Friday, October 30, 2026

Carr, Gomez Clash Over FCC Warning To Broadcasters


FCC Chairman Brendan Carr said his warning about “fake” election polls targets fabricated surveys, not good-faith reporting. Commissioner Anna Gomez countered that airing a poll—even one later shown to be fabricated—does not, by itself, meet the legal standards for news distortion or a broadcast hoax.

Asked whether there was evidence that broadcasters had aired the polls Carr cited, he said he did not know. He also said he was unaware of an FCC investigation, but urged the public to file complaints. Carr named polling outlets he alleged were inventing results, saying politicians in both parties had complained that the polls harmed their fundraising and campaigns.

Commissioner Gomez
Gomez said the rules require deliberate distortion of factual reporting or knowingly broadcasting false information about a crime or catastrophe that causes immediate harm. “Simply reporting on a poll that turns out later to be inaccurate or … fabricated” does not meet that standard, she said. Gomez said she knew of no broadcaster or investigation involving such a case.

The exchange followed the FCC’s October open meeting, where commissioners unanimously approved eight items, none directly targeting broadcasters. Reporters also asked about the agency’s review of Disney’s broadcast licenses and political advertising rates.

Chairman Carr
No timeline for Disney decision


The FCC has not set a timeline for deciding whether to renew Disney’s broadcast licenses, Chairman Brendan Carr said.

The agency is reviewing documents related to its diversity, equity and inclusion investigation and petitions seeking to block early renewal of Disney’s licenses, Carr said. He did not say whether the FCC would wait for a ruling in Disney’s lawsuit before acting.

Commissioner Anna Gomez said she did not know the status of the review. She added that Disney would prevail in its legal challenge on First Amendment grounds.

Republicans Sue FCC Over 'Lowest Unit Charge'


The Republican National Committee and the Texas Republican Party filed a lawsuit Wednesday asking a federal judge to invalidate a longstanding campaign advertising rule they say gives Democrats an unfair advantage.

The suit, brought in the final days of the midterm elections, targets the “lowest unit charge” provision of the Federal Communications Act of 1971. That rule requires television and radio stations to offer political candidates the lowest advertising rate they charge any commercial advertiser during a specified pre-election period, but it does not extend the same rate to political parties. The plaintiffs argue the distinction benefits Democrats and have asked the court to strike it down.

The case was filed in the U.S. District Court for the Northern District of Texas and assigned to Judge Matthew J. Kacsmaryk. The parties contend that limiting the lowest-unit-charge benefit to candidates rather than the party committees that support them creates an uneven playing field in campaign advertising.

The lowest unit charge (LUC) rule requires broadcast stations to sell political advertising time to legally qualified candidates at their lowest commercial rates during the final weeks before an election. It is designed to prevent candidates from being priced out of media markets so they can communicate with voters.

SiriusXM Raises Outlook Based On Revenue From Audacy Sports Deal


SiriusXM raised its full-year 2026 outlook by $25 million across its three guidance metrics, citing subscription value from sports programming that now includes Audacy’s local sports stations. The 24 stations, added September 1, would rank third among SiriusXM’s sports destinations by listenership, behind NFL Radio and ESPN Radio, the company said.

CEO Jennifer Witz said more than 80% of Audacy-station listeners are tuning in outside their home markets, following familiar local voices covering teams such as Philadelphia’s Eagles, Phillies, 76ers and Flyers. Nineteen Audacy news/talk stations are expected to join later this year.

SiriusXM now forecasts about $8.55 billion in 2026 revenue. Third-quarter revenue was approximately $2.2 billion, essentially unchanged year over year, while net income increased 7% to $317 million.

Advertising revenue edged up to $456 million in the quarter and rose 3% to $1.32 billion for the first nine months. Growth in podcasting, programmatic advertising and technology fees helped offset weaker streaming-music and satellite-ad demand. Pandora and off-platform advertising revenue increased 1% to $419 million.

Pandora’s audience metrics declined: ad-supported listening hours fell 10% to 2.25 billion, monthly active users dropped 7% to 38.8 million, and self-pay Pandora Plus and Premium subscribers decreased 3% to about 5.5 million. Revenue per thousand listening hours rose to $91.63 from $91.24.

Alphabet Loses $500B In Market Value


Google shares plunged 13% Thursday, their worst day on record, wiping roughly $500 billion from Alphabet’s market value as investors weighed the risks of AI to the company’s core search business—and the mounting cost of competing in the technology.

The selloff also dragged on major U.S. stock indexes, deepening concerns that spending on the global AI build-out may be growing faster than the returns. Investors have supported Big Tech’s AI investments partly because companies such as Google, Microsoft and Amazon have long-running businesses that generate dependable profits.

Bari Weiss Downplays Concerns Over Weak 60 Minutes Ratings


CBS News editor-in-chief Bari Weiss addressed the network’s ratings performance during her tenure in remarks at an industry conference on Wednesday, stating that she does not prioritize precise viewership figures for individual 60 Minutes segments.

Speaking at an event organized by the tech publication The Information, which did not offer press credentials, Weiss said, “I could never build anything if I were focused on the precise number of people that happen to tune in to the second feature on 60 Minutes on a given Sunday.” She described the program as doing “tremendously well” overall.

Weiss overhauled 60 Minutes in late May, removing the executive producer and parting ways with three top correspondents, including Scott Pelley. The show has not matched last season’s average of 9.1 million viewers per episode. Its most recent episode drew 5.64 million viewers, which Variety described as one of the smallest audiences for the program in years and the lowest-rated sixth episode this century. 

Ratings for the show are influenced by whether it follows a highly watched NFL game. The Oct. 4 episode averaged more than 10 million viewers.

Weiss was also asked about parent company Skydance’s recent merger with Warner Bros. Discovery, CNN’s parent company. Although she had been mentioned in speculation about a potential role at CNN, Skydance chief executive David Ellison retained CNN CEO Mark Thompson in place for the time being. When asked if she might be interested in running CNN, Weiss said, “I want to focus on doing CBS News, trust me. This is a big enough challenge.”

She said she is not focused on criticism of her tenure at CBS News, which has come from inside and outside the organization. Her stated approach has been to “put the blinders on, tune out the noise and focus,” adding, “I’m not doing anything I’m doing for popularity’s sake.”

TODAY Wins First October In Total Viewers In 15-Years

  • TODAY Delivers Its Biggest October Total Viewer Advantage Over GMA in 15 Years
  • TODAY Is the Only Morning Show to Grow Total Viewership Year Over Year, Marking 9 Consecutive Months of Growth
NBC News’ TODAY won in total viewers and the key demo A25-54 for the month, marking its first and largest October total viewer win over GMA in 15 years. TODAY is the only morning show to grow in total viewers year over year, marking 9 months of consecutive growth.

Graphic Courtesy of RoadMN

For the month of October, TODAY averaged 2.832 million total viewers, beating GMA by +136,000 (+5%) and CBS by +1.064 million (+60%).

In A25-54, TODAY averaged 602,000 viewers, leading GMA by +149,000 (+33%) and CBS by +303,000 (+101%). TODAY has won the key demo for 38 consecutive months, capturing the largest October share of morning news A25-54 viewers (44.5%) in 15 years.

Knoxville Radio: Matt Brodie New Programmer at WCYQ-FM


SummitMedia has appointed Matt “Brodie” Lesley brand manager of its four-station Knoxville cluster. Lesley will also host middays on country station WCYQ (100.3 The Wolf), bringing more than 20 years of programming and on-air experience to the market.

Lesley most recently served as program director and afternoon host for WNOK in Columbia, South Carolina, and WWXM in Myrtle Beach, South Carolina, from 2019 to 2026. During that period, he also curated music for iHeartMedia CHR stations in Cincinnati, Fresno and Austin.

Matt Brodie
His previous experience includes a decade at KCHZ (95-7 The Vibe) in Kansas City, where he held roles as assistant program director, music director and morning host. He also programmed WSEA (Power 100.3) and WSYN (Sunny 103.1) in Myrtle Beach, and KQLK (Hot 97.7) in Lake Charles, Louisiana.

“I’ve gone country!” Lesley said. “I’m excited to start this new chapter with SummitMedia and WCYQ and help bring great country radio to East Tennessee.”

SummitMedia Executive Vice President of Programming John Olsen called Lesley “a smart programmer, an outstanding air talent and a proven leader,” adding that he is a strong fit to lead the Knoxville stations and host middays on The Wolf.

K-C Radio: 106.5 The Wolf Imports Mo & StyckMan

Mo & StyckMan

106.5 The Wolf (WDAF-FM), an Audacy station in Kansas City, is adding “Mo & StyckMan” to its weekday lineup. The duo will be heard evenings from 3:00 p.m. to 7:00 p.m. CT starting November 2.

106.5 The Wolf’s new weekday programming lineup:
  • 6:00 a.m: “Jenny and Jagger in the Morning”
  • 10:00 a.m: “Katie & Company” with Katie Neal
  • 3:00 p.m: “Mo & StyckMan”
  • 7:00 p.m: “The Rob and Holly Show”
Mo and StyckMan can also be heard weekday afternoons on US 101 (WUSY-FM) in Chattanooga, TN, and Big 98.5 (WRXL-HD2) in Richmond, VA, and weekday mornings on 99.7 The Wolf (WLFP-FM) in Memphis. The duo also hosts “3rd Shift Country,” Audacy’s nationwide overnight show.

The duo brings a stunning legacy of industry recognition. Together, Mo and StyckMan are Marconi Award winners (2022) and have won three CMA and two ACM Broadcast Personality of the Year awards as a team. In addition to their accolades, the duo has recently been nominated for another Marconi Award and a CMA Award. Mo is a Gracie Award winner and has earned a career total of six CMAs and four ACMs. StyckMan boasts an incredible seven CMA Awards and five ACM Awards for broadcast personality.

📻Listeners can tune in to 106.5 The Wolf (WDAF-FM) in Kansas City, on-air and nationwide on the Audacy app and website. Fans can also connect with the station via X, Facebook and Instagram.

Streaming Growth Leads To Revenue Increase At Universal


Universal Music Group’s third-quarter revenue rose 11.7% to €3.39 billion ($3.87 billion), led by subscription streaming growth and the integration of Downtown Music Group. Excluding Downtown, revenue increased 5.3%. Results topped analysts’ expectations of about €3.37 billion.

Subscription streaming revenue climbed 17.9% to €1.81 billion, with Downtown contributing €146 million. Adjusted EBITDA rose 9% in constant currency to €729 million, while the adjusted EBITDA margin expanded 0.4 percentage points to 21.5%.

Recorded music revenue grew 14.7% in constant currency to €2.56 billion, supported by subscription streaming, ad-supported streaming and physical sales. Top sellers included Mrs. Green Apple, Olivia Rodrigo, Stray Kids, Ariana Grande and The Beatles. Music publishing revenue increased 7.5% in constant currency, while merchandise revenue fell 4.6% amid fewer major tours.

UMG CEO Lucian Grainge called Downtown the company’s most important acquisition since EMI. The company also continues a cost-cutting program announced in 2024, which it says is expected to generate €250 million in annual savings by the end of 2026.

Burger King Attracts Price-Conscious Diners


Burger King’s U.S. turnaround accelerated in the third quarter, with same-store sales rising 8.4% and helping parent Restaurant Brands International grow profit and strengthen its position against fast-food rivals. The gains more than doubled Burger King’s 3.1% growth a year earlier.

Chief Executive Josh Kobza said the chain had reclaimed the No. 2 spot in the U.S. burger category after years of work under its “Reclaim the Flame” strategy, which focuses on modernizing restaurants and improving the menu.

The results were mixed across Restaurant Brands International. Total revenue rose 3.1% to $2.53 billion, slightly below analysts’ $2.55 billion forecast, while Popeyes U.S. same-store sales fell 1.8%. The company’s shares declined 3.3% to $72.02, though they remained up about 5.6% for the year.

Burger King’s strategy combines store renovations and digital marketing with $5 and $7 value tiers, upgraded menu items and brand collaborations, including Dragon Ball Z and Hello Kitty. The approach comes as fast-food chains face consumer resistance to rising prices.

“We widened our gap to Burger King QSR peers to nearly 10 points, and after years of hard work, we are incredibly proud to have reclaimed the No. 2 position in the U.S. burger category,” Kobza said on the earnings call Thursday.

Instagram Targets YouTube


Instagram is launching a long-form video feature called Features, allowing clips of up to 90 minutes and offering top creators as much as $500,000 to shift from YouTube, as Meta seeks a larger share of television viewing time.

The initiative, announced by Instagram CEO Adam Mosseri, marks a direct bid for the living-room screen that YouTube has come to dominate. YouTube now accounts for 15.8 percent of U.S. TV viewing and generated $11.2 billion in advertising revenue in its most recent quarter, even as growth slowed to 9 percent. With roughly 3 billion monthly active users, Instagram is positioning Features as a natural extension of Reels, enabling longer click-through videos while leveraging Meta’s existing advertising infrastructure.

Adam Mosseri
“We want to be the most culturally relevant platform, and to do that we just need to show up where people are,” Mosseri said, reversing an earlier reluctance to pursue traditional TV-length content. The company is targeting existing Instagram creators rather than solely recruiting established YouTube talent, aiming to convert short-form personalities into long-form stars and place more of Meta’s sales muscle against what it views as premium television inventory.

Most analysts expect Features to erode some of YouTube’s lead in user-generated video on connected TVs. The move also intensifies pressure on advertising rates across the broader streaming market, where even Netflix has faced pricing challenges. LightShed Partners analyst Rich Greenfield noted that “every hour Instagram wins on a TV is an hour not spent on Netflix, Disney+, Paramount+, Peacock or what is left of the multichannel bundle.”

YouTube’s rise has already reshaped the competitive landscape, capturing substantial viewer attention and ad dollars once concentrated among traditional Hollywood studios and their streaming services. Instagram’s entry into longer-form video extends that shift further into professional and semi-professional content, raising questions about how established streaming platforms will defend both audience time and advertising share as user-generated options expand on the big screen.

Nexstar Settles FCC Violations for $80,500


Nexstar Media Group has agreed to pay an $80,500 fine to the FCC to resolve violations concerning children's television programming, political advertising public inspection files, and station modification filings.

The settlement brings a close to a regulatory dispute that initially featured a proposed $182,000 fine in 2022. The children's television violations involved improper commercial airings during episodes of "Team Hot Wheels" in 2018—a legacy issue from stations Nexstar acquired from Tribune Media in 2019. Furthermore, 43 of Nexstar's stations failed to make political advertising files available for public inspection in a timely manner, as mandated by federal regulations.

Affected stations include:
  • KDVR (Denver)
  • KFCT (Fort Collins)
  • KIAH (Houston)
  • KTLA (Los Angeles)
  • KTXL (Sacramento)
  • WGN-TV (Chicago)
  • WGNO (New Orleans)
  • WDAF-TV (Kansas City)

Radio History: Oct 30


➦In 1745
...Invention of the Leyden jar (the first capacitor) by Dean Ewald Jurgen von Kleist of the Cathedral of Cammin.

➦In 1907...Actor and songwriter Renzo Cesana was born in Rome Italy.  He is best remembered as The Continental, the suave debonair “latin lover” host of his own early TV series. He is also credited with creating the radio programs “Art Linkletter’s House Party”, “Stop That Villain”, and the “Radio Hall of Fame.” Cesana succumbed to lung cancer November 8 1970 at age 63.

Fred Friendly with Edward R Murrow

➦In 1915...Broadcaster Fred W. Friendly was born Ferdinand Friendly Wachenheimer in NYC (Died from a series of strokes at age 82 – March 3, 1998). He was a president of CBS News and the creator, along with Edward R. Murrow, of the documentary television program 'See It Now'.  He originated the concept of public-access television cable TV channels.

He entered radio broadcasting in 1937 at WEAN in Providence, Rhode Island, where he reversed the order of his middle and last names, and began using Friendly as his last name. In World War II, he served as an instructor in the Army Signal Corps and reported for an Army newspaper in the Pacific Theater (The CBI Roundup) before mustering out as a master sergeant in 1945.

By the late 1940s, Friendly was an experienced radio producer. It was in this role that Friendly first worked with Murrow on the Columbia Records historical albums, I Can Hear It Now. The first entry in the series, released on Thanksgiving Day 1948, covered the crisis and war years 1933–1945. It was a ground-breaker in that it used clips of radio news coverage and speeches of the major events from that twelve-year time span. Friendly created the concept after noticing the new use of audiotape in regular radio news coverage, as opposed to wire or disc recordings that had been an industry standard. Periodically, Friendly created recordings of news events when such recordings didn't exist or, recreated ones that were considered too chaotic to use on an album.

Although Murrow was an established CBS name and at the time Columbia Records was owned by CBS, Friendly's next full-time work came as a news producer at NBC. It was there that Friendly originated the idea for the news-oriented quiz show Who Said That?, first hosted by NBC newsman Robert Trout, followed by Walter Kiernan, and John Charles Daly. The program, which Friendly edited, ran irregularly on NBC and then ABC between 1948 and 1955.

Friendly later wrote, directed, and produced the NBC Radio series The Quick and the Dead during the Summer of 1950. It was about the development of the atomic bomb. It featured Trout, Bob Hope, and New York Times writer Bill Laurence, who had won a Pulitzer Prize for his coverage of the Manhattan Project.

➦In 1925...KUT-AM in Austin Texas began broadcasting.

The actual beginning date of radio broadcasting on the UT-Austin campus has never been fully substantiated. There is an unofficial reference to an on-campus radio operation as early as 1912. But the most reliable information indicates that the first broadcast license — bearing the call letters 5XY — was issued to the University on March 22, 1921.

A year later, a new license was issued, bearing new call letters WCM, which the station used to identify itself until 1925.

In these first years, the station was used for a number of purposes, beginning as a demonstration project in the Physics Department, whose Professor Simpson L. Brown had persuaded the administration to let him build the station in the first place.

Beginning in 1923, though, funding concerns prompted a transfer of operational control to the University's Extension Division for extension teaching. One of the stipulations of the transfer agreement was that funds would be provided for operations and maintenance to put the station in a "first-class" condition. The funds, however, did not materialize and broadcasting suffered until a state agriculture official needed a means to broadcast daily crop and weather reports.

A deal between the official and UT's Extension Division allowed agriculture broadcasts for one hour per day in exchange for equipment maintenance. At other times of the day, the University would broadcast items of interest from the campus, including a number of faculty lecture series.

But by the end of 1924, the Physics Department decided it wanted the station back, and with the approval of the Board of Regents, the Physics Department regained control in the summer of 1925. They had a new license granted on October 30 and it bore, for the first time, the call letters KUT.

KUT's early years were ambitious but, by 1927, ambition had outrun the funding. The expense of operating and maintaining the station had simply become too great for the Physics Department to sustain. University President Harry Benedict appointed a committee to study the matter, and the committee recommended that the project be discontinued. The station was dismantled and the equipment returned to the Physics labs for experimentation.

KUT would not re-emerge for 30 years.

➦In 1931...NBC began installing a TV transmitter on top of New York’s Empire State Building. The first experimental TV broadcast from the building was on December 22, 1931.

➦In 1938...Orson Welles's radio adaptation of HG Wells's War Of The Worlds caused panic in the US by convincing many listeners that Martians had really landed in New Jersey.

During the '30s, Welles worked extensively in radio as an actor, writer, director and producer, often without credit.  Between 1935 and 1937 he was earning as much as $2,000 a week, shuttling between radio studios at such a pace that he would arrive barely in time for a quick scan of his lines before he was on the air.