Radio History: March 23

Paula Winslowe with William Bendix

➦In 1910...Paula Winslowe was born Winifred Reyleche (Died  at age 87 – March 6, 1996). She was a radio and television actress and is known for her role as Bambi's mother in the 1942 movie Bambi.

Winslowe played the role of Mrs. Martha Conklin in Our Miss Brooks on both radio and television. On radio, she played Peg Riley in The Life of Riley, She was also heard in Silver Theater, Big Town and Broadway Is My Beat.

She briefly portrayed Mrs. Foster on Big Town, which starred Edward G. Robinson. She starred in several episodes of Suspense, including June 14, 1955 ("The Whole Town's Sleeping") written by Ray Bradbury; July 11, 1956 ("Want Ad"); January 24, 1956 ("The Cellar Door"); and June 5, 1956 ("The Twelfth Rose").

➦In 1922...KMJ-AM, Fresno, California signed-on.

KMJ was originally owned by the San Joaquin Light and Power Corporation. It was later acquired by the McClatchy Newspaper Company in 1925. It is also the 38th oldest licensed, and continuously operated radio station in the United States.

KMJ operated on a number of other frequencies between 1925 and 1932; some of the frequencies used included 820 and 1350 kHz.

McClatchy was intent on improving the signal, and competed with KTAB in Oakland for a new frequency (580 kHz), which was being made available by the newly created FCC.

Eventually, they were awarded the new channel, and KMJ moved to 580 kHz in 1932, operating with 1 kW non-directional from a building rooftop in Downtown Fresno.

In 1936, a new 5,000-watt non-directional transmitter site was constructed, which utilized a 5/8 wave antenna, and was located 5 miles east of Fresno, at the northeast corner of the Kings Canyon Road and Fowler Avenue intersection.

The Fresno Bee - April 1940

In 1941, Hammer Field (which later became Fresno Air Terminal) was constructed, as a training base for the Army Air Corps. The KMJ tower was directly in line with the runway, and the Army wanted the site relocated.

The site was then moved some 16 miles west of Fresno, the existing tower was unstacked and moved as well; however, it was only 660 feet in height. The remaining 330 feet were stored on the site, with the intention of creating a directional array, altough World War II interrupted the project and it never resumed.

The extra portion was eventually moved to Sacramento, and used in the construction of the KFBK transmitter site in 1945.

Today, KMJ-AM operates on the regional channel 580, with 50Kw and a directional antenna array.

KMJ 580 AM (50 Kw, DA2) Daytime 2 mV/m contour

From 1925 until 1987, KMJ was owned by McClatchy Company, who also owned KFBK in Sacramento, KBEE in Modesto, KERN in Bakersfield, and KKOH in Reno. McClatchy Newspapers also owned three daily newspapers in Fresno, Sacramento, and Modesto. In 1953, McClatchy signed on KMJ-TV on channel 24. The television station would be sold off in 1981 to become KSEE.

In November 2006, KMJ and its sister stations KFPT (AM), KWYE (FM), KSKS (FM), KFJK (FM), KOQO (FM), and KMGV (FM) were sold by CBS Radio to Peak Broadcasting, for $90 million.

In March 2009, Peak Broadcasting replaced the KFJK Jack FM format on 105.9 FM, with KMJ-FM; it is a partial simulcast of KMJ-AM.

In the fall of 2012, Premiere Radio Networks exercised a termination clause and ended its relationship with both the AM and FM KMJ stations. As of January 1, 2013, all Premiere-controlled syndicated shows were moved to Clear Channel-controlled stations in the greater Fresno area. From 6:00 A.M. until 6:00 P.M., Monday through Friday, KMJ-AM broadcasts all live and local talk shows.

On August 30, 2013, a deal was announced in which Townsquare Media would purchase Peak Broadcasting, and then immediately swap Peak's Fresno stations, including KMJ, to Cumulus Media in exchange for Cumulus' stations in Dubuque, Iowa and Poughkeepsie, New York. The deal is part of Cumulus' acquisition of Dial Global. Peak, Townsquare, and Dial Global are all controlled by Oaktree Capital Management. The sale to Cumulus was completed on November 14, 2013.

Today the station airs a news/talk format.

WEW Chief Engineer Gordon Sherman 1933

➦In 1922...WEW-AM, Saint Louis, Missouri began broadcasting.

Saint Louis University established the station 9YK around 1912, using Morse code to communicate seismological and weather information. George E. Rueppel, assistant director of the Meteorological Observatory at SLU, worked with 9YK before he founded WEW in 1921. Audio transmissions began at 10:05 a.m. on 26 April 1921; the first voice heard was SLU president Rev. William Robison. The station received radio license #560 to broadcast on 618.6 kHz (wavelength 485 meters) as WEW on 23 March 1922;  KSD had been licensed on March 8.

The station has claimed to have broadcast the first quiz show, Question Box Hour, in 1923.

The station later moved to 833 kHz (360 meters). In April 1927 it was changed to 1210 kHz then 850 kHz; and changed in 1928 to 760 kHz, which was moved to 770 kHz on 29 March 1941 when NARBA took effect.

WEW 770 AM (10 Kw-D, 200 watts-N) Daytime 2 mV/m contour

On April 28, 2016 the station was granted a Federal Communications Commission construction permit to move to a new transmitter site, increase day power to 10,000 watts and add nighttime operation with 200 watts while still protecting clear-channel station WABC (AM) in New York City.

Today the station is owned by by Birach Broadcasting and airs diverse ethnic programs.

➦In 1938...CBS Radio newsman Christopher Glenn was born (Died at age 68 from liver cancer – October 17, 2006).  He was a news journalist who worked in broadcasting for over 45 years and spent the final 35 years of his career at CBS, retiring in 2006 at the age of 68.

Christopher Glenn

Glenn worked at various radio stations in New York, Connecticut, and Washington, D.C. before joining CBS in 1971. He was a narrator for In the News, a long-running Emmy award-winning TV news program geared toward children and young people, which aired between the network's Saturday-morning children's shows. Glenn also appeared on camera as an anchor for the short-lived 30 Minutes, a young people's version of 60 Minutes.

He served as an anchor for two of the CBS Radio Network's signature news roundups carried by affiliates in the United States - The World Tonight (now the CBS World News Roundup Late Edition) from 1988 to 1999, and the morning CBS World News Roundup from 1999 until his retirement. Glenn's final morning broadcast occurred on February 23, 2006.

Glenn made his best-known report on January 28, 1986, when he anchored CBS Radio's live coverage of the launch of the Space Shuttle Challenger. Glenn had just signed off—after what was thought to have been a normal launch—when the shuttle disintegrated, killing the seven astronauts on board. "I had to get back on the air real fast to describe that, and had a very difficult time doing that," he recalled. Glenn and correspondent Frank Mottek (now a reporter at CBS Radio Station KNX) covered the Challenger disaster from that point as a CBS NetAlert bulletin.

➦In 1940...The game show “Truth or Consequences” was first heard on the NBC Radio Network.

Ralph Edwards (left) stated he got the idea for a new radio program from a favorite childhood parlor game, "Forfeits". The show premiered on NBC Radio in March 23, 1940, and was an instant hit with listeners.

Edwards hosted the show from 1940 to 1957 and on television from 1950 to 1954. Other TV hosts were Jack Bailey (1954–1956), Bob Barker (1956–1975), Steve Dunne (1957–58), Bob Hilton (1977–1978) and Larry Anderson (1987–1988). The television show ran on CBS, NBC and also in syndication. The premise of the show was to mix the original quiz element of game shows with wacky stunts.

Truth or Consequences was the first game show to air on broadcast television, airing as a one-time experiment on the first day of New York station WNBT's commercial program schedule on July 1, 1941. However, the series did not appear on TV again until 1950, when the medium had caught on commercially.

In the late 1940s, Hot Springs, New Mexico agreed to host a T or C radio episode, resulting in the community renaming itself to Truth or Consequences; it still continues to use that name today.

AFVN Saigon - 1972

➦In 1973...American Forces Vietnam Network (AFVN) radio and TV signed off permanently after serving the American fighting men and women for many years in Vietnam. During that time over a thousand military personnel served at one of the many in-country sites.

➦In 2008…Big Jack Armstrong died at age 62 in High Point NC. (Born -  John Charles Larsh on December 4, 1945).  He was also known as Jack Armstrong, Jackson W. Armstrong, and Big Jack Your Leader, was a top-40 disc jockey of the 1960s through the 1980s, and an oldies DJ until 2006.

Chicago Radio: Talk Host Dan Bernstein Fired From WSCR, The Score

Dan Bernstein

Dan Bernstein, a veteran Chicago sports radio host, was fired from WSCR 670 The Score Friday ending a nearly 30-year tenure with the station. 

The dismissal came after a heated social media exchange where Bernstein threatened to dox a follower—revealing their personal information, including address and phone number—and ominously asked if they wanted their “kids involved.” This stemmed from a dispute over a photo Bernstein posted last week of himself with a 32-inch northern pike he caught, captioned “This was a helluva fight.” 

A user accused him of killing a pregnant fish instead of releasing it, prompting Bernstein to claim it was released successfully. When the critic persisted, calling him a liar, Bernstein escalated, writing, “I never respond to trolls, but questioning my sportsmanship and conservation awareness sets me off. Wanna fight? I’m a bad enemy,” before issuing the threats.

Ho hum. Just another normal day for Danny Bernsteinpic.twitter.com/cbtFwySBoG

— Eddie (@EddieBarstool) March 14, 2025

The fallout was swift. By March 16, Camp One Step, a children’s cancer charity where Bernstein served on the board, removed him, citing comments that didn’t reflect their mission. On Monday, he was absent from his midday show, replaced by Marshall Harris and Leila Rahimi, with the station initially framing it as “time off.” 

But on Friday, at 1:50 p.m. CDT, Vice President and Brand Manager Mitch Rosen announced on-air, “Dan Bernstein no longer works at The Score. We thank Dan for his time here and wish him nothing but the best.” An email to staff echoed this, per the Chicago Sun-Times. Audacy, WSCR’s parent company, didn’t elaborate further.

Edison: In-Car Radio Listening Returns To Pre-Pandemic Levels

The Infinite Dial 2025, an annual survey tracking U.S. digital media consumption, found that 74% of Americans aged 18+ who had driven or ridden in a car in the past month used AM/FM radio in-car. 

This figure, highlighted in an Edison Research suggests a robust return to pre-pandemic norms for in-car radio listening. Pre-COVID data from Edison’s Share of Ear study (2016-2019) showed in-car listening accounting for 49% of all AM/FM consumption among adults 25-54, a share that dipped during pandemic lockdowns—hitting 41% in Q4 2021—before rebounding to 50% by Q3 2023. The 74% reach in 2025 indicates not just a recovery but sustained dominance, aligning with historical Infinite Dial trends (e.g., 82% in 2018, 73% in 2022).

This resurgence reflects commuting patterns normalizing post-COVID, with radio benefiting from its built-in presence in vehicles—nearly all cars have AM/FM receivers, unlike the 40% with Apple CarPlay or Android Auto (33% actively used, per Infinite Dial 2025). Radio’s free, live, and local appeal contrasts with the 55% of drivers also using online audio (e.g., Spotify, podcasts), showing it holds ground even as digital options grow.

The finding ties to broader audio trends—like the Opry 100 special’s 5.3 million viewers on March 19, 2025, or Nashville’s influence in the IFPI’s 2025 Global Music Report—where traditional media retains cultural pull. For radio, it’s a validation of its role as a default in-car companion, even as podcasts (32% in-car use in 2022) and online audio chip away at its share. The “back to pre-pandemic levels” claim likely nods to this restored equilibrium, with radio’s reach and resilience echoing pre-2020 patterns despite a shifting audio landscape.

Global Music Report: Radio Relevance Endures

The 2025 Global Music Report from the International Federation of the Phonographic Industry (IFPI), was released this week. Several highlights have clear implications for radio-oriented trends, especially given radio’s enduring relevance in music consumption (e.g., 74% in-car usage per Edison’s Infinite Dial 2025). 

Drawing from the report’s broader findings and contextualizing them for radio, here’s what stands out:

Streaming Dominance Meets Physical Resilience: Global recorded music revenues grew 9.8% in 2024 to $30.4 billion, with paid streaming subscriptions (up 10.5% to $15.8 billion) driving 51% of the total. However, physical formats like vinyl (up 4.2%) and CDs still contributed $4.7 billion. For radio, this dual trend suggests a continued role as a discovery platform—streaming fuels on-demand listening, but radio’s live, curated appeal (think Opry 100’s 5.3 million viewers) keeps it vital for exposing hits that later stream or sell physically.

Performance Rights Growth: The report highlights a 6.1% rise in performance rights revenue to $2.9 billion, reflecting income from broadcasts, including radio airplay. This underscores radio’s ongoing economic importance to artists and labels, especially in markets where AM/FM remains a primary channel (e.g., U.S. and Canada, 41% of global revenue). Radio’s ability to generate royalties keeps it a key player, even as streaming takes the revenue lead.

Genre Fluidity and Nashville’s Rise: Nashville’s growing influence, as noted in the report, ties to artists like Morgan Wallen and Jelly Roll blending country with pop and hip-hop, dominating streaming charts. Radio, particularly country and Top 40 formats, amplifies this trend—Wallen’s “Heartless” or Post Malone’s Opry appearance signal how stations can bridge traditional airplay with streaming-driven crossover appeal, shaping what IFPI calls a “globally interconnected” industry.

Live Music Synergy: The Opry 100 special’s success (5.3 million viewers on March 19, 2025) aligns with the report’s nod to live music’s resurgence post-COVID. Radio stations often partner with such events—think iHeartRadio broadcasts or local tie-ins—boosting artist visibility and driving listeners to both airwaves and streams. The report’s 9.8% revenue growth partly reflects this interplay, with radio as a promotional linchpin.

2025 Infinite Dial Report from Edison Research

Regional Radio Strength: While streaming led growth globally, regions like Asia (down 2.8% in physical sales) and Latin America (up 17.3%) show varied consumption habits. Radio’s stronghold in car-heavy markets (U.S., Japan) or emerging ones (Brazil, Mexico) complements streaming’s rise, offering free access that the IFPI notes still matters—67% of global revenue is streaming, but radio fills gaps where subscriptions lag.

Though the report focuses heavily on streaming (615 million paid users), radio’s relevance shines through indirectly via performance rights and its cultural tie to events like the Opry’s milestone. X posts around the report’s release praise Nashville’s radio-friendly acts, suggesting stations remain a tastemaker, even if the IFPI emphasizes digital metrics. For radio, the takeaway is adaptability—leveraging its live, local edge to stay essential in a $30.4 billion industry increasingly shaped by on-demand platforms.

Milwaukee Radio: Jon Adler Out At WLUM

Jon Adler

Jon Adler, a longtime morning radio personality in Milwaukee, has parted ways with WLUM-FM (102.1), an alternative rock station branded as "FM 102/1," after nearly 20 years on the air. 

Adler joined the station in March 2006, initially co-hosting the morning show with Brian Kramp as part of the "Kramp and Adler" duo. This transition coincided with the station’s shift back to an alternative rock format from a rock-leaning "New Rock 102.1." Following Kramp’s departure in 2013, Adler continued hosting the morning slot solo, becoming a familiar voice to listeners during the 6-10 a.m. weekday drive time.

His exit was attributed to budget cuts rather than performance issues. Adler himself noted the reason in a public statement, emphasizing that his 19 years and 4 days at the station were filled with enjoyment, thanks to supportive listeners and the team at the Milwaukee Radio Alliance, which operates WLUM in partnership with All-Pro Broadcasting and Shamrock Broadcasting. 

FCC May Veto Deals If Parties Have DEI Policies

FCC Chairman Brendan Carr signaled a significant policy shift by stating that the FCC is prepared to block mergers and acquisitions (M&A) involving companies that maintain what he calls “invidious” diversity, equity, and inclusion (DEI) policies. 

The stance, reported by Bloomberg, aligns with broader efforts under the Trump administration to dismantle DEI initiatives across both government and private sectors.

Carr’s position emerged amid reviews of high-profile deals, including Paramount Global’s merger with Skydance Media—potentially linked to CBS Mornings’ parent company—and Verizon Communications Inc.’s $20 billion acquisition of Frontier Communications Parent Inc. In an interview, Carr explicitly warned, “Any businesses that are looking for FCC approval, I would encourage them to get busy ending any sort of their invidious forms of DEI discrimination.” 

He argues that such policies violate the Communications Act, which mandates the FCC to regulate communications without discrimination based on race, color, religion, national origin, or sex, and deprive Americans of equal treatment under the law.

This move builds on Carr’s earlier actions since taking the FCC helm in January 2025. He’s already eliminated the FCC’s own DEI programs, including its Diversity Task Force and advisory council, citing a Trump executive order from January 20, 2025, titled “Ending Radical and Wasteful Government DEI Programs and Preferencing.” 

Lawsuit Claims Trump Illegally Shutdown Voice of America

A lawsuit filed late Friday, March 21, 2025, in U.S. District Court in New York accuses the Trump administration of illegally shutting down Voice of America (VOA). 

Filed by VOA reporters, Reporters Without Borders, and unions, it claims the administration—via the U.S. Agency for Global Media (USAGM) and adviser Kari Lake—halted operations by furloughing 900 employees, terminating 550 contractors, and freezing funds, silencing VOA’s global broadcasts. 

The plaintiffs argue this violates First Amendment rights and legal protections, seeking a federal court order to restore the outlet. 

The move follows criticism from Trump allies labeling VOA biased, with broader impacts hitting sister networks like Radio Free Asia and Radio Free Europe/Radio Liberty, amid a growing legal fight over U.S.-funded media as of March 22, 2025.

Trump Calls Out CNN and MSNBC

President Donald Trump has again seized the opportunity to once again criticize one of his most frequent targets: the mainstream news media. In a lengthy diatribe Friday during a press event, the president specifically called out cable news channels CNN and MSNBC, accusing them of fabricating stories and engaging in dishonest reporting.

Trump went so far as to predict that the networks' allegedly declining ratings would soon lead to their demise, suggesting that they would be "turned off" as a result of their poor performance.

Despite his harsh critique, Trump acknowledged the importance of truthful reporting, stating, "We do need honest journalism." He went on to claim that significant progress had been made in the past two months, but lamented that the lack of integrity in journalism continued to hinder further advancements. "When you have CNN — you have to watch these people every once in a while just to see where they are coming from, and it’s so dishonest," Trump remarked. "MSNBC is I think probably worse. They are both doing horribly in the ratings. I think they’re going to be turned off. They’re not doing any ratings."

TV Ratings: Opry Celebration Viewed by 5.3M

"Opry 100: A Live Celebration" a three-hour television special that premiered live on Wednesday at 8 p.m. EDT, celebrating the 100th anniversary of the Grand Ole Opry, a cornerstone of country music since its radio debut in 1925.

Hosted by Opry member and country star Blake Shelton, the event aired simultaneously on NBC and Peacock, drawing a combined 5.3 million viewers according to Nielsen live-plus-same-day figures and NBCUniversal’s internal data, making it the most-watched program of the night.

The special, broadcast from the Grand Ole Opry House in Nashville with additional performances at the historic Ryman Auditorium, featured a star-studded lineup of country music legends and current artists.

Performers included Reba McEntire, Garth Brooks, Carrie Underwood, Vince Gill, Trisha Yearwood, Keith Urban, Luke Combs, and newer acts like Post Malone and Lainey Wilson, alongside special appearances by icons like Randy Travis and Barbara Mandrell. 

The show blended live performances with tributes to country music’s past, honoring figures like Dolly Parton, Johnny Cash, June Carter Cash, and George Jones through songs such as “I Will Always Love You” and “Hurricane.” Highlights included Underwood’s tribute to Travis—who famously invited her to join the Opry in 2008—and a gospel-infused segment with The War and Treaty, Amy Grant, and Yolanda Adams, reflecting the genre’s roots.

Beyond the music, the event traced the Opry’s century-long history, spotlighting its evolution from a radio barn dance to a global stage, including its time at the Ryman, dubbed the “Mother Church of Country Music.” 

The 5.3 million viewership underscores the Opry’s enduring appeal, outpacing typical primetime fare.

Global Music Reports Highlights Nashville's Influence

The 2025 Global Music Report, released by the International Federation of the Phonographic Industry (IFPI) this week, underscores Nashville’s rising influence on global music industry trends, spotlighting its evolution beyond its traditional country music roots. 

The Tennessean reports a 9.8% growth in global recorded music revenues for 2024, reaching $30.4 billion, driven largely by a 10.5% surge in paid streaming subscriptions (now at 615 million users worldwide). 

Nashville’s contribution shines through its expanding footprint in this digital boom. The city, long dubbed “Music City,” is no longer just a country music hub—its influence now spans pop, rock, hip-hop, and Americana, fueled by a blend of legacy institutions like the Grand Ole Opry and a thriving independent scene. The IFPI report, per Marcus Dowling’s analysis, points to Nashville’s artists and studios driving streaming gains, with acts like Post Malone and Lainey Wilson bridging country with broader genres, boosting global playlists.

Podcast Fandom Is Growing and Deepening

The "Fandom Phenomenon" white paper is a research study that explores the growing influence and power of podcast fans, emphasizing how this medium has evolved from a niche interest to a mainstream cultural force.

The study delves into how podcast listeners transform into passionate fans, forming deep emotional connections with hosts and driving engagement that benefits both creators and brands. It notes that podcasts are no longer a fringe medium—33% of some unspecified population (likely a surveyed group, possibly global or regional) now engages with them regularly, per the post. This aligns with broader audio trends, like the Edison Research Infinite Dial 2025 finding that 74% of U.S. drivers use AM/FM radio in-car, suggesting podcasts are carving out a complementary space in audio consumption.

The white paper builds on the idea that fandom in podcasts mirrors dynamics seen in other media, such as the Grand Ole Opry’s 100th anniversary special (5.3 million viewers on March 19, 2025) or Nashville’s genre-blending influence in the IFPI’s 2025 Global Music Report. It emphasizes how fans don’t just passively listen—they actively promote shows, share content, and even influence brand partnerships through their loyalty.

Fox & Friends Highlights National Down Syndrome Day

In honor of National Down Syndrome Day, FOX & Friends Weekend co-host Rachel Campos Duffy and her daughter Valentina, who was born with Down Syndrome, joined FOX & Friends Friday morning to reflect on the day. Rachel emphasized that Valentina is the foundation of her family of 11 and known to everyone as the family favorite.

She shares her experience raising Valentina and provides advice for parents who are fearful when first learning of their child’s syndrome.

R.I.P.: George Foreman, Boxing Legend, Iconic TV Commercial Pitchman

George Foreman, the legendary two-time heavyweight boxing champion and iconic TV commercial pitchman, passed away on Friday at the age of 76. 

His family announced the news in a heartfelt statement on Instagram, saying, "Our hearts are broken. With profound sorrow, we announce the passing of our beloved George Edward Foreman Sr., who peacefully departed on March 21, 2025, surrounded by loved ones." No specific cause of death has been officially disclosed at this time.

Foreman’s remarkable life spanned an extraordinary boxing career and a successful second act as a businessman and personality. 

Born in Texas, he rose from a troubled youth to win an Olympic gold medal in 1968 at age 19. Turning professional, he claimed the heavyweight title in 1973 by knocking out Joe Frazier in a stunning upset, defending it twice before losing it to Muhammad Ali in the legendary "Rumble in the Jungle" in 1974.

 After retiring in 1977 and becoming an ordained minister, Foreman made a stunning comeback in 1987. In 1994, at the age of 45, he reclaimed the heavyweight title by knocking out Michael Moorer, becoming the oldest heavyweight champion in history.

Beyond the ring, Foreman became a household name as the pitchman for the George Foreman Grill, a lean, mean grilling machine that sold over 100 million units worldwide.  His warm, jovial persona endeared him to millions, and his entrepreneurial success added to his legacy as a cultural icon. 

Tributes from the sports world, including figures like Charles Barkley and Magic Johnson, poured in after his passing, celebrating his contributions to boxing and beyond. Foreman leaves behind his wife, Mary Joan Martelly, and 12 children, including five sons all named George.

R.I.P.: Bob Davis, Iconic KU, MLB Sports Voice

Bob Davis, the legendary "Voice of the Jayhawks" for more than 30 years, has passed away at the age of 80, his family announced Friday.

Davis, who began his KU career in 1984 and retired in 2016, was at the microphone for some of the most iconic moments in Kansas Athletics history. 

"Bob Davis is synonymous with Kansas Athletics for generations of fans, who grew up listening to his calls of some of the most important moments in KU history," Director of Athletics Travis Goff said. "Bob's love and passion of the Jayhawks shined through during the broadcast with his beloved radio partners. For more than three decades, Bob represented Kansas Athletics in exemplary fashion and connected Jayhawk fans everywhere with his famous one-liners and detailed storytelling. 

"We send our deepest love and prayers to his family and will forever be grateful for his service to KU."

In the spring of 1984, Davis was hired as the "Voice of the Jayhawks" where he would work alongside Max Falkenstein in the broadcast booth. Davis' voice is the soundtrack of many of KU's most memorable games, as he called eight Jayhawk trips to the Final Four, six KU football bowl games, including the 2008 Orange Bowl, and thousands of regular season basketball and football games before his retirement in the spring of 2016.

Davis was also on the call for the 1988 and 2008 men's basketball national championship victories. 

"We lost a KU legend in Bob Davis, who was the voice of the Jayhawks for decades," Kansas Coach Bill Self said. "Bob was not only superior at his craft, but he was also a terrific, humble and unselfish person that gave so much of himself to so many. Our hearts go out to the entire family, especially with his wonderful wife Linda passing just last week." 

Davis launched his legendary broadcast career in 1968 when Hired by KAYS in Hays, Kansas and began his broadcasting career during the summer of 1968 calling American Legion baseball. In addition to his KU role, Davis called the NCAA Women's Basketball Final Four for CBS Radio six times in 1990, 1992 and 1994-97. Also, in 1997, Davis joined the Kansas City Royals as well, calling games for radio and television for the franchise for 16 years. 

Davis earned numerous accolades for his work. He was named the Kansas Sportscaster of the Year by the National Sportscasters and Sports Writers Association in 2015, marking the 14th time he had earned the honor since 1975. Davis was also named the two-time recipient of the Oscar Stauffer Sports Broadcasting Award by the Kansas State High School Activities Association (KSHSAA) in 1975 and 1978.

Radio History: March 22

➦In 1922...WLW in Cincinnati signed-on.

In July 1921, radio manufacturer Powel Crosley Jr. (above) began 20-watt tests from his College Hill home, broadcasting "Song of India" continuously under the callsign 8CR. Powell already owned a number of enterprises, including the Crosmobile and a refrigerator-freezer company, and for many years, he held ownership of the Cincinnati Reds baseball club. Powell was innovative, personally inventing or funding the development of many then–cutting edge technological advances in his ventures which he placed in the able hands of his younger by two years brother, Lewis Crosley who was a graduate engineer from the University of Cincinnati.

On March 22, 1922, Crosley and his Crosley Broadcasting Corporation began broadcasting with the new callsign WLW and 50 watts of power. Crosley was a fanatic about the new broadcasting technology, and continually increased his station's capability. The power went up to 500 watts in September 1922, 1000 watts in May 1924, and in January 1925 WLW was the first broadcasting station at the 5000 watt level. On October 4, 1928, the station increased its power to 50 kilowatts.

Again it was the first station at this power level, which still is the maximum power currently allowed for any AM station in the United States.

At 50 kilowatts, WLW was heard easily over a wide area, from New York to Florida. But Crosley still wasn't satisfied. In 1933 he obtained a construction permit from the Federal Radio Commission for a 500 kilowatt superstation, and he spent some $500,000 ($9.11 million in 2014) building the transmitter and antenna.

It was the first large amplifier used in the United States for public domestic radio broadcasting and was in operation between 1934 and 1939. It was an experimental amplifier and was driven by the radio station's regular 50 kW transmitter. It operated in class C with high-level plate modulation. The amplifier required a dedicated 33 kV electrical substation and a large pond complete with fountains for cooling. It operated with a power input of about 750 kW (plus another 400 kW of audio for the modulator) and its output was 500 kW.

In January 1934 WLW began broadcasting at the 500 kilowatt level late at night under the experimental callsign W8XO. In April 1934 the station was authorized to operate at 500 kilowatts during regular hours under the WLW call letters.

On May 2, 1934, President Franklin D. Roosevelt pressed a ceremonial button that officially launched WLW's 500-kilowatt signal. As the first station in the world to broadcast at this strength, WLW received repeated complaints from around the United States and Canada that it was overpowering other stations as far away as Toronto. In December 1934 WLW cut back to 50 kilowatts at night to mitigate the interference, and began construction of three 50 ft. tower antennas to be used to reduce signal strength towards Canada.

2025 Infinite Dial: Online, Podcast Listening Hits All-Time High

The portion of Americans who listen to any kind of online audio, and the portion who listen to podcasts, have both reached new record highs, according to The Infinite Dial® an annual survey from Edison Research with support from Audacy, Cumulus Media, and SiriusXM Media.

The 2025 Infinite Dial research study, released by Edison Research on Thursday, is the latest installment of the longest-running annual survey of digital media consumption in the United States, now in its 27th year. Presented in a webinar by Edison Research Vice President Megan Lazovick and James Cridland, Editor of Podnews, the study provides a comprehensive look at trends in podcasting, online audio, in-car audio usage, smart speaker adoption, social media behavior, and other digital media habits among Americans aged 12 and older. Supported by Audacy, Cumulus Media, and SiriusXM Media, the report is widely regarded as a benchmark for the audio industry and is relied upon by content producers, media companies, agencies, and the financial community.

Key findings from the 2025 Infinite Dial include a record-high in podcast consumption, with 73% of Americans aged 12 and up—approximately 210 million people—having consumed a podcast in either audio or video format at some point, up from previous years. This marks a significant milestone in podcasting’s growth into a mainstream medium. 

Podcast listening reach is up overall: 47% of the U.S. 12+ population has listened to a podcast in the last month, up 12% year over year; 34% of the U.S. 12+ population has listened to a podcast in the last week, up 10% year over year. Despite changes in how downloads are being delivered and counted, listening levels are up markedly.

Growth in podcast reach is driven by large increases among the number of female listeners: 

• 45% of women in the U.S. age 12+ have listened to a podcast in the last month, up from 39% in 2023, an increase of 15%; 
• 32% of women in the U.S. age 12+ have listened to a podcast in the last week, up from 27% in 2023, an increase of 19% Weekly and monthly podcast listening among men are up 3% and 4%, respectively
• Increases in the number of monthly and weekly podcast listeners are seen across all age groups

Online audio listening hits the highest mark ever: 

• 76% of those in the U.S. age 12+ have listened to online audio in the last month, an estimated 218 million people
• 90% of those age 12-34 and 85% of those age 35-54 have listened to online audio in the last month

Smart speaker ownership appears to have plateaued, but the number of smart speakers per owner continues to rise: 

• 34% of the population age 12+ report owning a smart speaker, down from 36% in 2023
• Nearly half of smart speaker owners (43%) own three or more of the devices

Twitter/X usage sees a sharp decline after Elon Musk acquisition:  

• 19% of those age 12+ are currently ever using X (formerly known as Twitter), a 30% drop from the findings in the 2023 Infinite Dial study

The study also highlights a rebound in X (Twitter) usage among Americans aged 18 and older, following a sharp decline in 2024. This resurgence is notably driven by Republicans, with 25% usage among them (up significantly), compared to a modest 1% increase among Democrats (to 22%) and steady usage among Independents at 21%. This shift suggests a changing demographic in the platform’s audience.

FNC's Bret Baier Closes In on Broadcast Rivals

Bret Baier, the host of "Special Report" on Fox News Channel, has been making significant strides in the television news landscape, closing the gap with his broadcast rivals this week.

Recent reports highlight that "Special Report," airing at 6 p.m. ET, has achieved notable ratings success, even surpassing some of the traditionally dominant evening newscasts on major broadcast networks like ABC, CBS, and NBC, according to The NYTimes.

On Tuesday, March 18, "Special Report" outperformed "CBS Evening News" in total viewership, and the margin was described as substantial. This victory is part of a broader trend where Baier's program has been gaining ground against the "Big Three" broadcast networks. 

For instance, it has beaten ABC’s "World News Tonight"—typically the highest-rated evening newscast—in nearly a dozen regional markets. Additionally, in several major East Coast metropolitan areas, "Special Report" has outdrawn "NBC Nightly News." 

These achievements underscore a shift in viewer preferences, with Baier’s show averaging 3.5 million viewers in 2025 so far, up 63% from previous figures, alongside a 60% increase in the key 25-54 demographic coveted by advertisers.

This ratings surge is attributed to several factors. 

Baier himself has suggested that a general loss of trust in traditional media has driven viewers to Fox News, where "Special Report" has built credibility over time. High-profile interviews, such as his sit-down with Ukrainian President Volodymyr Zelensky on March 7, 2025, which drew a peak of 6.4 million viewers, have further boosted the show’s prominence. That particular broadcast not only led all cable and broadcast programs that night but also surpassed the viewership of "NBC Nightly News" (5.76 million) and "CBS Evening News" (3.9 million) during their respective time slots. 

The Times reports such moments have positioned "Special Report" as a go-to destination for significant news events and exclusive interviews with world leaders, including French President Emmanuel Macron and UK Prime Minister Keir Starmer.

Graphic Courtesy of RoadMN

Baier’s success comes amid a broader narrative of Fox News Channel’s dominance in cable news, reinforced by its close ties to the Trump administration. 

The network’s ability to secure these high-profile interviews and its appeal to a growing audience have led Fox Corp. CEO Lachlan Murdoch to argue that Fox News should be considered among the top broadcast networks in the U.S., despite its cable distribution. 

This perspective is supported by the show’s consistent performance, with its February 2025 ratings placing it among Fox News’s top programs, trailing only behind primetime heavyweights like "Hannity" and "The Five."

 Its recent victories over CBS and competitive showings against ABC and NBC signal that Baier’s program is not just a cable news contender but a significant player in the broader television news arena.

iHeartRadio Adding Two Rick Dees Streaming Channels

Legendary radio personality Rick Dees has partnered with iHeartRadio to launch two new streaming channels on iHeartRadio. The collaboration brings together Dees' extensive experience in radio entertainment and iHeartMedia's vast digital streaming platform, expanding his reach to both new and nostalgic audiences.

The two channels are:

Rick Dees Weekly Top 40: This channel will feature a 24/7 loop of Dees’ current syndicated countdown show, which is distributed nationally by Compass Media Networks. It continues his legacy as the host of the longest-running pop music countdown in the world, offering listeners the latest hits with his signature style.

Classic Rick Dees Top 40: This channel will dive into the archives, streaming full countdowns from the 1980s, 1990s, and early 2000s—many of which haven’t been aired in years. It’s designed to evoke nostalgia for fans who grew up listening to Dees during his peak years, including his iconic tenure at KIIS-FM in Los Angeles.

The streams officially launched on thus Friday. To celebrate, Dees reunited with his former KIIS-FM morning show co-host Ellen K for a special appearance on KOST 103.5 in Los Angeles, marking a sentimental nod to his influential past in radio. Dees expressed excitement about the partnership, noting his enthusiasm for bringing both current hits and classic countdowns to a broader online audience, particularly highlighting the nostalgia factor of the archival station.

This move aligns with iHeartRadio’s strategy of blending live radio with on-demand streaming content, leveraging Dees’ recognizable voice and brand. Dees, a Radio Hall of Fame inductee with a career spanning decades—including hits like "Disco Duck" and a transformative run at KIIS-FM that made it a top station—brings significant star power to the platform.

S-F R/TV: MLB Giants Reach Deals With Broadcast Team

The San Francisco Giants have recently secured the future of their beloved broadcast team by signing multi-year contract extensions with their iconic radio and TV announcers: Duane Kuiper, Mike Krukow, Dave Flemming, and Jon Miller. 

The announcement during a media day event, ensures that Giants fans will continue to hear these familiar voices calling games on KNBR radio and NBC Sports Bay Area for years to come.

Duane Kuiper and Mike Krukow, affectionately known as "Kruk and Kuip," have been a cornerstone of Giants broadcasts for over three decades. The duo, who first teamed up as Giants players in the 1980s, have been broadcasting together since 1994, with Kuiper returning to the Giants after a brief stint with the Colorado Rockies. Their chemistry, humor, and deep connection to the team have made them fan favorites. Under the new agreements, both Kuiper and Krukow are signed through the 2027 season, marking a three-year extension from their previous contracts. 

Jon Miller

Jon Miller, a Hall of Fame broadcaster known for his distinctive voice and encyclopedic baseball knowledge, also received a multi-year extension, though the exact length wasn’t specified in the announcement. Miller has been with the Giants since 1997, earning accolades such as the National Sportscaster of the Year award in 1998 and multiple Emmy nominations. He typically calls innings 1-2, 5-6, and 8-9 on KNBR radio alongside Dave Flemming, with whom he shares play-by-play duties.

Dave Flemming, in his 21st year with the Giants in 2025, also signed a multi-year deal. The 47-year-old broadcaster, named California’s 2019 Sportscaster of the Year, juggles his Giants duties with national assignments for ESPN, covering college football, MLB, and basketball

The Giants’ decision reflects a commitment to preserving their broadcast legacy while blending it with newer voices like Flemming, who represents the next generation. Fans can expect the same rotation of Miller and Flemming on radio, with Kuiper and Krukow anchoring TV broadcasts, supplemented by fill-ins like Shawn Estes, Javier Lopez, and Hunter Pence when needed. This move, celebrated across social media and reported by outlets like the San Francisco Chronicle, underscores the Giants’ recognition of their announcers as integral to the team’s identity.

Mariah Carey Wins Christmas Copyright Court Case

Mariah Carey has won a significant copyright infringement lawsuit concerning her iconic 1994 holiday hit, "All I Want for Christmas Is You." 

The case was decided on March 19, 2025, by U.S. District Judge Mónica Ramírez Almadani in Los Angeles, who granted Carey’s motion for summary judgment, effectively dismissing the claims against her without the need for a trial.

The lawsuit was brought by songwriter Andy Stone, who performs under the name Vince Vance, and his co-writer Troy Powers. They alleged that Carey’s song infringed upon their 1988 country song, also titled "All I Want for Christmas Is You," claiming similarities in lyrics, melody, and overall composition. Stone had initially filed a similar lawsuit in 2022 in Louisiana, seeking $20 million in damages, but dropped it later that year. He refiled in November 2023 in California, again asserting that Carey’s song was a derivative work of his and that she had copied its "popularity and unique style."

In her ruling, Judge Almadani found that Stone and Powers failed to demonstrate that Carey’s song was substantially similar to their own in terms of protectable elements under copyright law. She relied on expert testimony, including from musicologist Lawrence Ferrara, who noted that the two songs shared only common "Christmas song clichés" found in numerous prior works—such as the phrase "all I want for Christmas is you"—and lacked significant melodic or structural similarities. Ferrara identified at least 19 earlier songs with similar lyrical themes, undermining Stone’s claim of originality. The judge concluded that the plaintiffs did not meet the burden of proof required to show infringement.

Additionally, Carey’s legal team argued that Stone’s song, while receiving some airplay in 1993, did not establish a strong enough link to suggest Carey had access to it before creating her own track with co-writer Walter Afanasieff. Carey has maintained that she wrote her song on a Casio keyboard, inspired by festive themes and films like It’s a Wonderful Life, a narrative Stone contested as fabricated.

The victory clears Carey, Afanasieff, and co-defendants Sony Music Entertainment and Universal Music Corp of any wrongdoing, reinforcing the legal standing of her signature Christmas anthem, which continues to dominate charts annually, having topped the Billboard Hot 100 multiple times since 2019. This ruling, reported widely on March 20, 2025, marks the end of a multi-year legal battle, affirming Carey’s creative ownership of one of the most recognizable songs in contemporary music.

Miami TV: After Almost 70-Years, ABC To Get New Affiliate

The new ABC television network affiliate in Miami is set to launch on August 4, 2025, as part of a multi-year affiliation agreement between Disney Entertainment and Sunbeam Television Corporation.

The new affiliate, branded as "ABC Miami," will broadcast on channel 7.2 over-the-air, utilizing a subchannel of WSVN-TV, which is currently the Fox affiliate in the Miami-Fort Lauderdale market owned by Sunbeam Television.

This change comes after the long-standing ABC affiliate, WPLG Local 10, owned by Berkshire Hathaway, announced it could not reach an agreement with Disney to extend its network deal due to high retransmission fees demanded by Disney. 

WPLG, which has been an ABC affiliate for decades, will transition to operating as an independent station once the switch occurs. To ensure a smooth transition, Disney will continue providing WPLG with ABC programming until the August 4 cutoff date.

WSVN-TV will maintain its Fox programming on its primary channel (7.1) while adding ABC programming to its subchannel (7.2). This move marks a significant shift in the South Florida media landscape, ending WPLG’s 69-year collective affiliation with ABC and aligning ABC with Sunbeam Television, a family-owned broadcaster with a strong presence in the region for nearly 70 years. Sunbeam also owns WHDH-TV and WLVI-TV in Boston, in addition to WSVN in Miami.

CNN's Jennings: Kimmel Gave 'Marching Orders' For Violence

CNN commentator Scott Jennings has accused late-night host Jimmy Kimmel of effectively giving his audience “marching orders” to vandalize Tesla vehicles, sparking a heated debate amid rising tensions over Elon Musk’s role in the Trump administration. 

The controversy stems from Kimmel’s monologues on Jimmy Kimmel Live! on March 18 and 19, where he sarcastically addressed a wave of attacks on Tesla cars and dealerships—incidents including arson and gunfire linked to backlash against Musk’s involvement with the Department of Government Efficiency (DOGE) and his perceived influence on federal budget cuts.

In his Tuesday monologue, Kimmel noted Tesla’s stock plummeting over 40% since January 2025, quipping, “Tesla stock is way down, almost disastrously so,” before deadpanning, “Please don’t vandalize. Don’t ever vandalize Tesla vehicles,” with a pause that drew laughs from his audience. On Wednesday, he doubled down, playing clips of Tesla arson attacks and suggesting Musk’s actions—like “pulling out a chainsaw to celebrate firing thousands of people”—justified public anger. Kimmel’s sarcasm was clear, but Jennings, a conservative pundit, interpreted it as a call to action.

During a CNN NewsNight panel on March 19, Jennings condemned the vandalism as “domestic terrorism,” aligning with President Trump’s stance, and argued it was an organized effort targeting Tesla owners—many of whom, he noted, might lean Democratic—for emotional reasons tied to Musk’s politics. When former Biden official Neera Tanden countered by referencing the January 6 Capitol riot, Jennings erupted, calling her “condescending” and defending his consistent opposition to political violence.

The message from the American Left to conservatives is unmistakable: silence yourselves, or we will do it for you. This isn’t comedy - these are marching orders. https://t.co/DveEyW47nl

— Scott Jennings (@ScottJenningsKY) March 20, 2025

The accusation ignited a firestorm. MAGA supporters on X amplified Jennings’ view, with posts labeling Kimmel’s remarks as incitement to “terrorist attacks,” some even calling for lawsuits or his arrest. Critics, including The Daily Mail and Townhall, framed it as part of a broader leftist pattern of condoning destruction when it suits their narrative. Meanwhile, Kimmel’s defenders saw it as typical comedic exaggeration, not a literal directive, pointing to his history of mocking Musk—once calling him a “piece of s–t” in 2022 over a Pelosi conspiracy tweet.

Skydance-Paramount Merger Includes Courtroom Battle

New York City’s pension funds this week have subpoenaed Edgar Bronfman Jr. to testify in their Delaware Chancery Court lawsuit to block the $8 billion Skydance-Paramount merger. 

Filed on February 4, 2025, the suit claims Paramount’s Shari Redstone and special committee favored Skydance over a $13.5 billion offer from Project Rise Partners (PRP), breaching fiduciary duties to minority shareholders. Bronfman, who bid $6 billion for Paramount in 2024 before withdrawing, may hold key insights into the process. 

The funds seek to pause the merger, set to close in September 2025, alleging the PRP deal—offering higher share prices, debt relief, and cash—was unfairly dismissed.

Bronfman, Redstone

The lawsuit alleges that Paramount’s controlling shareholder, Shari Redstone, and members of Paramount’s special committee breached their fiduciary duties by favoring the Skydance deal over a purportedly superior $13.5 billion offer from Project Rise Partners (PRP). The pension funds argue that this alternative bid, which includes $19 per share for Class B shares (versus Skydance’s $15), $23 per share for Class A shares, $5 billion in debt restructuring, and $2 billion in additional cash for Paramount’s balance sheet, better serves minority shareholders. They claim the special committee failed to adequately consider PRP’s proposal, prioritizing Redstone’s interests through her holding company, National Amusements, which controls 77% of Paramount’s Class A voting shares.

Edgar Bronfman Jr.’s involvement stems from his earlier high-profile bid for Paramount in August 2024, when he offered $6 billion to acquire National Amusements and a minority stake in Paramount, challenging the Skydance merger during its “go-shop” period. Although Bronfman withdrew his bid on August 26, 2024, clearing the way for Skydance, his re-emergence in this lawsuit suggests the pension funds suspect he may have ties to PRP or possess critical information about the bidding process.

The subpoena seeks Bronfman’s testimony to shed light on the merger negotiations, potentially to bolster the pension funds’ case that Paramount’s board did not fairly evaluate all offers.