Trump Extends TikTok Deadline for 75 Days

President Donald Trump has extended the deadline for TikTok to continue operating in the United States by an additional 75 days. 

The decision marks the second time he has delayed the enforcement of a federal law aimed at banning the popular short-form video app unless its China-based parent company, ByteDance, divests its U.S. operations to an American buyer. 

The initial deadline, set by a law signed by former President Joe Biden in April 2024, required ByteDance to sell TikTok by January 19, 2025, or face a nationwide ban due to national security concerns. On his first day in office, January 20, 2025, Trump signed an executive order granting a 75-day reprieve, pushing the deadline to April 5, 2025. With that deadline approaching, he announced a further extension on April 4, 2025, giving ByteDance until mid-June 2025 to finalize a deal.

Trump shared the announcement on his Truth Social platform, stating that his administration has been working diligently to "save TikTok" and has made "tremendous progress" toward a deal. He emphasized that the extension was necessary to ensure all approvals are secured, expressing a desire to avoid TikTok "going dark" in the U.S., where it boasts over 170 million users. 

The move comes amid ongoing negotiations with potential U.S. buyers, though no specific buyer has been confirmed. Trump has suggested that his recently imposed 34% tariffs on Chinese goods could pressure China into approving a sale, a tactic he views as a powerful economic tool for national security and trade balance.

The original law allows the president to grant a one-time 90-day extension if significant progress toward a divestiture is demonstrated, but Trump’s actions—first a 75-day delay in January and now another 75 days—have raised questions about their legal grounding. Some experts argue that his extensions fall into a "gray area," as the law is technically in effect, and his orders may simply reflect a choice not to enforce it rather than a formal extension. 

The Music Industry Will Be Impacted By Trump Tariffs

The Trump administration’s tariff policy, aimed at revitalizing U.S. manufacturing, has introduced significant changes that are rippling through various sectors, including the U.S. music industry. 

The policies reflects a broader "America First" agenda, leveraging tariffs to encourage domestic production and reduce reliance on foreign imports. While the intent is to bring manufacturing jobs back to American soil, the music industry—spanning instrument manufacturing, vinyl production, and live events—is experiencing both immediate effects and bracing for potential long-term consequences.

The policy’s cornerstone involves imposing tariffs on imported goods, with recent actions including a minimum 10% tariff on all trade partners, a 25% tariff on foreign-made automobiles, and additional levies on countries with which the U.S. has trade deficits, announced around April 2, 2025. 

For the music industry, this translates into higher costs for imported materials and products critical to its ecosystem. For example, many musical instruments, such as electric guitars, rely on components sourced from countries like China and Mexico. Posts on X and industry analyses suggest that companies like Fender are facing increased operating costs—estimated at $20 to $25 million—due to tariffs on parts from these regions, even for guitars assembled in the U.S. This has led to credit rating downgrades for Fender, signaling financial strain that could push prices higher for consumers or force companies to rethink supply chains.

Vinyl records, a resurgent medium in the music market, are another area of impact. The U.S. music industry, already navigating post-pandemic supply chain challenges, faces rising costs for vinyl production as tariffs increase the price of imported raw materials and finished products. Industry voices, like Thirty Tigers’ David Macias, have warned of vinyl albums potentially reaching $35 each, turning a once-accessible format into a luxury item amid broader economic pressures. The American Association of Independent Music has noted that the Berman Amendment might shield some imports like phonographs from regulation, but this offers little relief for the broader cost increases affecting labels and retailers.

Live music is also feeling the squeeze. Tariffs threaten to reduce tourism and international artist bookings, as retaliatory measures from trading partners could deter foreign visitors who fuel events like festivals.

Looking ahead, the future consequences hinge on how these tariffs evolve and whether they achieve their manufacturing goals. Proponents argue that incentivizing domestic production could eventually bolster U.S.-based instrument makers or vinyl pressing plants, echoing successes like steel industry investments during Trump’s first term. However, critics point to historical data—like the net loss of manufacturing jobs from 2018-2019 tariffs—suggesting that higher input costs and retaliation often outweigh gains. 

The ripple effects are already tangible: higher costs for gear, records, and potentially fewer live shows. 

Cincy Radio: Thomas Brennaman 'Nervous' Over New 700 WLW Gig

Thom Brennaman is gearing up for a full-time return Monday to radio broadcasting, admitting to feeling "really nervous" about the gig. But his jitters aren’t about what folks might think of him stepping into the 700 WLW weekday morning drive-time slot—some 4 1/2 years after a hot-mic slip-up derailed his gig as the Cincinnati Reds’ TV voice—or even about the chance of another on-air flub. He’s owned that mistake, learned from it, and moved on, according to The Cincinnati Enquirer.

At 61, Brennaman’s nerves stem from tackling a fresh career hurdle: his first talk show after years of play-by-play on TV and radio. And he’s doing it at WLW, the station where his dad, Marty, cemented his legacy calling Reds games. He’s following in the footsteps of local radio heavyweights like Jim Scott and Mike McConnell, after his final sign-off Friday. That’s a big shadow to step out from, and Brennaman’s eager to prove he’s up to it, signing a three-year deal with WLW while still calling college football and basketball for the CW Network.

🚨WATCH🚨 Mike McConnell’s final send off .

Thank You Mike.

Listen to his full final show :https://t.co/mP6Ktzmn6O pic.twitter.com/AGKIkpmUzX

— 700WLW (@700wlw) April 4, 2025

“We landed in Cincinnati when I was 10 because of my dad,” Brennaman states. “I’ve been tied to WLW, through family or my own work, for 51 of my 61 years. This station’s a big deal. I just hope I can measure up to the folks who’ve sat in this chair before me.”

Brennaman’s a smart pick for iHeartMedia's WLW. According to the Enquirer's Jason Williams, Brennaman is driven, still sharp as ever, and brings a versatile edge with a solid grasp of local and national politics. 

Replacing Mike McConnell, Brennaman’s nerves also hint at his gratitude for a second chance he wasn’t sure he’d get.

FCC's Carr Insists He's Not Retaliating Against Media Critics

FCC Chairman Brendan Carr has publicly denied allegations that he is leveraging the FCC to retaliate against media outlets critical of President Donald Trump, asserting that such claims have been "mischaracterized." 

This statement comes amid ongoing scrutiny of Carr's actions since he assumed the chairmanship. Critics, including media watchdogs and Democratic lawmakers, have expressed concern that Carr, a vocal Trump ally who authored the FCC chapter in the conservative Project 2025 blueprint, might use the agency’s authority to target broadcasters perceived as unfavorable to Trump.

The controversy stems from Carr’s swift moves in his first week as chairman, including reviving complaints against CBS, ABC, and NBC—networks Trump has frequently criticized—for alleged bias. For instance, Carr reinstated a probe into CBS over its "60 Minutes" interview with Kamala Harris, which Trump claimed was selectively edited to favor her. Similar actions against ABC and NBC followed, while a complaint against Fox News was notably left dismissed. These decisions have fueled accusations that Carr is weaponizing the FCC to settle political scores, especially given Trump’s past threats to revoke licenses from networks he dislikes.

In response, Carr has maintained that his actions are about enforcing the FCC’s public interest mandate, not political retribution. 

He has argued that broadcasters, who use public airwaves, must operate fairly, and he’s pointed to public distrust in media—echoing a sentiment from a Jeff Bezos op-ed—as justification for his focus. In a statement to Reuters in March 2025, Carr insisted the CBS investigation remains "active and ongoing," rejecting calls from some conservative groups to drop it, who feared setting a precedent for future regulatory overreach. He’s also emphasized that his goal is to ensure equal application of rules, not to punish specific viewpoints, though skeptics like Free Press Action’s Craig Aaron argue Carr’s selective targeting belies his free-speech warrior image.

Carr’s defenders, including Trump, who called him a “warrior for Free Speech,” say he’s addressing long-standing conservative grievances about media bias. However, critics, including FCC Commissioner Anna Gomez, warn that his approach risks infringing on First Amendment protections, accusing him of cherry-picking cases to align with Trump’s agenda.

Trump Admin Stalls On Funding For RFE

The Trump administration has continued to withhold congressionally approved funding for Radio Free Europe/Radio Liberty (RFE/RL), a news network founded to counter Soviet propaganda, despite a judge’s order to keep it running. Facing a March 2025 executive order to cut "non-statutory" spending, RFE/RL sued the U.S. Agency for Global Media (USAGM) after it threatened to end grants. 

On March 25, Judge Royce Lamberth issued a restraining order, ruling the cuts unlawful, and the USAGM released $7.5 million but has since delayed April’s $12 million, forcing staff furloughs and program cuts. USAGM head Kari Lake cites oversight concerns, but critics argue this defies Congress and weakens U.S. influence abroad as RFE/RL fights to survive.

Kari Lake

This delay has forced RFE/RL to furlough staff and cut programming, straining its operations across Europe and Asia, where its journalists—five of whom are currently jailed in autocratic nations—face significant risks to deliver independent reporting. RFE/RL’s general counsel, Benjamin Herman, emphasized the urgency, stating, “Our journalists… rely on the timely disbursement of these congressionally appropriated funds.” The network’s president, Stephen Capus, has vowed to remain in court until all funds are released, highlighting the broader stakes: abandoning RFE/RL could cede influence to adversaries like Russia, China, and Iran, who have long targeted its operations.

Kari Lake, in a statement, justified the delay as an effort to enhance oversight and curb alleged "waste, fraud, and abuse" among USAGM grantees, though she provided no specific evidence. Critics, including lawmakers and rights advocates, argue this stance defies both Congress’s "power of the purse" and Lamberth’s order, potentially undermining U.S. soft power at a time of heightened global competition.

Meanwhile, sister outlets like VOA, a federal agency directly employing government staff, remain silenced—replaced by music—while RFA faces similar funding cuts, with 75% of its U.S.-based staff furloughed.

Atlanta Radio: MLB Braves Sign 12-Year Extension With The Fan

The MLB Atlanta Braves Friday solidified their long-term radio presence by signing a 12-year extension with WCNN (680 The Fan AM/93.7 FM), ensuring that all regular-season games will continue to be broadcast in Atlanta through at least the 2036 season. 

This deal extends a partnership that has been a cornerstone of Braves fandom since 680 The Fan became the team’s flagship station in 2008, following a stint with WGST and earlier affiliations dating back to the team’s arrival in Atlanta in 1966. The agreement underscores the Braves’ commitment to maintaining a strong local radio presence, a medium that remains vital for fans, especially during the team’s recent resurgence as a perennial contender, including their 2021 World Series title.

WCNN, owned by Dickey Broadcasting Company, will air every regular-season game—typically 162 per year, barring schedule changes—along with postseason contests, depending on MLB’s national broadcast agreements. 

Complementing this flagship deal is the Braves Radio Network, widely regarded as the largest in professional sports. Spanning over 170 affiliate stations across Georgia, Alabama, Mississippi, South Carolina, Tennessee, and parts of North Carolina and Florida, the network ensures that Braves baseball reaches millions of listeners throughout the Southeast. 

This radio deal aligns with the Braves’ broader 2025 media strategy, which includes a TV partnership with FanDuel Sports Network for all regionally available games, a direct-to-consumer streaming option, and a separate agreement with Gray Media for 15 over-the-air broadcasts. Together, these efforts ensure accessibility across platforms, but the WCNN extension reaffirms radio’s enduring role in connecting with fans, especially those on the road or in rural areas where TV or internet access might lag. The Braves Radio Network’s reach, paired with the 680 The Fan app’s digital convenience, positions the team to maintain its status as a Southeast sports juggernaut well into the next decade.

S-F Radio: KNBR and MLB Giants Announce Broadcast Extension

Cumulus Media’s KNBR The Sports Leader announces that it has signed a multi-year extension with the San Francisco Giants as the Major League Baseball powerhouse’s flagship radio station. KNBR has been the official radio broadcast home for the Giants since 1979. The longstanding partnership between KNBR and the Giants has delivered live game broadcasts with some of the most monumental events in Giants history, called by legendary broadcasters Jon Miller, Dave Flemming, Mike Krukow, and Duane Kuiper, pre-game and post-game shows and off-season programming including Giants’ Hot Stove.

 

Larry Baer, San Francisco Giants President and CEO, said: “We are excited to continue our incredible partnership with KNBR, and thrilled KNBR remains our flagship station for Giants fans at least through the 2028 season. Led by the best broadcast team in all of Major League Baseball, KNBR offers our fans unique and insightful coverage not only throughout the season but the entire year.”

 

Larry Blumhagen, Regional Vice President/Market Manager, Cumulus San Francisco/Los Angeles, commented: “All of us at KNBR are elated to know we are committed having Giants baseball through our 50th year together in 2028. We look forward to providing Giants fans with gameday coverage on all our platforms from AM/FM to streaming.”

 

Mike Hohler, Program Director, KNBR, remarked: “Growing up listening to Giants baseball on KNBR, I have vivid memories of childhood summer days spent listening to Hank Greenwald paint the picture of Will Clark hitting a ball into the upper deck at Candlestick Park. It means a great deal to me to be at the helm of KNBR when signing an extension that keeps these two legendary brands together through the 50th year of our partnership. It's a proud moment for me not only as the Program Director for KNBR, but as a lifelong Giants fan."

TV Ratings: Downs and Ups Of Women's Basketball

The 2025 NCAA Women's Basketball Tournament has shown a notable shift in TV ratings through the Elite Eight, reflecting both a decline from the exceptional 2024 season and sustained growth compared to earlier years. 

The tournament has averaged 967,000 viewers across its first four rounds, according to data compiled by Sports Media Watch. This figure represents a 31% decrease from the 1.4 million average at the same point in 2024, a year marked by unprecedented viewership driven largely by the "Caitlin Clark effect." 

However, it also marks a 47% increase over the 2023 tournament’s average at this stage, underscoring that interest in women’s college basketball remains robust even without last year’s record-breaking momentum.

The 2024 tournament set a high bar, culminating in a championship game between South Carolina and Iowa that averaged 18.9 million viewers, peaking at 24.1 million, making it the most-watched basketball game—college or professional—since 2019. That year’s Elite Eight averaged 6.2 million viewers, buoyed by marquee matchups like Iowa vs. LSU (12.3 million), a rematch of the 2023 final. In contrast, the 2025 Elite Eight averaged 2.9 million viewers, a 53% drop from 2024’s 6.2 million but a 34% rise from 2023’s 2.2 million, positioning it as the second-most-watched Elite Eight on record. Key games this year included UCLA vs. LSU (3.4 million) and South Carolina vs. Duke (3.1 million), both on ABC, showing that while viewership has cooled, it still outpaces pre-2024 norms.

Several factors explain these trends. The 2024 surge was fueled by Caitlin Clark, whose historic scoring and Iowa’s deep runs drew massive audiences—her games alone averaged over 10 million viewers across the tournament. Her departure to the WNBA, alongside stars like Angel Reese and Kamilla Cardoso, left a void in 2025. 

The broader context shows women’s basketball sustaining its upward trajectory. The 2025 Sweet 16 averaged 1.7 million viewers, down 29% from 2024’s 2.4 million but up 39% from 2023’s 1.2 million, making it the second-most-watched Sweet 16 ever. Regular-season ratings also reflect growth, with ESPN reporting a 3% increase over 2024 and a 41% jump from 2022-23, the highest since 2008-09. Networks like ABC and ESPN have capitalized on this, with games like Texas vs. Tennessee (2.9 million) and Notre Dame vs. TCU (2.5 million) on ABC driving viewership. Posts on X and industry analyses suggest that while 2025 won’t match 2024’s peaks, the sport’s “floor” has risen significantly, supported by new stars and increased media exposure.

 South Carolina and Connecticut will face each other in the championship game Sunday (3 pm ET, ABC). On the men's side, the Final Four begins tomorrow, with the Florida Gators taking on the Auburn Tigers (6:09 pm ET, ABC) and the Houston Cougars taking on the Duke Blue Devils (8:49 pm ET, ABC). 

Bruce Springsteen To Release Seven 'Lost' Albums

Bruce Springsteen announced yesterday the upcoming release of “Tracks II: The Lost Albums,” a box set featuring seven previously unreleased albums, including 83 songs—74 of them never heard before. Spanning recordings from 1983 to 2018, the collection includes material that was fully recorded but ultimately shelved. The album, a follow-up to his 1998 “Tracks” box set, is set for release June 27.

Springsteen, often called "The Boss," is known for his gritty voice, anthemic rock, and themes of working-class life. He rose to fame with the 1975 breakthrough album “Born to Run” and has since released 21 studio albums, including “Born in the USA,” which produced seven top 10 US singles—among them its often-misinterpreted title track.

The 75-year-old has sold more than 140 million records worldwide and performed thousands of live shows, including marathon concerts lasting up to four hours. He has won 20 Grammy Awards, an Academy Award, and a Tony Award, and was inducted into both the Rock & Roll Hall of Fame and the Songwriters Hall of Fame in 1999.

R.I.P.: Mimi Griswold, Longtime CNY Radio Personality

(1957-2025)

Longtime Syracuse area radio personality Mary "Mimi" Griswold, 67, died Thursday. 

Born on June 30, 1957, in Brockton, Massachusetts, she eventually settled in the Central New York area, though the Cape was never far from her heart.

A graduate of Syracuse University, Mimi spent more than 25 years in the radio industry at Galaxy Media. She was a pioneer for women in the industry and mentored many young women throughout the years.

As an on-air host and program director, Mimi's fierce passion for music touched the lives of Central New Yorkers. For decades, her mainly acoustic, highly eclectic "Blue Moon Café" radio show on TK99 and WOUR was a part of the Sunday morning routine for listeners far and wide. She cherished the connections and community that came along with it.

When the mics turned off, you would find Mimi on a "right turn only" road trip, conjuring up a new hobby, sipping a cup of coffee in nature, working on the family's passion project "Queen V's Bees" or taking her kayak on an adventure to the Adirondacks.

Radio History: April 5

➦In 1922…KOB-AM Albuquerque, New Mexico signed-on.

Ralph Goddard

The station was founded at the New Mexico College of Agriculture and Mechanic Arts in Las Cruces (now New Mexico State University) by Ralph Willis Goddard, and began broadcasting tests in 1919 under the call letters 5XD. On April 5, 1922 the station began regular operation as KOB, a callsign which had belonged to marine radio aboard the Princess Anne before its February 2, 1920 shipwreck on Rockaway Shoals, Long Island.  New Mexico A&M sold the station after Goddard was electrocuted while adjusting the transmitter on December 31, 1928. In 1933 the station moved to Albuquerque, and was later bought by the Albuquerque Journal.

In 1948, Tom Pepperday, owner and publisher of the Journal, signed on KOB-TV, the first television station between the Mississippi River and the West Coast. The stations passed to Time-Life in 1952 and to Hubbard Broadcasting in 1957. Hubbard Broadcasting sold the radio stations in 1986. In order to trade on the well-known KOB calls, the new owners simply added an extra "K" to the radio station's call letters.

KOB was involved in a 38-year-long dispute with New York City station WABC (originally WJZ) over the use of the 770 kHz frequency. KOB was moved there from 1030 to make room for WBZ in Boston. While the Federal Communications Commission requested that WJZ install a directional antenna to allow the stations to interoperate over large areas, the station refused to comply, encroaching on the range KOB was intended to cover. Only after reaching the U.S. Supreme Court was the issue settled, when the FCC assigned KOB to a new license class. KKOB and WABC became sister stations when Citadel Broadcasting purchased ABC Radio in 2007; Citadel merged with Cumulus Media on September 16, 2011.

➦In 1922…WDZ-AM, Decatur, Illinois signed-on.

WDZ started in the office of the James Bush grain elevator in Tuscola, Illinois. The original call sign was 9JR and the original intent of the station was to broadcast grain reports, making it the first radio station to do so. The station later started mixing some music in with the grain reports.

The radio station's power was increased to 1000 watts in 1939 with a new 252-foot (77 m) tower. During that time, WDZ used remote broadcasts that was unique for a rural station. The station started the use of remote broadcasting equipment which included a truck called, the "WDZ 'White Relay Truck"', equipped with a 100-watt transmitter to relay broadcasts from area locations, and some two-watt, battery operated transmitters that could be worn on the backs of assistants when a program originated from remote sites.   The station was on 1020 kHz in 1941, but changed to 1050 kHz, and has remained there since.

1050 kHz has been a Mexican Clear Channel since 1941 (was a U.S. Clear Channel before 1941), and U.S. operations on Mexican Clear Channels was restricted to 1,000 watts and to daytime operations, only, until the "Rio" treaty took effect in the late 1980s (before 1941, 1020 kHz was a U.S. Clear Channel and that, too, was restricted). After "Rio" took effect, it was a simple matter for WDZ to add night operations with as little as 250 watts, and today the station is indeed operating with its pre-"Rio" maximum daytime power and its post-"Rio" minimum nighttime power. Anything more than 1,000 watts days and 250 watts nights very likely would require installation of a directional antenna system at great capital expense. WDZ is diplexed (i.e., it uses the very same vertical radiator) with co-owned WSOY.

WDZ Performer's Studio

In 1949, the station moved from Tuscola to Decatur.   The relocation of WDZ from Tuscola to the west and to Decatur greatly facilitated the eventual allocation of a station on 1080 kHz in Oak Lawn, suburban Chicago, IL.

WDZ Transmitter Studio

On March 31, 2008, the station switched to a sports radio format as part of the Fox Sports Radio network. Within a year the station switched programming from Fox Sports Radio to ESPN Radio.

WDZ and its sister stations WCZQ 105.5 FM Monticello and WDZQ 95.1 FM, 1340 WSOY 1340 AM and WSOY 102.9 FM Decatur, were sold to Neuhoff Media in February 2009.

Today, WDZ 1050 AM, powers with 1000 Kw-Day, 250 watts Night. and airs ESPN Sports.

➦In 1927...The NBC Orange Network started distributing programs. Also known as the NBC Pacific Coast network it was a National Broadcasting Company radio network in the western United States from 1927 to 1936, before two-way broadcast-quality communications circuits reached the West to relay the larger NBC Red Network and NBC Blue Network.

The Orange Network had its own production and performance staffs on the West Coast. In addition to producing original West Coast works, the Orange Network also had duplicate productions of many eastern shows until the end of 1928. In December 1928, a single broadcast-quality line was completed to San Francisco, and the Orange Network could then carry eastern programming directly, but only one program at a time; from then until 1936, Orange Network fed some programs from Red and some from Blue.

In 1936, a second broadcast-quality circuit was completed, this time to Los Angeles. This circuit also allowed the direction of amplification to be reversed in under 15 seconds, allowing Los Angeles, with its easy access to talent during the Golden Age of Hollywood, to feed broadcast-quality sound to the eastern networks as well. With the opening of the second circuit, the need for the Orange Network disappeared, and the stations on the old Orange Network became the Pacific Coast Red Network, fed by KPO (AM), except KGO (AM), which itself fed a new Western Blue Network made up of stations on the short-lived former NBC Gold Network.

➦In 1958...the first Greatest Hits album ever , Johnny’s Greatest Hits, featuring Johnny Mathis on Columbia Records, made it onto the Billboard LP chart for the first time. The album remained on the charts for 490 weeks.

➦In 1982…Record World magazine ended publication after 36-years. It was one of the three main music industry trade magazines in the United States, along with Billboard and Cash Box. It was founded in 1946 under the name Music Vendor, but in 1964 it was changed to Record World, under the ownership of Sid Parnes and Bob Austin. It ceased publication on April 10, 1982.

Surprise! Iger Drops-In On ABC News Editorial Meeting

file photo

Walt Disney Company CEO Bob Iger made an unexpected appearance at ABC News’ daily editorial meeting in New York City on Thursday, where he voiced serious concerns about President Donald Trump’s newly enacted “Liberation Day” tariffs. According to Oliver Darcy’s Status newsletter, Iger warned of the potential fallout not only for Disney but for the broader U.S. economy.

The Wrap reports Iger told staffers that shifting overseas manufacturing to the U.S. on short notice is unfeasible and emphasized that the public largely misunderstands how tariffs function. Anonymous attendees interpreted this as a nudge for ABC News to better educate its audience on the issue.

The visit followed Trump’s signing of an executive order on Wednesday, which introduced sweeping tariffs targeting over 180 countries and U.S. trade partners. Trump hailed the move as “Liberation Day,” though economists and industry figures, including Hollywood executives, are increasingly apprehensive about its consequences.

Throughout the closed-door discussion, Iger remained actively engaged, offering candid insights, per Darcy’s account. He expressed particular worry about Disney’s cruise division, noting that two new ships under construction could face higher steel costs, potentially forcing the company to cut back on investments. On the topic of relocating production, Iger pointed out the logistical challenges, citing the thousands of specialized workers—such as those at Apple’s Foxconn facilities in China—who would need to be replaced and retrained in the U.S.

Iger’s presence at the meeting suggests growing unease with the Trump administration’s policies, a sentiment echoed by Thursday’s market reaction: the U.S. stock market saw its sharpest decline since 2020. The tariffs are set to roll out in phases, starting with a 10% levy on all countries this Saturday, followed by steeper, tailored tariffs on nations with significant U.S. trade deficits beginning April 9.

Local Radio Remains A Top 5 Advertising Platform

Local radio continues to maintain a strong presence in the U.S. advertising landscape, securing its position as the fifth-largest advertising medium within the $171 billion local ad marketplace, as reported by BIA Advisory Services.

This ranking highlights radio's enduring relevance amid a rapidly evolving media environment, where it competes with both traditional and digital platforms for advertising dollars.

According to BIA's latest U.S. Local Advertising Forecast for 2025, local radio is projected to generate $12.3 billion in advertising revenue, encompassing both over-the-air (OTA) and digital channels. This figure reflects a slight adjustment from 2024 estimates, with a forecasted decline of 4.9% year-over-year when including political spending, and a 6% drop for OTA revenue alone. Despite this dip, radio’s ability to hold its top-five spot underscores its resilience and adaptability, particularly as it integrates digital innovations with its traditional broadcasting strengths.

The forecast points to significant growth in digital radio ad spending, driven by key sectors such as financial services, insurance, and quick-service restaurants (QSRs), each expected to invest over $95 million in 2025. Hospitals are also emerging as a notable spender in local radio advertising, reflecting the medium's appeal to diverse industries seeking to connect with local audiences. This blend of traditional and digital revenue streams enables radio to remain a vital tool for advertisers, especially in rural and remote communities where it retains strong cultural and practical relevance.

BIA Advisory Services emphasizes that local radio's transformation—merging compelling content with digital capabilities—positions it to offer unique value to advertisers. This adaptability ensures it continues to compete effectively within the broader $171 billion local advertising marketplace, trailing only larger mediums like digital ads, television, direct mail, and newspapers, though the exact rankings of the top four are not specified in the provided context.