Radio History: March 15

➦In 1679...Philosopher Gottfried Wilhelm von Leibniz described binary numbering. In mathematics and digital electronics, a binary number is a number expressed in the base-2 numeral system or binary numeral system, which uses only two symbols: typically "0" (zero) and "1" (one).

The base-2 numeral system is a positional notation with a radix of 2. Each digit is referred to as a bit. Because of its straightforward implementation in digital electronic circuitry using logic gates, the binary system is used by almost all modern computers and computer-based devices.

David Schoenbrun - 1950

➦In 1915...Journalist David Schoenbrun born (Died at age 73 - May 23, 1988), Schoenbrun enlisted in the Army in 1943 and became a World War 2 correspondent covering North Africa through to the liberation of France.

After the war, from 1947 to 1964, Schoenbrun worked for CBS, serving primarily as the network's bureau chief in Paris. He was one of the reporters known as Murrow's Boys.

From the 1960s through the 1980s, Schoenbrun served as a news analyst for WNEW Radio in New York (now WBBR) and other Metromedia broadcast properties, and later for crosstown WPIX Television and its Independent Network News operation. In the mid-1970s.

Schoenbrun is the author of On and Off the Air, a personal account of the history of CBS News through the 1970s.

➦In 1922...WSB-AM Atlanta signed-on.

First Employees Walter Iller, Walter Tison

The call-sign "WSB" carried an infamous history before it was assigned to a land-based broadcaster in Atlanta.

In very early days of radio licensing, sea-based broadcasters were included in the call-sign assignment system. The first licensee of the call-sign "WSB" was the S.S. Francis H. Leggett. After foundering off the Oregon coast on September 18, 1914, taking a toll of two of the 67 lives aboard, the call "WSB" was reassigned to the Firewood, the name of which forms a grim coincidence with its fate: the ship burned off the coast of Peru on December 18, 1919, with 28 persons on board, all of whom were saved.

Because superstitious seafarers objected to being issued a call "used by that ship which went down with all hands last month", "tainted" calls like "WSB" were quietly issued to unsinkable land stations.

Lambdin Kay, First GM

Originally on 740 kHz until the 1936 FCC band plan, WSB was the fourth radio station in the South, behind the first AM station, WBT 1110 AM in Charlotte, licensed in December, 1920... WNOX 990 AM in Knoxville, Tennessee licensed in November, 1921... and WWL 850 AM in New Orleans, licensed 13 days before WSB in March, 1922.

They, among others, are all considered "clear channel" stations. That designation is given to frequencies on which only one or two stations are assigned to a frequency that allows full power transmission day and night.

The WSB broadcast call sign stands for "Welcome South, Brother". Founded by the Atlanta Journal newspaper (once a competitor of the Atlanta Constitution, now merged), the station began broadcasting on March 15, 1922, just a few days prior to Constitution-owned WGM 710 AM (eventually swapped to WGST 640 AM.

➦In 1923..The U.S. Commerce Department reported that 524 radio stations were authorized to operate on the 830 kHz frequency. At the time, the Commerce Department held sole regulatory power over broadcasting, and this snapshot highlights the chaotic early days of radio. With so many stations sharing a single frequency, time-sharing arrangements were common, reflecting the medium’s rapid growth and the regulatory challenges that led to the creation of the Federal Radio Commission in 1927.

➦In 1946...In New York City, a dinner honoring Winston Churchill (right) was broadcast by major networks—ABC, CBS, NBC—and nine independent stations. The event showcased radio’s role in amplifying global figures and fostering a shared national experience. That same day, Mutual Broadcasting System revealed that 70% of its 255 affiliates were in single-station markets, underscoring radio’s penetration into small-town America and its reliance on local broadcasters. 

Meanwhile, Swift Packing Company signed a five-year, $5 million deal with ABC to sponsor two daily segments of Don McNeill’s Breakfast Club, a popular morning show. And the National Association of Broadcasters (NAB) filed a brief with the FCC to repeal the AVCO Rule, which complicated station ownership transfers—a sign of the industry’s push for deregulation as it matured.

➦In 1947...A Pennsylvania housewife won the Truth or Consequences “Mrs. Hush” contest on NBC. Identifying silent film star Clara Bow as the mystery voice, she claimed a $17,500 prize package—the largest radio giveaway to date—after a contest that drew over a million entries and raised $400,000 for the March of Dimes. This event captures radio’s power to engage mass audiences interactively, blending entertainment with philanthropy in a way that defined its cultural dominance.

➦In 1956...Elvis Presley signed a management deal with Colonel Tom Parker.  Their partnership was uniquely successful, Elvis being an entirely new force in popular music, and Parker an entrepreneurial genius able to market him.

A carnival worker by background, Parker moved into music promotion, earning the courtesy rank of ‘Colonel’ from a grateful singer Jimmie Davis, who had become governor of Louisiana. After discovering the teenage Tommy Sands, Parker talent-spotted the unknown Elvis Presley, and skillfully maneuvered himself into position as his sole representative with control over much of his private life. Within months, he had won Presley a recording contract with the prestigious RCA Victor record label, made him a star with his first single Heartbreak Hotel, negotiated lucrative merchandising deals, made plans for TV appearances as well as a new career as an actor in film musicals.

➦In 1964... Pioneering radio deejay Alan Freed indicted by Federal Grand jury for income tax evasion. On January 23, 1986, Freed was part of the first group inducted into the Rock and Roll Hall of Fame in Cleveland. In 1988, he was also posthumously inducted into the National Radio Hall of Fame.  On December 10, 1991, Freed was given a star on the Hollywood Walk of Fame.

➦In 1971...CBS announced the cancellation of The Ed Sullivan Show.

NFL Negotiating $3B Deal with PSKY For Sunday Night Football

The National Football League is in active discussions with Paramount Skydance (PSKY), the parent company of CBS, to extend CBS's broadcasting rights for its package of Sunday afternoon NFL games through the 2033-2034 season. 

The proposed deal would eliminate the existing opt-out clause after the 2029 season and secure CBS's long-term commitment in exchange for a significant price increase.

Sources cited by CNBC indicate the NFL is pushing for roughly a $1 billion annual hike over the current contract, which would elevate CBS's yearly payments to around $3.1 billion — a roughly 50% increase from the existing average of about $2.1 billion per year for the AFC-focused Sunday package (including select playoffs and participation in the Super Bowl rotation).

This early renegotiation stems from recent corporate changes at Paramount, including its merger activities and acquisitions (such as Warner Bros. Discovery assets and UFC rights), which triggered a "change of control" provision in the current 11-year, $110 billion+ overall NFL media rights agreements (covering CBS, Fox, NBC, ESPN, and Amazon). 

Those deals, signed in 2021-2022, run through 2033 but include an opt-out window after 2029 that the league appears eager to waive for higher fees now.

The NFL is reportedly prioritizing a deal with CBS/Paramount first, potentially setting a precedent for similar renegotiations with other partners like Fox. Industry observers note the league's strong leverage, especially after CBS posted record viewership in recent seasons (averaging over 21 million viewers per game in 2025). The push reflects the skyrocketing value of live sports in a fragmented media landscape, where the NFL remains the dominant draw for advertisers and viewers.

If finalized, the new terms could take effect as early as the upcoming season, locking in CBS as a key NFL broadcaster for nearly another decade while boosting the league's already massive media revenue stream. Negotiations are described as ongoing, with no final agreement announced yet.

NFL Analyst Tony Dungy Exits NBC FNIA

Tony Dungy

NBC Sports has parted ways with longtime NFL analyst Tony Dungy, ending his 17-year tenure on the network's "Football Night in America" pregame show ahead of Sunday Night Football.

The Pro Football Hall of Fame coach and former Super Bowl-winning head coach of the Indianapolis Colts confirmed the departure this weekv via a post on X (formerly Twitter). 

"I have been informed by NBC that I won’t be back with FNIA this fall and it has given me time to reflect and also to look ahead," Dungy wrote. "It’s disappointing news but I want to thank my NBC family for making the last 17 years so special. I’ll have lasting memories of my time there, especially with Rodney Harrison who has become a tremendous friend."

Dungy, 70, joined NBC in 2009 as a studio analyst, becoming a staple on the Sunday night pregame program alongside personalities like Dan Patrick and Rodney Harrison. His exit follows reports from late February 2026 indicating NBC's plans to revamp the show, including potentially taking it more on the road, slimming down the cast, and shifting toward fresher voices from recent players, sideline reporters, rules experts, and fantasy analysts rather than veteran coaches.

The decision appears tied to broader changes at NBC Sports for the 2026 NFL season, as the network adjusts its primetime coverage amid evolving broadcast trends. While some outlets described the move as a firing or non-renewal of his contract, Dungy framed it gracefully, expressing faith in future opportunities—whether in football, broadcasting, church work, or community outreach—and citing Romans 8:28: "God works all things for His good for those who love the Lord."

Paramount Pressure Intensifies

A mounting coalition of critics is intensifying pressure on the proposed $111 billion merger between Paramount Skydance and Warner Bros. Discovery (WBD), with antitrust, job loss, and national security concerns fueling opposition just weeks after the deal was signed in late February 2026.

A group of 14 lawmakers, led by Sens. Elizabeth Warren (D-Mass.) and Richard Blumenthal (D-Conn.), this week sent a joint letter to the Department of Justice (DOJ) and Treasury Department urging rigorous scrutiny of the transaction. The senators highlighted substantial antitrust risks from combining major studios, streaming platforms (Paramount+ and Max), and news outlets (CBS News and CNN), potentially reducing competition in theatrical distribution, premium streaming, and content licensing.

They also raised national security alarms over foreign investments—reportedly billions from Middle Eastern sovereign wealth funds backing Paramount's bid—questioning why the Committee on Foreign Investment in the United States (CFIUS) has not initiated a full review despite prior calls.

The International Brotherhood of Teamsters escalated the fight by submitting a detailed report to the DOJ's Antitrust Division, warning that the merger threatens nearly 15,000 union jobs in the motion picture industry alone. Without enforceable worker protections, increased domestic production commitments, or safeguards against offshoring and layoffs, the union urged the government to block the deal outright. Teamsters leaders emphasized that past media consolidations have led to job losses, reduced production in American communities, and workers bearing the costs.

Separately, California Attorney General Rob Bonta accused the federal government under President Trump of having "abdicated" its responsibilities to hold big corporations accountable on antitrust enforcement. Bonta announced his office has an open investigation into the merger and intends to conduct a vigorous review, positioning California as a key state-level check amid perceived federal inaction.

The deal, which Paramount Skydance clinched after outbidding Netflix in a heated contest, remains pending and is expected to close in Q3 2026 subject to regulatory clearances, shareholder approval, and international reviews (including in the EU and UK). Paramount CEO David Ellison has expressed confidence in approval and pledged no pullback on production.

Survey Reveals Adults 25-64 Listening Weekly To Radio

The latest 2026 FMR/Eastlan Ratings National Radio Listening Survey reveals that 84% of U.S. adults aged 25-64 listen to AM/FM radio on a weekly basis.

This figure underscores radio's enduring dominance in the audio landscape, with weekly reach holding remarkably steady over the past five years—hovering around 84-86% (86% in 2024, 85% in 2025, and 84% in 2026). The consistency spans both large markets (top 30) and smaller ones (31+), where traditional broadcast radio remains the primary listening method, accounting for about two-thirds of primary radio time.

Podcast listening, meanwhile, has stabilized at 40% weekly among the same demographic in 2026. This follows a notable surge during the 2025 election year, when it climbed from around 24% in 2024 to 39% in 2025. 

The post-election leveling off (a slight uptick to 40%) did not come at the expense of traditional radio, streaming audio (which reaches 63% weekly), or satellite services. Instead, the growth in podcasts appears to reflect additional overall audio consumption—listeners expanding their total time with spoken-word and entertainment options rather than shifting away from established platforms.

Other audio habits in the survey include personal music listening at 60% weekly, reinforcing that Americans are engaging with a broader mix of audio sources without abandoning radio's core role. Conducted with a nationally representative sample of 1,000 demographically balanced adults aged 25-64, the study highlights radio's resilience amid evolving digital alternatives, positioning it as a stable leader in reach for advertisers and audiences alike.

Radio Holds-On To In-Car Dashboard

AM/FM radio continues to dominate in-car audio listening, capturing 83% of all ad-supported audio time spent in vehicles according to Edison Research's Q4 2025 "Share of Ear" survey. 

Pierre Bouvard, chief insights officer for the Cumulus Media/Westwood One Audio Active Group, describes this hold on the dashboard as "firm," with the medium remaining the top choice for drivers—including 77% among the 18–34 age group.

Over the past decade, however, listening has increasingly migrated to cars even as overall radio reach has declined. According to the Q4 2025 “Share of Ear” survey from Edison Research, the shift to in-car listening is most evident among female listeners.

In-car tuning now accounts for 53% of all over-the-air AM/FM radio time (up from 42% in 2015), while daily reach among adults 18+ has dropped from 69% in 2017 to 54% in 2025. Podcasts, by contrast, saw their daily reach rise from 8% to 23% over the same period.

The in-car shift is especially strong among younger listeners and women:

• For ages 18–34, 63% of over-the-air radio listening occurs in the car.
• For ages 25–54, 57% happens while driving.
• Among women aged 18–34 who listen to radio, 72% of their tuning time is in-vehicle—higher than for men across major demographics.

This concentration in vehicles aligns with broader audio trends, including reduced workplace listening (down to 14% of ad-supported audio for ages 25–54 from 19% in 2016–2019) and increased home listening (up to 54% from 44%), driven by remote work, podcasts, and streaming.

Despite a gradual multi-year dip in radio's in-car ad-supported share—from 90% in 2018 and 86% in 2024 to the current 83%—the medium retains strong dominance across car brands. 

Drivers of domestic models (e.g., Chevrolet, Ford, Jeep) saw in-car radio's proportion of total tuning rise from 43% in 2016 to 53% in 2025, while import drivers experienced a similar increase from 50% to 55%.

Edison's quarterly Share of Ear study, now in its 11th year, surveys about 4,000 U.S. listeners annually to monitor these evolving audio consumption patterns.

Hegseth Says He's Eager for New CNN Owners

Defense Secretary Pete Hegseth on Friday sharply criticized CNN's coverage of the ongoing U.S.-led war with Iran and declared he is eager for Trump ally David Ellison to take control of the network through Paramount Skydance's pending acquisition of its parent company.

"The sooner David Ellison takes over that network, the better," Hegseth said during a Pentagon briefing on March 13, 2026. He dismissed a recent CNN report claiming the Pentagon and White House had significantly underestimated Iran's readiness to disrupt the Strait of Hormuz as "fake news," "patently ridiculous," and "a fundamentally unserious report."

Hegseth on CNN:

"The sooner David Ellison takes over that network, the better." pic.twitter.com/NdD4WLJFaP

— The American Conservative (@amconmag) March 13, 2026

Hegseth, a former Fox News host and combat veteran, argued that Iran's threats to the vital oil chokepoint were longstanding and predictable. The strait has been effectively closed by Iranian threats and actions against shipping, causing oil prices to surge above $100 per barrel, stock market volatility, and fears of rising U.S. gasoline costs. 

Reuters/Ipsos polls show limited public support for the conflict, now in its 14th day since U.S.-Israel strikes began on February 28, 2026.

A CNN spokesperson responded: "We stand by our reporting." Paramount representatives declined to comment. Hegseth's remarks came amid broader tensions with legacy media. Under his leadership, the Pentagon has revoked credentials for about 30 major outlets—including Fox News, The Washington Post, and Reuters—while favoring non-traditional sources. 

Recent briefings on Iran operations have invited some mainstream media back but prioritized questions from friendlier reporters.

He also faulted ABC News for reporting on an FBI bulletin warning of possible Iranian retaliatory drone attacks in California. ABC did not immediately respond to comment requests. Hegseth emphasized that the administration routinely deals with what he called "bad" or "ill-informed" reporting but engages to correct inaccuracies without changing operations.

Philly Radio: Former Hosts Express Disappointment With 94 WIP

Howard Eskin

Former longtime hosts of Philadelphia's SportsRadio 94 WIP, Howard Eskin and Angelo Cataldi, have publicly expressed disappointment with the current state of the station they helped define for decades.

In a recent appearance on Eskin's independent show, the two veterans discussed their former employer and agreed that 94 WIP "is not the way it once was." They described the station as having declined from its peak as a dominant force in Philadelphia sports talk radio, where passionate debates, local insight, and high-energy personalities drove massive listenership.

Angelo Cataldi, who retired after leading the morning show for over 30 years and Howard Eskin, known for his fiery afternoon/evening segments and sideline reporting (who departed WIP amid controversy in late 2024/early 2025), both lamented changes in programming, tone, and overall quality.

 

🦅🏈#Eagles fans aren’t happy this week with players signing elsewhere. Who better to complain about these issues (problems) than #AngeloCataldi @_AngeloCataldi on #TheHowardEskinShow. And Howard Eskin and Angelo Cataldi AGAIN don’t agree on many issues. pic.twitter.com/YwurXEDHl8

— Howard Eskin (@howardeskin) March 12, 2026

Comments from listeners and observers in related discussions echo this sentiment, with some calling the current lineup less engaging or "washed up" compared to the era dominated by Cataldi's morning team and Eskin's unfiltered style.

This isn't the first time the pair has critiqued aspects of WIP post-departure. Cataldi has previously spoken out on issues like staff changes (e.g., producer departures tied to cost-cutting after Audacy's bankruptcy) and station handling of controversies involving Eskin. Their latest joint comments, however, focus more broadly on a perceived drop in the station's former magic—likely influenced by industry shifts, ownership decisions under Audacy, format tweaks, and the exit of iconic voices.

Eskin now hosts his own show independently (available on platforms like YouTube), where he continues covering Philadelphia sports, often inviting guests like Cataldi for candid, argumentative conversations that harken back to their WIP days.

The station remains a key outlet for Eagles, Phillies, Sixers, and Flyers coverage, but these remarks from its most recognizable former hosts highlight ongoing debates among fans about its relevance in today's media landscape. No official response from WIP or Audacy has been reported on these specific comments.

NYC Radio: Sports Talker 'WFAN Will Never Be What It Was'

Joe Benigno

Joe Benigno, the longtime WFAN personality known for his passionate New York sports takes (especially on the Jets), appeared this week on The Jake Asman Show (a YouTube-based program focused on Jets content). 

During the interview he made a pointed statement about the current state of WFAN, the iconic New York sports radio station where he spent decades hosting, including overnight shifts.

The NY Post reports Benigno, who still contributes part-time with a weekly Saturday morning show, didn't hold back: “The Fan will never be what it once was.” He elaborated that the golden eras—featuring Don Imus, the legendary "Mike and the Mad Dog" duo (Mike Francesa and Chris Russo), Steve Somers, his own overnight run, Eddie Coleman, Dave Sims, and others—are gone for good and won't return. 

He expressed no nostalgia for the daily grind, saying he doesn't miss the commute or full-time role, and is content with his limited involvement plus his "Oh the Pain" podcast.

Nostalgia often centers on the larger-than-life personalities and chemistry of past lineups that defined the medium in the 1980s–2000s. Recent changes at the station (like lineup revamps in late 2025/early 2026, including Craig Carton's return to afternoons) have sparked debates about direction, ratings, and quality. Some online discussions and videos highlight perceived struggles in 2026 ratings or programming, though WFAN remains a major player in the market.

Benigno's remarks got quick pickup on X (formerly Twitter) from accounts like the Post's sports desk. Reactions ranged from agreement ("RIP to the golden era") to linking it to the station's evolution amid industry shifts like podcasting competition and changing listener habits. It's a candid take from an insider who's lived through WFAN's highs and now sees its prime as unrepeatable—though he still sticks around on weekends. If you're a longtime listener, it might resonate; if not, it underscores how much the station's identity has shifted over the years.

R.I.P.: Geoff Rich, Longtime President of 'Take On The Day'

Geoff Rich

Geoff Rich, the longtime president of Take On The Day, LLC and a pivotal creative force behind The Dr. Laura Program, died suddenly on Wednesday night in Los Angeles. He was a cherished friend, leader, and collaborator to many in radio, theater, and the arts.

Dr. Laura Schlessinger, who worked closely with Rich for three decades, expressed profound grief: “I have lost my best friend, whom I spoke to every day for the last 30 years.”

The announcement came from the Koni and Geoff Rich family, along with the entire Take On The Day, LLC and The Dr. Laura Program team, who described him as their "friend, leader and creative force." Rich's passing leaves a significant void in the organizations he helped build and lead.

A serial entrepreneur, Rich co-created Radio Today and served as President of Take On The Day, LLC, where he guided The Dr. Laura Program's production, syndication—including its presence on SiriusXM—and related projects like Dr. Laura's Call of the Day podcast.

His career spanned diverse fields: He previously served as Executive Director of The New Group, an off-Broadway company that produced the Tony Award-winning musical Avenue Q. Most recently, Rich was a member of the Board of Directors of the Los Angeles Philharmonic, reflecting his ongoing commitment to the arts and culture in Los Angeles.

Geoff Rich is survived by his wife, Koni; his children, Jaremy and Gabrielle; and his grandchildren. His family, colleagues, and friends remember him for his entrepreneurial spirit, daily dedication, and lasting impact across radio broadcasting, theater production, and philanthropic endeavors.

Radio History: March 14

➦In 1912...Lester Raymond Brown born (Died at age 88 – January 4, 2001).  He was a jazz musician who led the big band Les Brown and His Band of Renown for nearly seven decades from 1938 to 2000.  Brown is probably best known for his 50 year association with Bob Hope, on radio, TV & personal appearances.  Also was musical director for Dean Martin for 10 years on TV.

➦In 1922...KSD-AM (now KTRS-AM) signed-on in St. Louis.

KSD Transmitter 1922

The St. Louis Post-Dispatch launched KSD in 1922, the first St. Louis station to obtain a broadcast license from the Department of Commerce, though WIL claims earlier operation as an amateur station.

Transmitter Building 1922

According to  route56.com, first as KSD, and now as KTRS, the station has been on 550 kHz since 1923, which probably gives it the longest record of occupancy on any one frequency of any United States radio station. With its 5000-watt signal and low frequency, KTRS actually has better daytime and nighttime coverage than 50,000-watt clear-channel station KMOX in much of Missouri.

Despite that great coverage, the Post-Dispatch let KSD slip in the 1970s and, on March 19, 1984, it even lost its historic call letters under Gannett ownership. After a short-lived all-news format, on which Gannett pulled the plug just as KSD was beginning to build an audience, KSD went to country and adopted the call letters KUSA. The call letters were restored by EZ Communications when it bought KSD-AM/FM in 1993.

The call letters were switched back to KSD on October 4, 1993.

Newspaper Ad 1936

Unfortunately, the station lost the call letters again when it was sold to the Dorsey Media Group of St. Louis. EZ's successor, American Radio Systems, retained the KSD call letters for use on KSD-FM.

KTRS is  owned by CH Radio Holdings. Actor John Goodman is a part owner of the station.

➦In 1937...The radio "Battle of the Century" started when comedians Fred Allen & Jack Benny locked horns in the ballroom of the Hotel Pierre, exchanging torrid insults that were heard by the second largest audience in the history of radio. The “feud”, incidentally, lasted for the next 12 years.

➦In 1950...Rigdon Osmond Dees III (born March 14, 1950), best known as Rick Dees, is a radio personality, comedian, actor, and voice artist, best known for his internationally syndicated radio show The Rick Dees Weekly Top 40 Countdown and for the 1976 novelty song "Disco Duck".

The NY Times Doubles Size of Newsroom, While Others Downsize

The New York Times has reached a milestone in its newsroom growth amid widespread industry contraction.

Publisher A.G. Sulzberger announced Thursday in his annual "State of the Times" address that the Times newsroom now employs 2,300 journalists — double the size from a decade ago. (When including Opinion, The Athletic, sports coverage, and other journalistic operations, the total exceeds 3,000.)

This expansion positions the Times as employing more than 4% of all working journalists in America, according to circulating estimates in media circles — a remarkable share for one outlet in an era when many news organizations are shrinking or folding.

Separately, the Times has poached a high-profile talent: Michael Kruse, Politico Magazine's longest-tenured senior staff writer, is departing for the Times' politics team. Kruse, known for in-depth profiles and political reporting (including extensive coverage of Donald Trump), had been at Politico since around 2015 after earlier stints at the Tampa Bay Times.

The moves highlight a stark industry divide. 

While the Times benefits from diversified revenue — including digital subscriptions (over 11 million), games, cooking, and audio — many peers face layoffs and cutbacks. Recent months alone have seen reductions at outlets like the Washington Post, Politico, Wall Street Journal, and others, continuing a multi-year trend of consolidation.

Podcast and Online Audio Consumption Reach Record Highs

U.S. podcast and online audio consumption have reached all-time highs, according to The Infinite Dial® 2026, released by Edison Research at SSRS with support from SiriusXM Media.

Presented by Megan Lazovick, Vice President of Edison Research at SSRS, with James Cridland, Editor of Podnews, the study provides critical insights into digital media behaviors, and, debuting this year, generative AI adoption among American consumers.

Key Findings from The Infinite Dial® 2026:

• Online Audio Reaches an All-Time High 81% of Americans age 12+ (233 million) listened to online audio in the last month, and 76% (219 million) listened in the last week Americans age 55+ are driving the most recent increases. 
• Monthly online audio listening among this group jumped from 52% in 2024 to 70% in 2026, a gain of nearly 20 percentage points in just two years
• Podcast Consumption Sets New Records 80% of Americans age 12+ (230 million) have ever listened to or watched a podcast, an all-time high 58% of Americans age 12+ (167 million) have consumed a podcast in the last month, also an all-time high; 
• 68% of 35-54-year-olds have consumed a podcast in the last month, making podcasting a powerful vehicle for reaching one of advertising’s most valued demographics 45% of Americans age 12+ (130 million) have consumed a podcast in the last week – yet another all-time high for podcast consumption Among Americans age 12+, 57% have both listened to and watched a podcast

Bezos Claims He's Turned Down Seven Offers To Buy WaPo

Jeff Bezos has firmly rejected multiple opportunities to sell The Washington Post, telling top editors and reporters in a recent meeting that he has turned down seven offers for the struggling newspaper.

The revelation came during a tense gathering amid the outlet's ongoing turmoil, including massive layoffs, subscription losses, and internal unrest. Bezos emphasized his continued commitment to ownership despite the paper's challenges, which have intensified under his stewardship since he acquired it in 2013 for $250 million.

Trump Nominates Sarah Rogers To Lead USAGM, VOA

President Donald Trump has nominated Under Secretary of State for Public Diplomacy Sarah Rogers to serve as CEO of the U.S. Agency for Global Media (USAGM), which oversees U.S.-funded international broadcasters like Voice of America, Radio Free Asia, and Radio Free Europe/Radio Liberty. The nomination, announced Thursday, follows a federal judge's ruling that invalidated staff cuts and other actions taken by prior appointee Kari Lake.

Rogers, who has led the administration's efforts against European Internet regulations viewed by Washington as censorship, would hold the role in addition to her current State Department position if confirmed by the Senate. A State Department spokesperson stated that her dual oversight would strengthen alignment between U.S. international broadcasting and public diplomacy efforts.

In the interim, Deputy Secretary of State Michael Rigas will perform the CEO duties, according to a Department of Justice court filing.

iHR Launches TikTok Radio

iHeartMedia and TikTok launched TikTok Radio from iHeart today, a fast-paced new audio station that brings the viral energy of TikTok's "For You" feed directly to radio, blending trending songs, creator moments, internet culture, and real-time conversations into one nonstop experience.

The station is now live on the free iHeartRadio app and broadcasting across 28 iHeartMedia radio stations in major markets, including New York, Los Angeles, Atlanta, Chicago, Dallas, Nashville, Miami, and Austin.

It kicks off with live programming from SXSW in Austin, Texas, featuring interviews, surprise guests, real-time crowd reactions, and appearances by TikTok creators such as Grace Wells, Madison Tevlin, Eric Sedeño, Bree Stephens, and others. Creators and fans are helping shape the content on the spot, with many moments expected to loop back to TikTok.

A rotating lineup of iHeart personalities hosts throughout the day, including Kayla Thomas (KIIS FM Los Angeles), Ashlee Young (Houston), Jon Comouche (MYfm Los Angeles), Becky Mits (San Diego), and Angelina Narvaez (San Francisco). Listeners can follow @tiktokradio on TikTok for updates on hosts and upcoming features.TikTok Radio mirrors the rapid, trend-driven scroll of TikTok by prioritizing whatever is blowing up online—viral hits, rising artists, rediscovered throwbacks, trending stories, and cultural discussions—over traditional radio playlists.

Westwood One Is Going Mad

Cumulus Media’s Westwood One, one of America's largest audio networks and the official network audio broadcast partner of the NCAA, will once again be home to every bounce, basket, and buzzer beater of the NCAA Division I Men’s Basketball Championship. Westwood One’s coverage will tip off at 6:30 p.m. ET prior to the First Four® on Tuesday, March 17 and continue with play-by-play action from every game through the National Championship on Monday, April 6. 

In addition, Westwood One will broadcast live Spanish-language coverage of the NCAA Men’s Final Four® on Saturday, April 4 and the National Championship Game on Monday, April 6. 

Spotify Touts Gains For Music Artists

Spotify paid out a record $11 billion to the music industry in 2025, the largest annual payment from any retailer in history and up more than 10% from $10 billion in 2024, according to the company's latest Loud & Clear report released this week.

More than 13,800 artists earned at least $100,000 from Spotify royalties alone last year—nearly 1,400 more than the prior year—while over 1,500 artists surpassed $1 million. Independent artists and labels accounted for about half of all payments.

The Los Angeles Times reports Spotify positions itself as a growth engine for the industry, with the royalty pool expanding over 10% annually. Features like personalized playlists (Discover Weekly, daylist) and editorial ones (Fresh Finds, RapCaviar) help users discover new music, with the average Premium subscriber listening to 200 artists monthly—nearly half discovered for the first time. 

This drives upgrades to paid subscriptions and sustained listening.

The company highlights streaming's role in providing global access and opportunity, especially for indie artists. Over a third of those earning $10,000+ last year started by self-releasing via independent distributors. Spotify pays rights holders (labels, distributors, publishers, etc.) based on "streamshare"—an artist's proportion of total streams—rather than a fixed per-stream rate. It does not pay artists or songwriters directly.

Critics, including Damon Krukowski of United Musicians & Allied Workers (UMAW), argue that payments flow mainly to labels and distributors, not directly to recording artists. Many independents use services like DistroKid (which charges fees but lets users keep 100% of earnings after) to upload music. 

UMAW, representing over 70,000 musicians, helped draft the Living Wage for Musicians Act, reintroduced in the U.S. House in fall 2025. The bill proposes a new streaming royalty fund for direct artist payments of at least one penny per stream. It remains in committee with no further action as of early 2026.

A decade ago, the industry faced rampant piracy, declining CD sales, and criticism of low streaming royalties. Spotify executives note those early concerns were valid but argue the model has scaled successfully, creating more career artists globally—including many non-household names earning six or seven figures.

RTNDA Honors Fox News' Jennifer Griffin

Jennifer Griffin, Fox News Channel's Chief National Security Correspondent, was honored with the RTDNA First Amendment Award at the Radio Television Digital News Association (RTDNA) Foundation's annual black-tie dinner Thursday night held at The Watergate Hotel in Washington, D.C.

The RTDNA Foundation's First Amendment Awards recognize individuals and organizations that exemplify responsible journalism, promote press freedom, and defend the constitutional right to seek and report the truth. The 2026 event marked the 35th annual ceremony, where 12 honorees were celebrated for their contributions amid challenges to press freedoms.Griffin was specifically selected for her "trusted and tenacious reporting covering the Pentagon." 

Jennifer Griffin

The foundation highlighted her role in joining dozens of colleagues to boycott new Pentagon press-access rules, standing up for transparency and the public's right to know. This action underscores her career-long commitment to holding power accountable and defending independent journalism in national security coverage.

In her acceptance remarks, Griffin spoke about the Pentagon press corps' protest walkout, the vital importance of outlets like Voice of America, and the safety risks journalists face—including tributes to fallen colleagues.

This adds to Griffin's accolades; she previously received the Transatlantic Leadership Network's "Freedom of the Media" Gold Medal for Public Service in 2022 and the 2024 Prize of Professional Excellence at the Foreign Press Awards for her impactful reporting.

Griffin has long been a prominent figure at Fox News, covering major national security stories from the Pentagon beat with a focus on accountability and in-depth analysis.

MLB Rangers: Emily Jones Exits Broadcast Team

Longtime Texas Rangers field reporter Emily Jones will not appear on the team's TV broadcasts in 2026, marking the first time in more than two decades that she has been absent from Rangers Sports Network (RSN) telecasts.

RSN announced its 2026 broadcast team on Thursday, and Jones—a familiar presence since joining as a pre- and post-game host in 2005 before shifting to the field reporter role—is not included. She won six sports Emmys for her contributions to the coverage.

Jones had already been reducing her workload in recent years to prioritize family and other projects. In 2025, the Rangers hired Laura Stickells as the primary field reporter, limiting Jones to just 20 appearances. She will have zero in 2026.

The club will keep Jones connected in a new capacity as host/ambassador, where she is expected to take part in sponsorship, partnership, and charity events. The Rangers also noted that she is developing "special projects" to be revealed later."

Emily has always been a valued member of the broadcast team and she was there to cover some of the biggest moments in team history," the Rangers said in a statement. "The club is excited that Emily has agreed to remain part of the Rangers’ family and maintain a connection with fans in this new role."

RSN will likely add a part-time field reporter for fill-in duties when Stickells has scheduling conflicts, but Stickells remains the primary for a second straight year.

Emily Jones

In a lengthy Instagram post Thursday, Jones expressed gratitude: “Thank you to the organization who allowed me to be unapologetically me, even when it wasn’t conventional or popular,” she wrote. “Thank you to the broadcast and production crew who made me look way better than I ever was.

“Thank you to the players, coaches, staff—and their families—for treating me like one of your own…even when that meant yelling at me in the clubhouse or ruining an outfit during a Powerade shower. My greatest accomplishment is the friendships I’ve made and the relationships I’ve developed over the last two decades…and it’s not even close.

“Thank you to the most amazing fanbase in all of baseball. I hope I was able to provide a sense of connection to a team I have been honored to cover all these years. Please know that if you’ve ever told me you feel like you know me, there is no greater compliment.”

The rest of the RSN TV team stays mostly intact: Dave Raymond returns as lead play-by-play announcer, with Jared Sandler handling pre- and post-game hosting (and occasional play-by-play fill-in). David Murphy and Mike Bascik will continue splitting in-game analyst duties, while Elvis Andrus, Nick Hundley, and Brad Miller share pre- and post-game analysis.

On radio, Eric Nadel begins his 47th year as the lead play-by-play voice, partnering primarily with Matt Hicks since 2012.Spanish radio remains unchanged, with Eleno Ornelas in his 27th year as lead voice alongside Jose Guzman.

Good Morning! It's TGIF March 13, Let's Check The Pulse To Get Started

Radio Broadcasting

Radio Revenue Forecast Remains Mostly Flat for 2026:  Amid Mixed PressuresAnalysts from S&P Global Market Intelligence’s Kagan unit project U.S. radio revenue to stay largely flat in 2026, with modest gains in local advertising (bolstered by certain strong markets) offset by low single-digit declines in national and network spending. Political ad spending could provide a lift later in the year, but war-related economic volatility (e.g., higher oil prices impacting advertiser budgets) adds uncertainty. The radio advertising market overall is projected to grow from ~$27.78 billion in 2025 to $29.09 billion in 2026 (CAGR ~4.7%), driven by local strengths, digital integration, and targeted audio opportunities—though traditional radio faces headwinds from streaming competition.

Podcast and Online Audio Consumption Reach Record Highs:  According to Edison Research, Online Audio Reaches an All-Time High 81% of Americans age 12+ (233 million) listened to online audio in the last month, and 76% (219 million) listened in the last week Americans age 55+ are driving the most recent increases. 

• Monthly online audio listening among this group jumped from 52% in 2024 to 70% in 2026, a gain of nearly 20 percentage points in just two years
• Podcast Consumption Sets New Records 80% of Americans age 12+ (230 million) have ever listened to or watched a podcast, an all-time high 58% of Americans age 12+ (167 million) have consumed a podcast in the last month, also an all-time high. READ MORE 

Media Industry

Fallout from Major Mergers Driving Massive Layoffs and Cost-Cutting:  The Paramount Skydance acquisition of Warner Bros. Discovery remains the industry's biggest story, with expectations of thousands of job losses to achieve projected cost savings amid heavy combined debt (potentially $70–80+ billion). Executives from both sides have met to discuss integration, content slates (aiming for ~30 theatrical releases/year post-merger), and deep cuts in Hollywood studios, streaming (e.g., merging platforms), cable networks, CNN operations, and administrative roles. 

• Critics highlight executive "golden parachutes" contrasting with staff insecurity, fueling union pushes for guaranteed severance in negotiations.
• Nexstar's pending $6.2 billion Tegna deal continues pre-closing efficiencies, including station-level layoffs (e.g., at major-market TV outlets).
• Broader 2026 journalism layoffs already exceed prior years' early pace: Cuts hit Washington Post, CNBC (newsroom restructuring merging TV/digital), Politico, Vox Media, Wall Street Journal, Atlanta Journal-Constitution, New York Daily News, and more—driven by consolidation, cord-cutting, declining ad revenue, and AI adoption. Public media faces fallout from federal funding changes, with hundreds affected at stations and networks.
• Ad agencies like Horizon Media cut ~50 roles in an "AI-focused realignment" to prioritize tech, data, and efficiency.These reflect a defensive industry pivot amid economic pressures from war-driven oil/inflation spikes impacting ad budgets.

Government Media Agency Leadership and Restructuring:  President Trump nominated Under Secretary of State Sarah Rogers to lead the U.S. Agency for Global Media (overseeing Voice of America, Radio Free Asia, etc.), following a federal judge voiding prior CEO Kari Lake's actions—including mass layoffs and staff leaves—as unlawful. This resolves ongoing legal battles over the agency's downsizing efforts, with implications for U.S.-funded international broadcasting amid global tensions.   READ MORE

U-S News

Escalating U.S.-Israel War with Iran: U.S. and Israeli forces continue large-scale airstrikes across Iran, with reports of over 6,000 targets struck since operations began at the end of February. Iran has retaliated with missile attacks on Israel, drone strikes on Gulf states (including Saudi Arabia), attacks on oil tankers and infrastructure in the Persian Gulf, and threats to close the Strait of Hormuz.

• Iran's new supreme leader has vowed revenge, and the country claims to maintain a "chokehold" on key shipping routes. The U.S. military reported a KC-135 refueling plane crash in Iraq (not due to hostile fire), and there are incidents involving allied forces (e.g., French soldiers wounded).
• President Donald Trump has issued strong statements, threatening further "unparalleled firepower," shrugging off economic costs, and emphasizing that defeating Iran's "evil empire" outweighs concerns over oil prices. He has described the campaign as destroying Iran's military capabilities.
• Civilian casualties in Iran are reported in the thousands (e.g., nearly 1,350 cited in some sources), fueling domestic protests in the U.S. and international concern.

Impact of the War on Consumer Prices and the Economy:  The war has triggered a sharp spike in global oil prices (back above $100 per barrel in recent days, with fluctuations), leading to the largest potential supply disruption warnings from the International Energy Agency in history.

• Gasoline and energy costs have surged significantly since late February: Prices at the pump have risen 15-20% (e.g., to around $3.54–$3.58 per gallon per AAA data), with further increases expected.
• February's Consumer Price Index (CPI) showed annual inflation steady at 2.4% (monthly +0.3%), with core inflation at 2.5%—subdued before the conflict's full effects. However, economists warn of a rebound, potentially pushing headline inflation up by 0.15–1.0% or more in March and beyond, depending on the war's duration.
• Higher energy costs are feeding into broader consumer prices (e.g., transportation, goods), posing risks to spending and growth. President Trump has downplayed the issue, noting the U.S. benefits from higher oil in some ways, but analysts see upside risks to inflation, reduced Fed rate cut expectations, and potential economic slowdown if prolonged.

D/FW Radio: Erik Bradley New Brand Manager of 98.7 The Spot

98.7 The Spot (KSPF-FM), an Audacy station in Dallas, announces that Erik Bradley is the new Brand Manager of the classic hits station. In this role, Bradley will oversee the station’s content strategy, talent, operations, and branding.

Bradley will continue to serve as the Brand Manager for sister station KS107.5 (KQKS-FM) in Denver, Assistant Brand Manager of B96 (WBBM-FM) in Chicago and as Director of Music Initiatives for Audacy.

“Erik is a proven leader with an exceptional ear for music and a deep understanding of how to build brands that truly connect with listeners,” said Bob Mackay, Senior Vice President and Market Manager, Audacy Dallas. 

Boston Radio: Two Public Media Stations Are Open to Talking Merger

GBH's chief executive, Susan Goldberg, has openly suggested merging with WBUR, marking a major shift in Boston's public media landscape following the defunding of public broadcasting by Congress and President Trump.

"I, frankly, think that the moment of a loss of federal funding is the perfect time to reexamine that question," Goldberg said in a Boston Globe interview. "It would make a lot of sense to merge" the two organizations.

In a message to staff, she elaborated: "By eliminating competition for donors and sponsors, and finding efficiencies in the ways we operate, a merged organization could invest even more in journalism, becoming more sustainable and making a bigger impact in the communities we serve. Isn’t that the point of it all?"

WBUR's chief executive, Margaret Low, has pushed back, stating there are "no plans to merge. Full stop." In earlier comments, she emphasized keeping an open mind to collaborations amid industry-wide uncertainty but said "there’s nothing on this front to report" regarding a merger with GBH. In a statement, she added that conversations about navigating these challenges are occurring across the NPR network.

Urban One Reports Sharp Decline In Revenue

Urban One reported a sharp decline in revenue and a significantly wider loss in the fourth quarter of 2025, driven by weak advertising demand and the absence of political ad spending from the prior election year.

For the three months ended Dec. 31, 2025, the Silver Spring, Md.-based media company posted net revenue of $97.8 million, down 16.5% from $117.1 million in Q4 2024.

The company recorded an operating loss of $54 million, compared with a $1.9 million operating loss a year earlier. Net loss widened to $54.4 million, or $12.24 per share, from $35.7 million, or $7.81 per share, in the prior-year period. Adjusted EBITDA fell to $15.6 million from $26.9 million.

Saga Posts Losses During 4Q and 2025

Saga Communications reported a net loss for the fourth quarter and full year 2025, primarily due to a $20.4 million non-cash impairment charge on goodwill and FCC license values stemming from lower-than-expected radio advertising growth and revised industry projections.

For the quarter ended Dec. 31, 2025, the Grosse Pointe Farms, Mich.-based radio broadcaster posted net revenue of $26.5 million, down 9.3% from $29.2 million in Q4 2024. Digital revenue rose 25.8% to $4.3 million from $3.5 million. The company recorded an operating loss of $9.5 million, compared with operating income of $1.0 million a year earlier. Net loss totaled $6.9 million, or $1.07 per diluted share, versus net income of $1.3 million, or $0.20 per share, in the prior-year period.

Excluding the impairment, operating income would have been $10.9 million, with net income of $8.2 million, or $1.27 per share. Station operating income (a non-GAAP measure) fell 38.7% to $3.6 million, while station operating expenses decreased 1.9% to $22.9 million. Capital expenditures were $400,000, down from $600,000.

For the full year 2025, net revenue declined 5.1% to $107.1 million from $112.9 million in 2024. Digital revenue grew 19.1% to $16.9 million. Station operating income dropped 27.3% to $15.3 million, with expenses flat at $91.8 million.

Radio History: March 13

➦In 1903...Charles D. Livingstone was born (died at age 83 - July 28, 1986) He was a favorite director of the two men who put Detroit in the forefront of live radio drama in the '30s and '40s with such programs as "The Lone Ranger," "The Green Hornet" and "Sgt. Preston of the Yukon."

A University of Michigan graduate, Livingstone began his professional career as an actor in stock companies and on Broadway. He joined Detroit radio station WXYZ in 1933, playing minor roles in "Warner Lester" and "The Lone Ranger" and a major part in "Thrills of the Secret Service." George W. Trendle, an attorney, and John H. King, a theater owner, had decided to turn to the infant medium of radio after the stock market crash of 1929.

They found an assortment of writers, actors and directors, and bought WXYZ. Their successes with the "Ranger" and "Hornet" enabled them to expand the shows to WGN in Chicago and WOR in New York. The three stations became the mainstay of the Mutual Network in the mid-1930s.

Livingstone was named the station's dramatic director in 1938 and remained there until 1954, when he went to Hollywood to help film "The Lone Ranger" for television.

 ➦In 1922...WRR-AM, Dallas, TX signed-on.

WRR-AM was Texas’ first broadcast station. Owned by the City of Dallas, the original studio and transmitter was located in the Dallas Fire Department central headquarters.

WRR-AM actually dates back to 1921 as the wireless operation of the Dallas Police and Fire Departments.

The station received a formal license as a "land station" from the Bureau of Navigation on August 4, 1921, and was assigned the call letters "WRR".  In later years, the call letters would be said to stand for “Where Radio Radiates”.   According to WRR’s original license, the station operated with a “composite” transmitting system (i.e. “homemade”), and was authorized to operate at a power of up to 100 watts, giving the station an approximate range of 200 nautical miles.

According to DFW Radio Archives, there were often long stretches of time when there were no fire or police calls to broadcast, so to ensure the equipment was indeed working (and perhaps satisfy their own curiosity with the strange new device), the dispatchers started to resort to other means of occupying the airwaves.  They would read articles from the Dallas News or Herald, read letters, and tell jokes.  Soon they had even brought in a phonograph player to place next to the microphone and send music over the airwaves.

A small but growing audience became fascinated by the magically transferred voices and music – these were the very beginnings of radio in north Texas.

WRR soon began to evolve into a “real” radio station.  WRR’s initial license was issued through the Bureau of Navigation and fell into a categorical no-man’s land - while operating as a “broadcast” station, it was licensed as if it were a point-to-point operation.  WRR did not receive a true broadcast license from the Commerce Department's Radio Division until March 13, 1922.

WRR-FM signed on in 1948, playing classical music.  WRR-AM focused on popular music until it switched to all-news in 1975.

Bonneville Broadcasting bought the station in 1978.  It became KAAM.  It became all-sports KTCK in 1994.  Today, Cumulus Media owns “Sports Radio 1310: The Ticket.”

The city kept WRR-FM, which remains on the air as a classical station.  Taxpayers do not sustain WRR.  It operates commercially, depending upon advertising revenue.

➦In 1923...Production of the first radio set incorporating a loudspeaker. All previously produced sets had required the use of headphones, which were considered a nuisance because they were so heavy to wear and messed up hairdos. The new radios were also said to have a “foolproof” design.

➦In 1938...“World News Roundup” aired CBS Radio Network for the first time.