The Soundbite Trap: How Editing in Radio and Podcasting Creates Legal Risk
By Matthew B. Harrison
TALKERS, VP/Associate Publisher
Harrison Media Law, Senior Partner
Goodphone Communications, Executive Producer
In radio and podcasting, editing isn’t just technical – it shapes narratives and influences audiences. Whether trimming dead air, tightening a guest’s comment, or pulling a clip for social media, every cut leaves an impression.
But here’s the legal reality: editing also creates risk.
For FCC-regulated broadcasters, that risk isn’t about content violations. The FCC polices indecency, licensing, and political fairness – not whether your edit changes a guest’s meaning.
For podcasters and online creators, the misconception is even riskier. Just because you’re not on terrestrial radio doesn’t mean you’re free from scrutiny. Defamation, false light, and misrepresentation laws apply to everyone — whether you broadcast on a 50,000-watt signal or a free podcast platform.
At the end of the day, it’s not the FCC that will hold you accountable for your edits. It’s a judge.
1. Alex Jones and the $1 Billion Lesson
Alex Jones became infamous for promoting conspiracy theories on Infowars, especially his repeated claim that the Sandy Hook shooting was a hoax – supported by selectively aired clips and distorted facts.
The result? Nearly $1 billion in defamation verdicts after lawsuits from victims’ families.
Takeaway: You can’t hide behind “just asking questions” or “it was my guest’s opinion.” If your platform publishes it – over the airwaves or online – you’re legally responsible for the content, including how it’s edited or framed.
2. Katie Couric and the Gun Rights Group Edit
In “Under the Gun,” filmmakers inserted an eight-second pause after Katie Couric asked a tough question, making it seem like a gun rights group was stumped. In reality, they had answered immediately.
The group sued for defamation. The case was dismissed, but reputations took a hit.
Takeaway: Even subtle edits – like manufactured pauses – can distort meaning and expose creators to risk.
3. FOX News and the Dominion Settlement
FOX News paid $787 million to Dominion Voting Systems after airing content suggesting election fraud – often based on selectively edited interviews and unsupported claims.
Though FOX is (among other things) a cable network, the impact shook the media world. Broadcasters reassessed risks, host contracts, and editorial practices.
Takeaway: Major networks aren’t the only ones at risk. Radio hosts and podcasters who echo misleading narratives may face similar legal consequences.
4. The Serial Podcast and the Power of Editing
“Serial” captivated millions by exploring Adnan Syed’s murder conviction. While no lawsuit followed, critics argued the producers presented facts selectively to build a certain narrative.
Takeaway: Even without a lawsuit, editing shapes public perception. Misleading edits may not land you in court but can damage trust and invite scrutiny.
Whether you’re behind a radio microphone or a podcast mic, your editing decisions carry weight – and legal consequence.
The FCC might care if you drop an indecent word on air, but they won’t be the ones suing you when a guest claims you twisted their words. That’s civil law, where defamation, false light, and misrepresentation have no broadcast exemption.
There’s one set of rules for editing that every content creator lives by – and they’re written in the civil courts, not the FCC code.
Edit with care.
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.
operations for the cluster that includes sports talk KILT-AM, sports betting KIKK-AM and four music brands. Logan says, “I’m so excited to be returning to Audacy and Houston! Thanks to Sarah Frazier, Brian Purdy, Tim Roberts, Dave Richards, Jeff Sottolano and Chris Oliviero for once again handing me the keys to these legendary Houston brands. I know Houston is hot, I know it’s where to find the best queso in the world, and I know how to help teams achieve success! We start immediately.”
is a return to WABC. Red Apple owner John Catsimatidis says, “As Red Apple Media continues to enlarge its footprint in radio, we recognized a need for an engineering specialist with insights that will bolster our growth strategy as we identify properties for our expansion. Bert’s experience made him the perfect choice.” Goldman comments, “I’m eager to come home to 77WABC and join Red Apple Media as it enters its next growth phase. John has revived AM talk radio with big-name hosts and created renewed excitement for broadcast radio overall.”
that Teinowitz, former co-host of the “Mac, Jurko and Harry” show with Dan McNeil and John Jukovich on WMVP, Chicago’s, had been ill in recent years, having received a liver transplant and suffering from liver and heart issues. Teinowitz began his radio career as part of the morning show on crosstown competitor WSCR. He also did on-air appearances on WLUP-FM and WGN-AM. 
Let’s look into the crystal ball. Humor me if you will.
for WWJ and sports talk WXYT-FM “97.1 The Ticket” since 2018. Audacy Detroit SVP and market manager Debbie Kenyon says, “We are excited to have Chris bring his passion and energy to the morning show. Chris and Jackie are a powerful team, and we’re confident they’ll make an impact every morning while connecting with our listeners.” Fillar comments, “I’m ecstatic to take on this new role alongside Jackie and the entire fantastic morning newsroom at WWJ. It’s an honor to wake up and deliver trusted news to our listeners, and I’m humbled to work with such a great team!”
Hubbard Seattle stations (then owned by Sandusky) and rose through the ranks in promotions, sales, and on-air roles, and was selected for Hubbard’s inaugural NextGen Leadership program. Most recently, Beyer held senior sales leadership positions at CRISTA Media and iHeartMedia Seattle. Beyer says, “I’m incredibly honored to return to where it all began. Hubbard Radio Seattle is home, and I can’t wait to work with this amazing team to serve our listeners, clients, and community.”
-home media company JCDecaux reveals creative best practices for billboard advertising that the AM/FM radio industry can utilize to improve visual ad impact. Some of the key findings include: 1) Quu visual AM/FM radio ads on auto dashboards increase purchase intent by +89%; 2) You’ve got two seconds so brand fast: Visual logos placed at top of the frame deliver 4X higher brand recognition; 3) Beware the cost of dull: Failure to engage emotionally is the cost of creative mediocrity; 4) Be consistent with a brand’s colors, logos, slogans, and fonts that appear in other advertising; 5) Keep it short: The fewer the words, the greater the brand recognition; and 6) Create happiness: Ads that create positive emotions with happiness, surprise, or humor generate much stronger memorability, brand association, store visits, and website visits. 
How obsolete does this sound? “Newsweek magazine.” News, gathered during most-of the week, had to be frozen by week’s-end, on deadline, to roll the presses in time for hard copy to be delivered in Monday’s snail mail. Back then – picture people dressed like “Mad Men” characters – enough subscribers felt informed-enough to deliver Return On Investment for the magazine’s advertisers. Seems antique. Now, news is reported moment-to-moment, on any device. And newsweek.com is there… along with everyone else competing for attention.
There are two broad categories of thought: Task. Creative. When in creative mode, a person innovates, imagines, plans, and solves problems. An idea bank is a bank! Money grows from the results of imagination: new products, new music, new formats, new sales strategies. Business growth depends on new!
Internet adopted under the Biden Administration and network interconnection. FCC chairman Brendan Carr says, “We’re continuing to clean house at the FCC, working to identify and eliminate rules that no longer serve a purpose, have been on our books for decades, and have no place in the current Code of Federal Regulations. Today’s action is just the latest step the FCC is taking to follow the Trump Administration’s effort to usher in prosperity through deregulation. And it’s just one of many, with more on the horizon, so stay tuned.”
Let’s discuss how CBS’s $16 million settlement became a warning shot for every talk host, editor, and content creator with a mic.
business as CEO upon successful acquisition.” While both parties were doing due diligence on the CMG deal, Warshaw learned that an Audacy majority stake holder was willing to sell its stake in the company. Warshaw says he steered SFM and Del Nin to the deal that made SFM a majority stake holder of the new Audacy in early 2024. Warshaw alleges he was promised he’d be the next CEO of Audacy or that he would get 5% of SFM’s profits from the Audacy acquisition. After that though, Warshaw says Del Nin balked and denied there was ever an agreement, calling any such claims “fabricated.” Now, Soros and Del Nin filed both a Motion to Dismiss saying the “Court lacks personal jurisdiction over Mr. Del Nin under Connecticut’s long-arm statute”; and a Motion to Revise that asks Warshaw to revise his complaint with specific details about his contracts – written or verbal – that he claims were breached, and more. In the Motion to Revise, Soros and Del Nin imply that Warshaw doesn’t have the contractual proof necessary to support his claim. 
marketers about perceived media effectiveness in which radio came in last place, behind all measured traditional and digital media types. According to Nielsen’s global ROI benchmarks, radio delivers the second highest return for advertisers, second only to social media. Nielsen’s ROI benchmarks show radio delivers higher returns for advertisers than all other other traditional media. While radio is perceived to be less effective than digital media, it delivers an ROI +30% higher than video and display, and +70% higher than search and CTV. 
“Godzilla Wins,” that airs Saturday mornings from 9:00 am to 11:00 am ET. John Fredericks says, “Coach Vince is a tremendous asset to our weekend sports broadcast. He has built an enormous fan base in a short period of time. His insight and knowledge of professional and college sports is enlightening and uncanny. Most importantly, Vince is a dedicated mentor and teacher whose keen analysis engages and informs our listeners as well as our younger contributors, whose careers in broadcasting we are dedicated to growing.” JFMN programming is heard on 23 radio stations, plus via multiple streaming platforms including YouTube Live, Rumble Live, X-Live, GETTR Live, and JFMN.TV.
tirelessly reporting from along the river between Kerrville and Centerpoint, Texas, “delivering succinct and informative reports on NewsRadio 1080, additional Audacy stations, and various CBS affiliates across the country. His Texas State Network reporting includes hourly newscasts reaching over 100 affiliates in 86 markets.” KRLD brand manager and Audacy news/talk foremat vice president Drew Anderssen says, “‘NewsRadio 1080’has been a critical lifeline for Texans. Our commitment to timely and essential news, weather and traffic information never wavered in the early days of this tragedy, over the 4th of July holiday weekend, and we are committed to continuing our compassionate and impactful coverage in the days ahead.”
station’s morning show alongside Brian Mazurowski, who continues hosting the morning show. Other changes include David Bellavia’s show airing an hour earlier (9:00 am to 1:00 pm), and Tom Bauerle’s afternoon drive show beginning an hour later at 3:00 pm. The station also adds FOX News Radio programs “Will Cain Country” (7:00 pm to 8:00 pm) and “FOX Across America with Jimmy Failla” (8:00 pm to 10:00 pm), as well as FOX News hourly reports. 
called, “For Radio Geeks Only,” and will feature Sirott and Landecker reminiscing about their time working together as music DJs from 1973 to 1980 on WLS-AM. Sirott says, “We played the hits and had more fun than humans should be allowed to have. Besides the music, there were encounters with stars, personal appearances with fans and endless stories to go with it all.”