberg, Dominic Carter, Rita Cosby and Greg Kelly, whose programs and commentary give law enforcement issues a prominent place in the station’s coverage. Through interviews, news discussions and dedicated segments, the team helps bring the realities of police work, the sacrifices of officers and the concerns of their families to a broad audience.

Munro emphasized the importance of that platform, noting that WABC provides detectives with a voice and helps communicate their experiences to New Yorkers. He also praised John and Margo Catsimatidis for their philanthropy, civic leadership and longstanding support for police and community initiatives.

John Catsimatidis, the self-made businessman whose Red Apple Group interests include supermarkets, energy and real estate, has built WABC into an important part of his New York business portfolio. His weekday program, “Cats & Cosby,” features Rita Cosby, while “The Cats Roundtable” airs on weekends. Margo Catsimatidis has also played a significant role in the couple’s business and charitable endeavors.

Their support extends well beyond broadcasting. For decades, the couple has supported the Police Athletic League, including holiday initiatives for children, and contributed to charitable, civic and medical causes. Their work reflects an understanding that public safety involves not only policing but also investing in young people and strengthening the communities officers serve.

During his remarks, John Catsimatidis recalled the couple’s longstanding involvement with youth programs and the importance of giving children opportunities to succeed. Such efforts, alongside their backing of law enforcement, demonstrate how private-sector leadership can complement the work of public servants.

Rosenberg, host of “Sid & Friends in the Morning,” praised the Catsimatidis and spoke directly about the difficulties officers face. He stressed that detectives and police officers deserve recognition, fair treatment and the support of public officials as they confront the risks inherent in their work.

The evening also recognized actor, producer and singer Donnie Wahlberg with the Detective Steven McDonald Humanitarian Award. Best known to many viewers for portraying NYPD Detective Danny Reagan on “Blue Bloods,” Wahlberg has supported the DEA and its Widows’ and Children’s Fund. Unable to attend because of filming commitments, he delivered a video message expressing gratitude and directing attention to detectives and the families of fallen officers.

The association presented its inaugural President’s Award to Steven Palladino, its director of interagency community partnerships, honoring his service, philanthropy and commitment to detectives and their families. Munro cited Palladino’s work helping raise more than $200,000 for line-of-duty families over the preceding two years.

The program included the NYPD Honor Guard, Emerald Society Pipes and Drums, the national anthem, invocation and dinner, bringing together members of law enforcement and their supporters.

As New York marks the 25th anniversary of September 11, the gathering carried particular significance. The DEA continues to remember detectives and other NYPD members killed that day, as well as those who later died from illnesses related to their service.

The awards underscored a central message: law enforcement cannot stand alone. Support from community leaders, charitable partners and a prominent media organization such as WABC helps ensure that detectives’ work, sacrifices and concerns remain part of the public conversation. For the DEA, the Catsimatidis and the “Back the Blue” team represent partners willing to use their resources and reach to stand alongside New York’s Finest.

Robert Pearl is a Brooklyn-based journalist who writes about New York City media, politics, and culture.  He can be emailed at pearlknows@yahoo.com.

Industry Views

AI Doesn’t Clear the Rights

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

imgYour competitor breaks a story. You can report the facts, but you cannot assume that running its article through AI makes the resulting script yours to use. A rewrite button is not a rights-clearance department.

A September federal appeals court ruling supplies a useful reminder. Ross Intelligence used Westlaw’s editorial summaries of judicial decisions to train a competing AI legal-research service. The Third Circuit rejected its fair use defense: the underlying court opinions were available, but Westlaw’s original summaries carried copyright protection.

The court focused on Ross’s commercial competition, similar purpose, and market harm. Using AI did not make that copying fair. Ross’s tool was not generative AI, however, so the ruling does not decide every dispute involving chatbots or AI-written scripts.

For broadcasters, the distinction is familiar. Nobody owns the fact that the mayor resigned; somebody may own the original language explaining what happened. Fair use can permit borrowing for reporting or commentary, but neither attribution nor changing a few words automatically resolves the copyright question.

Follow the facts, write your account, and evaluate what you borrow. Expect the same consideration when someone uses your material. AI can speed up production. It cannot supply permission you never obtained.

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 TALKERS.com.

Industry Views

“Superfans Are Driving Podcast Usage Now”

By Holland Cooke
Consultant

imgThe “Pareto Principle” is a rule-of-thumb that roughly 80% of revenue comes from about 20% of customers, in many industries. Including radio, where so-called “First Preference” or “P1” listeners – those who listen to your station most – contribute most of your Time Spent Listening.

Ditto for podcasting, where 17% of podcast listeners are the ballgame, according to Point-To-Point Marketing and Strategic Solutions Research. If you missed Tuesday’s webinar “The Podcast Study: Turning Listeners/Viewers Into Superfans,” here’s the deck – and an appetizer: They listen while commuting, cautionary to broadcasters’ in-car dominance and opportune for podcasters.

This research also fleshes-out who these “Superfans” are, how to engage them, and how NOT to tune-them-out.

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: Looking for Work?

By Holland Cooke
Consultant

imgToo often, for too many in radio, it has been a Blue Christmas in recent years. If you have been displaced – or if you are working, and, shall we say, “assessing your options” – don’t underestimate what you have to offer.

  • The skill set you have accumulated doing-what-you-do can advantage you in other walks-of-life. Here are 18, from a previous TALKERS column: https://getonthenet.com/CareerAlternatives.html
  • Now try this: Paste that URL in ChatGPT or MS Copilot, and ask for “opportunities near [where you live].”

Artificial Intelligence has changed the rules for your resume

Its job isn’t to get you hired. It’s to get you the interview. In the 2026 update of her “Resumes for Dummies,” Laura DeCarlo has some advice that may surprise you:

  • A better resume may contain LESS of your experience. Keep what proves you fit THIS job.
  • A plainer resume can perform better than a prettier one. Clear headings and ordinary text help screening software find your qualifications.
  • Your most impressive achievement may not be your most useful one. Relevance to the opening wins.
  • Don’t describe everything you did. Describe what changed because you did it.
  • Claiming a skill isn’t proof that you have it. One concrete example can do more than a long keyword list.
  • Your opening lines aren’t an autobiography. They’re the answer to “Why should we interview this person?”

To read a generous free sample – how AI changes your job search — scroll-down to “Recommended Reading” on 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

Monday Memo: When Anyone Can Make Content, Why Should Anyone Listen to Yours?

By Holland Cooke
Consultant

imgThe Wall Street Journal recently described what it calls, “The Trillion Dollar Race to Automate Our Entire Lives.” Artificial Intelligence is rapidly evolving from something that answers questions into something that does things – researching, writing, analyzing, organizing and creating. WSJ describes a coming world of personal AI concierges capable of everything from executive presentations to filling out March Madness brackets. For podcasters, there’s opportunity here. And a warning.

Podcasting already had a low barrier to entry 

AI is lowering it to almost zero. Research a topic? AI. Outline the episode? AI. Suggest questions? AI. Write show notes? AI. Create social posts? AI. Identify clips? AI.

Result: Even. More. Podcasts. So merely having one becomes less impressive. More consequential is how AI changes the value of information. The Journal quotes one Silicon Valley investor saying how travel, vacation research, newspapers, email, grocery shopping, music recommendations – essentially everything he wants to know – now goes through AI. That should make anyone producing an information-only podcast squirm. Why listen for 37 minutes to “Five Ways to Save Money on Your Next Vacation” when I can ask an AI and get the answer in 10 seconds?

As information becomes abundant, perspective becomes valuable

“Here’s what you need to know” becomes less compelling than “Here’s what happened to me.” Or “Here’s what I think everyone else is missing.” Or “You won’t believe what my guest just told me.”

And interviews may actually appreciate in value. AI can synthesize what thousands of people have already said. But if you get someone to say something new, you have created primary-source content. Which makes the skilled interviewer more valuable. Not “Tell us about your new book.” Rather, “Something you wrote on page 173 surprised me…”

There’s another implication for authority podcasts – those hosted by lawyers, financial advisers, realtors and other professionals hoping listeners eventually become clients. AI can dispense enormous amounts of expertise. So simply demonstrating “I know stuff” won’t differentiate you. Instead, the podcast lets prospects audition YOU. Do I trust this person? Does she explain things clearly? Does she understand people like me? Would I want to work with her? That makes personality, empathy, storytelling and point-of-view more valuable, not less.

AI should make podcasts shorter 

If it saves hours of research, preparation, editing and repurposing, spend those savings creating 10 compelling minutes instead of 45 windy ones. Because the scarce commodity is no longer content. It’s the listener’s time.

So, use AI aggressively behind the microphone. Let it research, transcribe, organize, summarize and repurpose.

But protect what happens to the microphone. Let AI do everything that listeners don’t care who-did. Protect everything they listen to because YOU did it. 

“And thanks…”

…for all the feedback for this month’s series on optimizing commercial copy, the finishing touch on the work that pays for us all. If you missed any-or-all, I have assembled these columns as a free E-book, “The Outcome Method: A Storytelling Framework for More Effective Local Advertising,” which you may download and share: https://getonthenet.com/TheOutcomeMethod.pdf 

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: Processing is Important

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

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As digital equipment and content replaces analog radio’s audio capabilities and innovations increase, never has a production director had more options, remarkable equipment or creative opportunities.

Robert Clotworthy is the narrator of “Ancient Aliens” and “The Curse of Oak Island Gold.” Robert appears regularly on my radio show, “The Other Side of Midnight,” to discuss aliens, UFOs and how the U.S. Government hides stuff! He is a world class story narrator.

Being geeks, I had to ask him about his work. Do you do the VO work from home, how much time do you have to prep, were you ever in radio? Answers: works in the studio, loves to interact with the director and tech. A one-hour show takes them two to voice. Nope, never in radio.  Then we stepped into serious geekdom – what kind of mic do you use?

“We use four different mics,” depending on the scene and tone of the script. Clotworthy explained that the audio is so precise that the History Channel had a custom made Neuman just for him – about $8,000.

Certainly, that’s fascinating but then he told me a final fact about the audio procedures at the History Channel:

“You understand that when I do the show, they are recording off all four mics at the same time.” Today digital TV video simultaneously records off multiple cameras. The “Ancient Aliens” production staff records audio from multiple narrator mics and carefully matches audio with the right video.

I’ve had to sit with that for a while!

Radio’s audio challenge has evolved in the past decade. In the 60s radio and music were processed for tiny transistor radio speakers. The 70s introduced giant, on-the-floor speakers with woofers and tweeters.

Today we are heard in the car, earphones and ear pods. Has our processing evolved to those new stages?

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 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

In Support of the First Amendment

TALKERS publisher Michael Harrison has issued the following statement in response to the White House press ban on CNN, MSNOW and Politico:

img“Throughout its 36-year history of service to the talk radio and associated talk media industries, TALKERS has maintained a strict policy of non-partisanship in its coverage of the field and its players. However, the single ideological orthodoxy practiced by TALKERS through this period has been uncompromising support of the First Amendment – the prime principle and foundation upon which all American freedoms and values are built. Over the years, we have bestowed our prestigious Freedom of Speech Award upon a wide variety of broadcasters from all ends of the political spectrum, and we have gone to bat in support of hosts, stations and networks – popular and otherwise, Democrat and Republican, liberal and conservative – when under fire from presidents and other governmental forces determined to quell that fundamental right.  For the sake of our industry and our country, we stand in protest of the current White House press ban imposed against our colleagues and strongly encourage all practitioners of American talk media, regardless of political persuasion, to unify in opposition to this egregious aggression against our fundamental right to fulfill our core duty and promise to the people of our nation.”

Industry Views

Monday Memo: Sell the Outcome, Not the Product

By Holland Cooke
Consultant

imgAll this month, I am outlining revenue-producing strategies and tactics, proven by advertisers’ results (which pay us all). If you missed our first two installments, here are “So what?” and “Stop Sounding Like Commercials.”

Listen to a stopset of local radio commercials and you’ll hear lots of stuff for sale.

Cars. Mattresses. Furnaces. Checking accounts. Replacement windows. Legal services. Appliances. But consumers don’t really want any of those things. They want what happens next.

  • Nobody wakes up yearning for a new HVAC system. They want the house warm when it’s 12 degrees outside.
  • Nobody dreams about replacement windows. They want lower heating bills, less street noise, and a living room that isn’t drafty.
  • Nobody wants a mattress. They want to wake up without a backache.

Great salespeople sell outcomes. Great commercials should too.

But too often, advertising gets bogged down explaining what something is. Instead, demonstrate what it does for me.

  • Don’t tell me your auto shop provides complimentary loaner cars. Assure me that I’ll get to work even when my car can’t.
  • Don’t tell me your landscaper offers weekly maintenance. Let me spend Saturday enjoying my yard instead of working in it.
  • Don’t tell me your restaurant makes everything from scratch. Make me hungry.

Consumers need clues

Help them picture themselves after doing business with the advertiser. That’s especially powerful on radio because our medium doesn’t provide the picture… the listener does. And the picture in someone’s imagination can be more persuasive than anything you could put on a screen.

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 Audience Has an Audience

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

“Everybody’s a dreamer / And everybody’s a star.”
Ray Davies, “Celluloid Heroes,” 1972

imgMy father recently called my attention to something hiding in plain sight. He was watching YouTube and noticed ads for StreamYard, Riverside, Sprizzy and other companies selling tools and services to people who want to produce, distribute, or promote their own media. “They are advertising on consumer venues!” he told me. That was the part that caught his attention.

It sounds obvious until you think about what it means. These companies are not merely advertising to viewers, listeners, and readers. They are advertising to viewers, listeners, and readers who also make things: podcasts, videos, livestreams, newsletters, books, music, and shows. The consumer audience now contains an enormous population of producers.

My father, TALKERS founder Michael Harrison, has a phrase for this: “The audience has an audience.” In a July interview about the modern media landscape, he put it even more plainly: “Everybody has a show.” That does not mean everybody has a large show, a profitable show, or even a particularly good show. It means that access to the means of publishing and broadcasting, once scarce and expensive, has become ordinary.

That change created an entire business layer around the aspiring and semi-professional media producer. StreamYard and Riverside sell production capability. Podbean sells hosting, distribution, and monetization tools. Sprizzy sells YouTube promotion. Beyond them are editing platforms, newsletter companies, self-publishing services, PR firms, audience-development businesses and companies willing to help almost anyone build, package and promote a media product.

The money moving around this ecosystem is no longer trivial. The Interactive Advertising Bureau reported that U.S. creator-economy advertising grew from $29.5 billion in 2024 and projected it to reach about $43.9 billion in 2026. In its September 2026 advertising outlook update, IAB reported that 54% of buyers said they were increasing their focus on creator and influencer advertising and partnerships.

For traditional broadcasters, that should change how we think about the people on the other side of the microphone. The butcher, the baker and the candlestick maker may still be members of the audience, but now the butcher has a cooking channel, the baker has a podcast, and the candlestick maker has an Etsy store, a newsletter and 14,000 followers. They may be competitors for attention, but they can also be customers, advertisers, guests, sources, affiliates, and future talent.

This does not erase the distinction between professional media and someone experimenting in a spare bedroom. Scale still matters. Skill matters. Editorial judgment matters. Broadcasters also operate under legal and regulatory obligations that do not simply transfer to someone uploading a video from a phone. But the old wall separating “the media” from “the audience” has become remarkably porous.

That may be the bigger lesson behind all those advertisements. Companies that once would have bought trade advertising to reach broadcasters, publishers or recording professionals can now advertise on consumer platforms and find millions of people with, as Michael puts it, “a toe in showbiz.” The consumer venue has become a trade venue because a meaningful portion of the consumers are also in the trade.

So where exactly is the line between our audience, our competition and our customers? Increasingly, there isn’t a very clean one. When the audience has an audience, the media business is no longer just about reaching consumers. It is about reaching people who are themselves trying to reach somebody else.

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 TALKERS.com.

Industry Views

Monday Memo: Stop Sounding Like Commercials

By Holland Cooke
Consultant 

imgTHANKS to all who offered feedback about my most recent column. ICYMI: “So what?” Prompted by your interest – and because we all get paid based on our advertisers’ results – I am declaring “September For Sales,” a month-long series of proven revenue-producing strategies and tactics, right here each Monday.

This week: Why – the instant a listener recognizes the typical commercial formula – they can stop listening.

There’s a peculiar voice heard only in radio commercials. You’ve heard it.

  • “For all your _____ needs…”
  • “Conveniently located at…”
  • “Serving the community for over __ years…”
  • “Your one-stop shop for…”

Nobody talks that way.

  • You don’t tell a friend: “For all your casual dining needs, conveniently located on Route 6…”
  • You say: “We found this cool place last weekend. Ya gotta try the ribs.”

Yet turn on the radio and the voices are speaking fluent Commercial. Ugh. Listeners have heard the language so many thousands of times that they recognize it before they process it. Oh… commercial. 

Don’t Announce. Intrigue.

Compare: “Miller Appliance has proudly served the area for 37 years and carries all major brands of refrigerators…” with: “I wasn’t planning to buy a refrigerator that day.”

The second sentence creates a question: So, what happened? That’s all we need. We’ve earned another few seconds.

Or compare: “Johnson Roofing offers quality workmanship at affordable prices…” with: “I noticed the stain on the ceiling.”

One sounds like advertising. The other sounds like a story. Which would you keep listening to? 

Delete the First Sentence

It’s worth trying with almost any commercial. Maybe delete the second sentence too. You may discover that the commercial doesn’t actually begin until sentence three. Start where something happens.

  • Instead of: “At Wilson Veterinary Clinic, we know your pets are important members of your family.” Try: “Buddy stopped eating Tuesday.”
  • Instead of: “When it comes to choosing the right insurance coverage, you need an experienced professional.” Try: “The tree missed the bedroom by six feet.”
  • Instead of: “For more than three generations, Anderson Jewelers has helped celebrate life’s special moments.” Try: “She said yes before he finished asking.”

That’s radio. We can introduce the advertiser later. First, make the listener wonder what happens next.

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

WABC Radio Gala Recognizes 25th Anniversary of 9/11

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By Robert Pearl

imgWABC Radio brought together broadcasting legends, entertainers, civic leaders and political figures Friday night at Cipriani 42nd Street for its 9/11 & Freedom 250 Gala, commemorating 25 years since the September 11 attacks while also recognizing America’s 250th anniversary.

Prior to the program, was a live broadcast from Cipriani’s as the room filled with guests. John Catsimatidis, owner/operator of WABC and Red Apple Media, co-hosted with veteran broadcaster Rita Cosby and former Gov. David Paterson, welcoming a stream of high-profile guests.

As attendees entered the landmark venue, the evening quickly became a reunion of New York radio, entertainment, public figures and political candidates, blending remembrance, patriotism and live performance. Among those in attendance were many notables including former Police Commissioner Ray Kelly, former Illinois Governor Rod Blagojevich, WOR talk host Mark Simone, and WABC personalities Dominic Carter, Lionel, Joe Concha, Dr. Marc Siegel, Dick Morris, Michael Cohen and Walter Sterling. (Pictured above from l-r are: Simone, Lionel, and Sterling.)

John and Margo Catsimatidis took the stage during the program, joined by Red Apple Media president Chad Lopez, hosting an evening benefiting Tunnel to Towers Foundation, Police Athletic League and the George Pataki Foundation.

Former New York Governor George Pataki, honored for his leadership following the September 11 attacks, received the “Leadership Crisis Award.” Pataki reflected on the loss, resilience and unity that followed one of the darkest days in the city’s history. He recalled New Yorkers and Americans standing “shoulder to shoulder” in the aftermath and urged the country to remember the unity that emerged from the tragedy.

Veteran columnist and New York media icon Cindy Adams received a Lifetime Achievement Award, deadpanning, “It’s about time.”

Cardinal Timothy Dolan, recognized with the “Guardian of New York Award,” delivered remarks and a prayer, praising the city’s first responders, health care workers, civic leaders and others who have helped New Yorkers through times of crisis.

The gala closed on a powerful patriotic note as Lee Greenwood performed his signature anthem, “God Bless the U.S.A.,” bringing the crowd together for a fitting conclusion to an evening dedicated to remembrance, resilience and freedom.

Robert Pearl is a Brooklyn-based journalist who writes about New York City media, politics, and culture.  He can be emailed at pearlknows@yahoo.com.

Industry Views

Sabo Sez: The Smartest Minds in the Radio Room

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

imgWhen in doubt, I recall smart quotes from people in our business who are successful, well paid, kind, and future oriented. I have always focused on what’s next rather than what’s been. These observations drive good results:

“Citytv of Canada is the model local TV News and has been for 50 years.” – Strategist, John Parikal

“Progress moves in many directions. Imagine if cable came first, then someone invented a way to send shows over the air.” – publisher / broadcaster, Michael Harrison

“The goal is a playlist of one song.” – Al Brady Law, a kind mentor and brilliant programmer.

“An Urban station should sound like music bouncing off the rooftops in Harlem on a July night.” – Frankie Crocker

“Top 40 will always be a successful format because by definition it plays the most popular songs of the day.” – Allen Shaw, former vice chairman of Beasley Broadcasting.

“We have a business plan; our stations have to be number 1.” – Robert McAllan, president emeritus Press Broadcasting / founder of WTKS-FM Real Radio. Orlando / New Jersey 101.5.

“One day all music will be on FM and all talk will be on AM.” – Jean Shepherd, WOR Radio host, 1964.

GM Mickey Luckoff on why number 1 KGO, San Francisco moved like an express train: “I hire hosts who have done Top 40. I can teach them Talk; I can’t teach them Radio.”

“My staff just can’t barge into the studio when I’m on, they have to understand this takes concentration, the job is to get to the next thing.” – Howard Stern

“It’s a simple business; people make it hard.” – Edward F. Mclaughlin president EIB network.

“My business decisions are always based on common sense.” – John Catsimatidis, owner, WABC Radio.

“When we release a movie, I stand outside the theatre on opening night and talk to the audience members as they file out. That’s the best research we do.” – Leonard Goldenson, founding chairman ABC Inc.

“No, I don’t watch many TV shows because I know all the stories.” – Fred Silverman, program chief CBS, ABC, NBC.

About streaming music services: “There has always been a box of records next to the radio.” – Bob Pittman, CEO, IHeart.

Tom O’Neil, founder, RKO General Radio, “Pay whatever you have to for a morning man, a production director, and for equipment to make the loudest signal, the rest you’ll have to beg for.”

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: “So What?”

By Holland Cooke
Consultant

imgAbout those commercials… which pay for you. When a prospective client says, “We tried radio. It didn’t work,” I ask to hear the commercial. Within seconds I can tell why.

It opens with the business name. It lists products. It rattles off prices. It stuffs in an address, a website, a phone number, and a slogan. Then it ends. Nothing happened. Nothing memorable. Nothing emotional. Nothing that gave a listener a reason to care. Yet radio gets blamed. Like blaming a fishing rod because you cast with no bait.

The commercial has one job: Make someone care enough to take the next step

That’s it. Not explain everything. Not impress everyone with how many years you’ve been in business.

Its purpose is to create curiosity…confidence…desire…trust…urgency…hope. Any one of those emotions can motivate action. A list of merchandise almost never does.

The listener doesn’t wake up hoping to buy a water heater, or hire a lawyer, or replace a roof. People act when something in their lives creates a need. Good advertising connects with that moment.

A mattress store isn’t selling mattresses. It’s selling better mornings. A financial planner isn’t selling investments. She’s selling confidence. A heating contractor isn’t selling furnaces. He’s selling warmth on the coldest night of the year.

Translate Features into Benefits

Every advertiser has a product. Every customer has a problem. Say it with me: “Successful spots connect the dots.”

Here’s a simple exercise: Every time they mention a feature, ask, “So what?”

  • “We stock thousands of [item].” So what? “You won’t spend your weekend driving from store to store.”
  • “We’ve been serving this community since [year].” So what? “We’ve helped generations of local families buy homes, build businesses, and send kids to college.”
  • “We offer custom designs.” So what? “The ring she’ll wear forever will be unlike anyone else’s.”

If the answer explains how the listener’s life becomes:

  • easier
  • safer
  • faster
  • healthier
  • happier
  • less stressful
  • more convenient
  • more secure
  • more enjoyable

…you’ve found the benefit, and you get paid.

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

Radio: Human Reserved

By Holland Cooke
Consultant

imgBill Gates has a useful term for something radio should be thinking about: “Human Reserved.” In an essay about a turbulent AI era, he sketches an unsettling future, and – for broadcasters – has a consequential warning… and an opportunity.

As artificial intelligence performs more and more work traditionally done by humans, he suggests there will be activities we could turn over to machines and deliberately choose not to, because something important would be lost. AI can write a weather forecast, summarize a police report, transcribe a school-board meeting, generate a commercial, voice a liner, research a sales prospect, and assemble an hour of music.

As content gets cheap, human presence becomes more valuable

Search results are AI summaries. Social posts, photos, voices, and videos may be synthetic. Gates warns of AI-powered fraud, disinformation, and deepfakes. Amid all that uncertainty, imagine hearing: “I’m here at the courthouse, where the jury just returned a verdict…”

Could AI manufacture that sentence? Sure. But I know who’s saying it. That’s an asset radio shouldn’t automate away.

Yes, use AI aggressively behind the scenes. Let it transcribe meetings, research prospects, clean up audio, draft proposals, repurpose interviews, and handle routine administrative work. Automate tasks. Protect relationships. Let AI summarize the school-board meeting. Then have your reporter tell me what it means to my kid. Let AI draft ten commercials. Have someone who understands the advertiser decide which idea might actually make the phone ring.

Why advertisers still need us?

Soon every local business owner will be able to generate logos, videos, emails, websites, social posts, and commercial scripts almost instantly. So, “We’ll make your commercial” becomes a nearly worthless sales proposition. The station’s value needs to migrate from selling spots and making ads to: We know this market. We know how to get people here to notice you. And we help make your advertising work.

AI will create an infinite supply of information. What’s scarce will be trust, judgment, relevance, relationships, and recognizable local humans. So, radio’s AI strategy can be surprisingly simple: Use AI to DO more. Use humans to MEAN more.

Here is Bill Gates’ essay: https://www.gatesnotes.com/a-turbulent-ai-era-and-critical-choices-to-make

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

Rock Promotion Legend Paul “Rap” Rappaport Guests on Harrison Podcast

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The new installment of the TALKERS MEDIA channel video podcast, “Up Close Far Out,” features a blockbuster conversation between two album rock “golden age” media pioneers – TALKERS founder Michael Harrison and legendary music industry executive, Paul “Rap” Rappaport.

img“Rap” was senior vice president of rock promotion at Columbia Records where he served for 33-years during album rock’s golden era, playing a pivotal role in the careers of some of the biggest stars in the business. These included everyone from Bob Dylan to Bruce Springsteen, Pink Floyd to the Rolling Stones, Elvis Costello to Billy Joel, Judas Priest to Alice In Chains, Journey and many, many more.

His recently released memoir, Gliders Over Hollywood: Airships, Airplay, and the Art of Rock Promotion (Jawbone Press, 2025), tells the exhilarating true story of a blue-collar kid nicknamed “Rap” who grew up enthralled by rock ’n’ roll and then found himself right in the middle of many of his heroes’ lives as he became one of the most renowned rock promotion reps in the nation.

Harrison states, “The book is excellent. I particularly found it fascinating and fun talking with Rap because I was also there during one of pop culture’s most colorful chapters and knew him quite well.” Harrison coined the term Album Oriented Rock (AOR) and was the first programmer to specifically develop and promote it as an official format while serving as program director of KPRI in San Diego in the early seventies and as managing editor of the trade publication Radio & Records though the mid-seventies. From 1970 to 1990, he worked in various roles as DJ and/or program director, at major album rock outlets including WLIR, Long Island; WNEW-FM, New York; KPRI, San Diego; KMET, Los Angeles; and WZLX, Boston in addition to being a syndicated personality on hundreds of AOR stations.

Don’t miss this engaging conversation between two media heavyweights who share their firsthand experiences and memories of a truly special era and connect the dots to today’s very different music and pop cultural scene.

To connect to the podcast, please click here.

Industry Views

Monday Memo: AI Does More with Less. Radio Must, Too

By Holland Cooke
Consultant

imgThe most important sentence in Sharon Gai’s How to Do More With Less: Future-Proofing Yourself in an AI Economy (Wiley) isn’t about technology at all. It’s about leverage. She writes that the goal is to stop being “the busy bee” and instead become “the beekeeper… someone that controls the ‘bees’ to get what you want.” That’s the wakeup call radio needs right now.

Because while our industry debates whether AI is a threat, the rest of the world has already moved on. Gai describes watching Alibaba engineers generate hundreds of thousands of ad banners in seconds – work that once required “thousands of designers” and weeks of back and forth. That moment, she says, was when she realized “the next era of work had already started.” Radio is still acting like it hasn’t. 

AI won’t replace radio. But it will replace radio people who don’t use it.

Gai is blunt: “Will AI replace workers? Absolutely.” But she adds the part radio needs to hear: it replaces tasks first, not people. The winners are the ones who learn to orchestrate the tools. For radio, that means:

  • Sellers using AI to prebuild spec spots, proposals, and category insights
  • Programmers using AI to audit clutter, analyze rotations, and tighten imaging
  • Production using AI to version spots, clean audio, and accelerate turnaround
  • Managers using AI to summarize meetings, draft memos, and model revenue scenarios

This isn’t theory. It’s survival. 

The OnePerson BillionDollar Company — and The OnePerson Radio Station

Gai cites Sam Altman’s prediction that AI will enable “one-person billion-dollar companies.” Radio should hear a different version: the one-person radio station. Not as a cost cutting fantasy — as a competitive necessity.

A single operator, armed with AI tools, can now:

  • Build a full digital presence
  • Produce daily content
  • Generate sales materials
  • Analyze audience behavior
  • Maintain advertiser relationships

Small market owners — the ones already stretched thin — stand to gain the most. 

The Real Message for Radio

Gai’s book isn’t about replacing humans. It’s about reclaiming agency in an AI-driven economy. Radio needs that mindset more than any legacy medium. Because the question isn’t whether AI will change radio.

It’s whether radio chooses to be the bee… or the beekeeper.

To read 2 sample chapters, free, click here.

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

Industry Views

After Warning Talk Radio, ABC Sues the FCC

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

 

imgABC warned that the FCC’s scrutiny of “The View” could reach talk radio. Now the eight ABC-owned television station licensees have taken the agency to court. But the immediate lawsuit is not asking a judge to decide whether “The View” qualifies as news.

Rather, it challenges the FCC’s decision to force those local stations into license renewal years ahead of schedule. On April 28, the FCC’s Media Bureau invoked a rule allowing early renewal when it considers that step essential to an investigation. The stations filed under protest, and on August 18 asked a federal court to halt the proceeding before the FCC can designate it for a hearing.

The FCC says it is investigating possible unlawful discrimination in ABC’s employment practices and whether the stations have served the public interest. ABC calls that explanation a pretext, pointing to public demands that it fires Jimmy Kimmel, threats against its licenses, criticism of its editorial decisions, and the separate proceeding involving “The View.” No license has been denied, and the FCC has not yet answered the lawsuit.

The ABC network does not hold one national broadcast license. Its local stations hold the licenses, and the same federal licensing structure covers terrestrial radio. An online-only show has no FCC broadcast license for the agency to call in.

ABC’s legal argument is that the process itself can punish speech. A costly, open-ended license proceeding may chill hosts, producers and programmers before a regulator ever issues a censorship order. For talk radio, the question is not whether you like ABC; it is whether the government may use threats to a station’s license to influence who gets booked, what gets asked, or which opinions reach the air.

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.