U.S. Senator Richard Blumenthal (D-CT), as chair of the Senate Permanent Subcommittee on Investigations, launched a preliminary inquiry into the FCC over concerns of political targeting of newsrooms under its current leadership.
In a letter addressed to Patrick Webre, Acting Bureau Chief of the FCC’s Enforcement Bureau, and Erin Boone, Acting Bureau Chief of the Media Bureau, Blumenthal requested detailed information about what he described as “unprecedented, intrusive investigations against media broadcasters under arbitrary and capricious pretenses.” The inquiry focuses on actions taken by FCC Chair Brendan Carr, who assumed the role on January 20, 2025, following Donald Trump’s inauguration as president.
Richard Blumenthal
Blumenthal’s letter highlighted eight specific FCC investigations and complaints initiated since Carr’s appointment, targeting media entities such as Paramount-Skydance, Comcast, NPR, and PBS—organizations he suggested were singled out due to their perceived opposition to President Trump. He noted that these actions appear to align with Trump’s past criticisms of certain broadcasters, including threats of litigation or investigations during his campaign, raising concerns about retaliatory motives.
For instance, Blumenthal pointed out that Trump had previously clashed with these outlets over coverage he deemed unfavorable, suggesting a pattern where the FCC’s moves could be seen as punishing “disfavored” speech.
The senator argued that these investigations represent a shift from the FCC’s traditional stance, where its authority over news distortion was “narrow” and limited to cases of deliberate factual misrepresentation of significant events—a high bar rarely met.
He accused Carr of adopting “ahistorical interpretations of longstanding legal standards” to intimidate newsrooms, potentially chilling critical coverage of the Trump administration. Blumenthal also criticized Carr’s public announcements of these probes, such as appearances on Fox News and posts on social media, as a departure from the FCC’s norm of keeping investigations confidential until enforcement actions are taken, further suggesting political grandstanding.
In the letter, Blumenthal posed specific demands, including descriptions of the FCC’s investigatory processes for complaints involving news distortion, equal time, and public interest obligations, as well as a list of all investigations opened since January 20, 2025. He questioned whether entities favored by Trump, engaging in similar activities, faced comparable scrutiny, implying a potential double standard. The deadline for the FCC to respond was set for March 26, 2025.
The Voice of America (VOA), the largest U.S.-funded international broadcaster, is undergoing significant upheaval following actions by the Trump administration. Here’s a summary of the latest developments based on available information:
President Donald Trump signed an executive order Friday directing the U.S. Agency for Global Media (USAGM), VOA’s parent organization, to reduce its operations to the “minimum presence and function required by law.”
This move, part of a broader cost-cutting initiative influenced by Trump’s budget adviser Elon Musk and the Department of Government Efficiency (DOGE), led to drastic changes. By March 15, nearly all of VOA’s 1,300 journalists, producers, and assistants were placed on paid administrative leave, effectively halting most operations. The same day, many VOA foreign language broadcasts shifted to music-only programming, replacing news and regular content, a stark departure from its 83-year history of delivering objective journalism.
Kari Lake
The White House justified the cuts by accusing VOA of promoting “radical propaganda” and exhibiting “left-wing bias,” claims that echo long-standing criticisms from Trump and his allies. Kari Lake, a Trump loyalist and former Arizona gubernatorial candidate, was appointed as a senior adviser to USAGM and has signaled plans to shrink the agency further, calling it “not salvageable” and a “burden to taxpayers.”
Legal and political pushback has emerged. On March 15, two federal judges ruled the mass firings illegal, though the scope of their decision and enforcement remain unclear as of this date. Congressional Democrats and press freedom advocates, including the National Press Club, have decried the moves as an attack on independent journalism. Representative Michael McCaul (R-TX), a former supporter of USAGM’s mission, expressed concern over losing a tool to combat foreign censorship. Meanwhile, critics of VOA’s past coverage, including some on X, cheered the cuts, viewing the agency as a wasteful or biased entity.
As of now, VOA’s future is uncertain. With staff on leave, programming gutted, and leadership transitions pending, the agency’s ability to fulfill its mandate is in limbo. These developments, unfolding over the past few days, reflect a dramatic shift in U.S. international broadcasting policy as of March 18, 2025.
The 2025 iHeartRadio Music Awards took place on March 17, 2025, at the Dolby Theatre in Los Angeles, hosted by LL Cool J and broadcast live on Fox. The event celebrated the most-played artists and songs of 2024 across iHeartRadio stations and the iHeartRadio app, while honoring several artists with special awards.
Here’s a rundown of the key winners and highlights based on available information as of March 18, 2025.
Swift, Trophy
Taylor Swift emerged as a major winner, reinforcing her dominance in the music industry. She secured the Artist of the Year award, adding to her record as the most awarded artist in iHeartRadio Music Awards history, with 25 wins prior to 2024. Swift also received the Tour of the Century award for her record-breaking Eras Tour, a new category recognizing her monumental cultural impact. Leading the nominations with 10 nods alongside Morgan Wallen, her wins underscored her continued popularity and influence.
Morgan Wallen, tied with Swift for the most nominations, won Country Song of the Year for “Heartless,” a track praised for its raw emotion and widespread airplay. Despite his strong showing in nominations, this was a standout victory for the country star, who competed fiercely across multiple categories.
Sabrina Carpenter took home Pop Artist of the Year, beating out Swift, Billie Eilish, Chappell Roan, and Tate McRae. With nine nominations, Carpenter’s win highlighted her breakout year, driven by hits like “Espresso” and “Taste,” marking her as a rising force in pop music.
Kendrick Lamar, also with nine nominations, won Hip-Hop Artist of the Year, affirming his lyrical prowess and influence in the genre. His victory over competitors like Drake and Future reflected his strong 2024 performance, bolstered by tracks like “Not Like Us.”
Billie Eilish claimed Song of the Year for “Birds of a Feather,” a hauntingly beautiful track from her album Hit Me Hard and Soft. This win edged out strong contenders like Post Malone and Morgan Wallen’s “I Had Some Help” and Carpenter’s “Espresso,” showcasing Eilish’s ability to resonate with listeners.
Post Malone, another artist with nine nominations, won Duo/Group of the Year alongside Morgan Wallen for their collaborative work, notably “I Had Some Help.” This victory highlighted their successful partnership blending country and pop sensibilities.
Jelly Roll secured Country Artist of the Year, a testament to his gritty rise in the genre. Celebrated for his authenticity, his win over nominees like Wallen and Lainey Wilson signaled a bright future for his career in country music.
Teddy Swims won Best New Pop Artist, marking the start of what many predict will be a legendary career. His soulful hit “Lose Control” propelled him past contenders like Benson Boone and Gracie Abrams, earning him early recognition at the awards.
Hozier celebrated a dual milestone—winning Alternative Song of the Year for “Too Sweet” on his birthday, March 17. The track’s brooding allure outshone entries from Linkin Park and Green Day, making it a fitting birthday gift.
In the rock categories, Shinedown won Rock Artist of the Year, surpassing Metallica and Foo Fighters, while Linkin Park took Rock Song of the Year for “Friendly Fire,” a poignant posthumous release featuring Chester Bennington’s vocals, beating out Metallica’s “Lux Æterna.”
MARIAH CAREY IN THE BUILDING ✨🦋#iHeartAwards2025 MC Receiving the Icon Award at the iHeart Radio Music Awards 🏆 This warmed my heart ❤️ you deserve everything queen ❤️🦋 We love you 🐑✨💋 pic.twitter.com/7mJmrXpD0a
Special honors included Mariah Carey receiving the Icon Award for her unparalleled career, Lady Gaga earning the Innovator Award for her creative risks and activism, and Nelly accepting the Landmark Award for his culture-shaping albums spanning decades.
Additional notable wins included SZA for R&B Artist of the Year, continuing her streak in the category, and Peso Pluma for Regional Mexican Artist of the Year, reflecting the diversity of the night’s honorees. The show featured performances from artists like Bad Bunny, Billie Eilish, and Nelly, alongside a tribute to Los Angeles’ resilience following recent wildfires.
Morgan Wallen, Garth Brooks, and Taylor Swift are among the most successful artists in country music history when it comes to dominating Billboard's Top Country Albums chart. This chart, which began in 1964 as Hot Country Albums, tracks the most popular country albums based on sales, streaming, and other metrics. Here’s a look at how these artists, along with others, have racked up the most weeks at No. 1.
Morgan Wallen currently holds the record for the most cumulative weeks at No. 1 on the Top Country Albums chart. As of March 15, 2025, his album One Thing at a Time had spent 77 weeks at the top, bringing his career total to 176 weeks. This surpasses all other artists in the chart’s 61-year history. Wallen’s rise is remarkable given how quickly he’s achieved it—his first No. 1 came on August 15, 2020, with Dangerous: The Double Album, which itself holds the record for the longest single-album run at No. 1 with 97 weeks. His follow-up, One Thing at a Time, is the second-longest-running No. 1 album on the chart. Wallen’s dominance reflects his massive popularity, driven by streaming and fan support, even amidst controversies.
Garth Brooks previously held the top spot for most weeks at No. 1, with a career total of 173 weeks until Wallen overtook him in early 2025. Brooks’ reign began in 1990 with No Fences, which spent 41 weeks at No. 1—still the longest run for any of his albums. His tally includes a diverse range of projects: live albums like Double Live, Christmas albums such as Garth Brooks & the Magic of Christmas, and box sets like The Limited Series. Brooks’ success spans decades, with his most recent week at No. 1 coming in 2017, showcasing his enduring influence in country music during the ‘90s and beyond.
Taylor Swift ranks as the highest-charting female solo artist on this list, with a notable total of weeks at No. 1, though exact figures have shifted over time. Her standout album Fearless logged 35 weeks at No. 1 starting in 2008, a cornerstone of her early country career before her pivot to pop. Swift’s tally also includes both the original and Taylor’s Version re-recordings of albums like Fearless, Speak Now, and Red, which have added to her weeks atop the chart. Her success highlights her early dominance in country music, bolstered by massive sales and awards like the Grammy for Album of the Year for Fearless.
Other artists have also left their mark. Alabama, a legendary country band, amassed 125 weeks at No. 1, largely from their ‘80s heyday. Willie Nelson, with 106 weeks, has a tally that includes collaborations and live albums like Willie and Family Live, with his longest run being Always on My Mind at 22 weeks in 1982. Shania Twain’s Come On Over spent 50 weeks at No. 1, tying her with Luke Combs’ This One’s for You for one of the chart’s longest runs, reflecting her crossover appeal in the ‘90s. Randy Travis (Always & Forever, 43 weeks) and The Chicks (Fly, 36 weeks) also rank high, showcasing the diversity of artists who’ve dominated the chart.
These artists’ achievements highlight different eras and styles within country music, from Brooks’ ‘90s boom to Swift’s early 2000s rise and Wallen’s streaming-era success. Their weeks at No. 1 reflect not just sales, but cultural impact and fan loyalty over time.
Salem Media Group, Inc. has announced the sale of their remaining radio stations and digital assets in Honolulu, Hawaii to Malama Media Group. Malama intends to keep all radio stations in their present formats.
Salem CEO, David Santrella, said, “While Salem closes our chapter in Honolulu, I am thrilled to know that these stations are going to a buyer that has a shared passion for the formats we have there and plans to keep those formats intact, particularly the Christian Teach and Talk and Conservative News Talk formats.”
Monroe D. Greer, General Managing Partner for Malama Media Group, said, “Malama Media Group is thrilled and honored to serve Honolulu and continue the rich legacy established by Salem Media Group. We are highly committed to building a strong family of radio stations that serve our listeners and advertisers well, rooted in strong biblical values and a deep love for the community we serve. Our mission is to meet the needs both physical and spiritual of the Hawaiian community and beyond while reflecting Christ's love in all we do. We are humbled and excited to become part of the Hawaiian Ohana and look forward to this exciting new chapter.”
The sale of the stations will close pewnding FCC approval.
The New York Times published an opinion column Sunday by Zeynep Tufekci, a sociologist and professor at Princeton University, titled “We Were Badly Misled About the Event That Changed Our Lives.”
In his piece, Tufekci argued that the scientific community, along with public health officials, misled the public about the origins of COVID-19, particularly by downplaying the plausibility of the lab-leak theory—the idea that the virus may have escaped from a research facility in Wuhan, China.
She detailed how some scientists and officials allegedly suppressed dissenting views, hid crucial facts, and orchestrated efforts to present a unified narrative favoring a natural zoonotic origin, all while safety standards at the Wuhan lab may have been “terrifyingly lax.”
This marked a significant shift for the Times, which had previously been criticized for dismissing the lab-leak hypothesis as a fringe or even “racist” conspiracy theory, notably through its science reporter Apoorva Mandavilli’s 2021 statements on X.
Tufekci’s column pointed to specific instances of alleged deception. She highlighted a 2020 Nature Medicine paper by prominent virologists that dismissed the lab-leak theory, claiming chat logs later revealed the authors intentionally misled Times reporter Donald G. McNeil Jr. to steer him away from the hypothesis.
She also cited a Lancet letter organized by EcoHealth Alliance president Peter Daszak—whose organization collaborated with the Wuhan lab—denouncing the lab-leak idea as a conspiracy, a move later undermined by revelations of his conflict of interest.
Tufekci further noted that figures like Jeremy Farrar, Anthony Fauci, and Francis Collins were involved in shaping narratives behind the scenes, with Farrar even using a burner phone to coordinate responses. She argued these actions eroded public trust, especially as agencies like the CIA and Department of Energy have since leaned toward the lab-leak theory, albeit with “low confidence” due to limited evidence.
The column, published nearly five years after the pandemic’s onset, sparked immediate backlash from readers and commentators, particularly on X, where sentiments ranged from vindication to outrage.
Many felt the admission was “five years too late,” accusing the Times of complicity in the initial suppression of the lab-leak discussion. Critics pointed out that the paper had been a leading voice in shaping a narrative that vilified skeptics, with one X user, Jeff Blehar of National Review, praising the piece for its evidence but noting the Times’ own role in the delay. Others, like Brownstone Institute’s Jeffrey A. Tucker, called it “infuriating,” arguing that independent researchers, not the Times, had driven the truth forward despite the paper’s earlier resistance. Some readers saw hypocrisy in the Times framing itself as a victim—“we were misled”—rather than acknowledging its active role in promoting the natural-origin consensus.
Tracy Morgan experienced a health scare while attending a New York Knicks game against the Miami Heat at Madison Square Garden.
The comedian and actor, known for his roles on 30 Rock and Saturday Night Live, was sitting courtside when he reportedly became ill during the third quarter.
According to accounts from the game’s broadcast and posts on X, Morgan threw up on the court and appeared to have a nosebleed, prompting a pause of several minutes in play to clean up the area. He was seen blotting his face with a towel and was wheeled out of the arena in a wheelchair by medical staff, though he remained conscious.
Morgan, a devoted Knicks fan often spotted courtside, has a history of significant health challenges, including a near-fatal car accident in 2014 that left him in a coma for two weeks, a kidney transplant in 2010, and ongoing diabetes management.
No official statement from Morgan’s representatives has clarified the cause of this incident.
A Madison Square Garden spokesperson expressed hope for his recovery, saying, “We hope Tracy feels better soon and look forward to seeing him back courtside.”
Speculation on X ranged from a serious medical event to overindulgence on St. Patrick’s Day, but nothing has been confirmed.
The Knicks won the game 116-95 after play resumed. Updates may follow as more information becomes available.
Kayleigh McEnany, the 36-year-old former White House Press Secretary, appeared on Outnumbered to share a joyous announcement on Monday morning. With excitement in her voice, she revealed, "Sean and I are expecting our third child, which we're absolutely thrilled about," prompting enthusiastic cheers from her fellow hosts.
McEnany (right) is married to Sean Patrick Gilmartin, a former Major League Baseball pitcher who played for the New York Mets, Baltimore Orioles, and Tampa Bay Rays before retiring. The couple already has two children: five-year-old daughter Blake and two-year-old son Nash.
Having served as White House Press Secretary from April 2020 until the conclusion of President Trump's first term in January 2021, McEnany dropped hints about her exciting news throughout the morning broadcast. For the occasion, the former White House aide turned television host donned a vibrant pink blazer and heels, though she quickly clarified that the color choice "isn't a hint" about the baby's gender.
McEnany promised an on-air gender reveal at a future date and shared that the baby is expected to arrive in June. She even displayed a photo of her ultrasound scan, expressing how she has been cherishing this "truly special time" with her family.
Cumulus Media announces the launch of a new installment of its original multi-part audio series, Your Music Plus, featuring Country superstar Miranda Lambert’s single, “Run.” The Your Music Plus feature takes Country fans behind the making of “Run,” the second single from Lambert’s album, Postcards From Texas. The new Your Music Plus feature runs for the next eight weeks on Cumulus Media’s Country stations across the U.S.
Greg Frey, VP of Music Partnerships, Cumulus Media, said: “We’re thrilled to partner with our friends at Republic and Big Loud to land Miranda Lambert’s “Run” as the next Your Music Plus campaign across our Country stations. “Run” is an honest look at the end of a relationship, and Miranda brings a real vulnerability to the words and melodies she wrote herself. Paired with Miranda’s exclusive content about her new music, career, and life, our listeners will get an unprecedented view of this Country superstar.”
Your Music Plus highlights new music in a unique way by sharing with radio listeners the thoughts of the biggest stars in different formats in a series of revealing and exclusive vignettes across AC, Alternative, CHR, Country, Hot AC, Rock and Urban formats. The shows feature artist commentary on the song, with artists presenting different aspects of their song’s personal meaning, the inspiration behind the music, and insights on their life and career.
Former CNN anchor Don Lemon recently made claims about experiencing sexual harassment from women during his 17-year tenure at the network. In an appearance on Bill Maher’s podcast, Club Random, on March 16, 2025, Lemon discussed multiple instances of alleged harassment, shedding light on what he described as a "dark part of his past" while exploring gender and power dynamics.
One specific incident Lemon recounted occurred in a CNN cafeteria in Atlanta, where he alleged a female colleague "tweaked" his nipples and made a comment, saying, “Oh, it’s cold in here!” Lemon stated that he refrained from reporting this to human resources, noting a perceived double standard: “If I did that, they’d be walking me out the door right now.” He explained his reluctance to escalate the matter by saying he "didn’t care to go to HR" and chose not to speak out due to the potential repercussions.
"She tweaked my n*pples."
Don Lemon says he was harassed by a female while working at CNN as he details instances where he was harassed by men and women throughout his life.
Lemon also alluded to another unreported incident involving a female superior at CNN, who he claimed sexually harassed him off company property. He suggested this woman, aware of his sexual orientation as a gay man, pressured him to stay at her home after a business event in Atlanta.
According to Lemon, she insisted he stay in her guest room rather than leave, and he described her behavior toward him afterward as “so mean.” He rationalized not reporting this incident by expressing fear that, given her stature at the company, management might not believe him or could use it as a pretext to terminate him. Lemon did not name the individuals involved in either case.
During the podcast, Lemon framed these experiences within a broader discussion about gender dynamics, asserting that as a man, he felt able to say "no" in these situations—a luxury he believes women may not always have when the roles are reversed. These claims mark the first time Lemon has publicly accused unnamed female colleagues at CNN of sexual harassment, contrasting with his prior public persona as an advocate for the #MeToo movement during his time at the network.
The Broadcasters Foundation of America (BFOA) has elected Kristin Cantrell, Owner/CEO, Seven Mountains Media and CapCity Communications, Kate Riley, President and CEO, America’s Public Television Stations (APTS), and Peter H. Smyth, former Chairman and CEO, Greater Media, to its Board of Directors.
Chair of the Broadcasters Foundation, Scott Herman, said, “We are delighted that broadcast executives of this caliber will serve on our Board. Their advocacy for our charitable mission is exemplary. Their input and ideas will help us continue to reach out to broadcasters across America to help those in our business who are in critical need.”
The Broadcasters Foundation’s Board of Directors is comprised of highly respected broadcast executives who are committed to “giving back” through the Broadcasters Foundation. The members of the Board represent a wide array of broadcast and broadcast-related companies.
For information about the Broadcasters Foundation, including how to make a donation or apply for aid, please visit www.broadcastersfoundation.org, or contact the BFOA at 212-373-8250, or info@thebfoa.org.
➦In 1911...Lester Alvin Burnett was born (Died at age 55 from leukemia – February 16, 1967).
Smiley Burnette
He better known as Smiley Burnette, was a country music performer and a comedic actor in Western films and on radio and TV, playing sidekick to Gene Autry, Roy Rogers, and other B-movie cowboys. He was also a prolific singer-songwriter who could play as many as 100 musical instruments, some simultaneously. His career, beginning in 1934, spanned four decades, including a regular role on CBS-TV's Petticoat Junction in the 1960s.
He began singing as a child and learned to play a wide variety of instruments by ear, yet never learned to read or write music. In his teens, he worked in vaudeville, and starting in 1929, at the state's first commercial radio station, WDZ-AM in Tuscola, Illinois.
Burnette came by his nickname while creating a character for a WDZ children's program. He was reading Mark Twain's "The Celebrated Jumping Frog of Calaveras County" at the time, which included a character named Jim Smiley. He named the radio character Mr. Smiley and soon adopted the moniker as his own, dropping the title.
He made 80 western movies with Autry, then in TV became a regular on Ozark Jubilee, and played Charlie the railroad engineer on Petticoat Junction.
➦In 1912... Art Gilmore born in Tacoma, WA (Died at age 98 – September 25, 2010) . He was an actor and announcer heard in on radio and television programs, children's records, movies, trailers, radio commercials, and documentary films. He also appeared in several television series and a few feature films.
Art Gilmore
Raised in Tacoma, Washington, Gilmore attended Washington State University in 1931, where he was a member of the Chi chapter of Phi Mu Alpha Sinfonia music fraternity and a member of the Alpha Omicron Chapter of Theta Chi fraternity. In 1935, he got hired to work as an announcer for Seattle's KOL Radio. In 1936, he became a staff announcer for the Warner Brothers' radio station KFWB in Hollywood and then moved to the CBS-owned station KNX as a news reader. During World War II, he served as a fighter-director U.S. Navy officer aboard an aircraft carrier in the Pacific Ocean.
Leaving the Navy, he decided to become a professional singer and returned to Hollywood. With a group of notable Hollywood radio stars, including Edgar Bergen, Ralph Edwards and Jim Jordan, Gilmore founded Pacific Pioneer Broadcasters in 1966.
Gilmore's announcing voice became a part of many classic radio programs. Drawing his inspiration from the radio sports commentators of the 1930s, he became the announcer for Amos 'n' Andy, The Adventures of Frank Race, Dr. Christian, Sears Radio Theater, Stars over Hollywood, The Golden Days of Radio and other radio shows. It was Gilmore who introduced Herbert W. Armstrong and Garner Ted Armstrong, reminding listeners to request free religious literature at the conclusion of "The World Tomorrow" on radio and television.
He narrated 156 episodes of syndicated TV’s Highway Patrol with Broderick Crawford, 39 segments of Mackenzie’s Raiders with Richard Carlson, and 41 episodes of Men of Annapolis
➦In 1922...WHN-AM, NYC signed-on at 833Kc
According to Faded Signals, WHN, New York City, signed on in 1922 as the radio station of The Ridgewood Times newspaper. It was one of the city’s first radio stations, featuring a format of jazz and dance music of the era, as well as children’s shows, variety programs and newscasts. The Loew’s Theater Organization bought the station in 1928.
The station played jazz and contemporary dance music, including Sophie Tucker, Fletcher Henderson, and Duke Ellington, as well as broadcasting Columbia University football games. In 1928 the station was bought by the Loew's Theatre Organization.
During the 1920s the station's frequency changed to 830, 760, and then 1010.
In the 1930s it broadcast the Major Bowes Amateur Hour, which was picked up by the CBS Radio Network.
WHN made its final frequency change to 1050 in 1941.
During the 1940s the programs Radio Newsreel and Newsreel Theater were prototypes for what would later become the all-news radio format. The station broadcast Brooklyn Dodgers games with Red Barber as well as the New York Giants and New York Rangers with Marty Glickman.
In 1948, WHN became WMGM, reflecting the Loew’s then-ownership of the Metro-Goldwyn-Mayer movie studio. The station continued its diversified format until flipping to Top 40 and rock music in the mid 1950s. While it included some R&B, country and instrumentals in the Top 40 mix, WMGM carried a narrower, more up-tempo playlist.
By the early 1960s, WMGM 1050 AM had several competitors in the Top 40 radio market. WINS, WABC and WMCA all were playing rock, and WMGM was falling behind in the ratings.
Storer Broadcasting bought the station in 1962, renaming it WHN and dropping the Top 40 in favor of slow-paced “beautiful music” and standards.
WHN also became New York City’s Mutual Radio Network affiliate. Bob & Ray, WABC legend Herb Oscar Anderson and Jim Ameche were some of WHN’s on-air personalities.
The station picked up New York Mets baseball and launched Marv Albert’s sportscasting career.
WHN’s ratings were low and skewed toward older demographics. After researching the market, Storer converted WHN to a country format in 1973. Here’s an aircheck from WHN’s Bruce Bradley in 1973:
Mutual bought WHN in the late 1980s. An FM competitor flipped to country from 1980 to 1984, hurting WHN’s ratings.
Doubleday Broadcasting bought WHN in 1985, and Emmis Communications bought it the following year. Emmis added sports talk in the evenings, keeping the country format during the day.
In 1987, Emmis announced WHN would become all-sports WFAN. When Emmis purchased NBC’s New York radio stations in 1988, the company moved WFAN from 1050 AM to 660 AM, formerly occupied WNBC.
Spanish Broadcasting System purchased the 1050 AM license and became WUKQ, a Spanish Adult Contemporary station. Spanish Broadcasting System wanted to swap 1050 AM with cash for the Jewish Daily Forward’s FM station, WEVD 97.9. The deal was approved in 1989.
WEVD’s call letters and programming moved to the 1050 AM frequency. The station mainly carried a brokered format of ethnic programs, talk shows and foreign-language programming. By the mid-1990s, WEVD moved to a left-leaning news-talk format.
An agreement with ABC/Disney brought ESPN’s “The Dan Patrick Show” to WEVD in 2001. A public campaign to save the old format failed. On the final day of the news/talk format, soon-to-be-terminated staffers occasionally interrupted portions of the brokered programming with sometimes-profane audio clips. On September 2, 2001, WEVD became “1050 ESPN Radio.”
The call letters were changed to WEPN in 2003 after Disney bought the station, competing directly with WFAN’s all-sports format. In 2012, WEPN’s programming moved to 98.7 FM. ESPN Deportes later moved the 1050 AM frequency.
On June 11, 2019, ESPN announced that it would be discontinuing the ESPN Deportes Radio network on September 8, 2019. It was stated that WEPN would switch back to an English-language sports format at this time.
WEPN-AM is now owned by Good Karma broadcasting. Good Karma also rents airtime on Audacy's 880 AM (formerly WCBS-AM). Both frequencies air sports.
➦In 1937...the Federal Communications Commission (FCC) issued its first construction permit for an FM radio station to W1XOJ in Boston, Massachusetts. This station, which later signed on in 1941 as WGTR, marked a significant milestone in the development of FM (frequency modulation) broadcasting. FM technology, pioneered by Edwin Howard Armstrong, offered superior sound quality and less interference compared to AM (amplitude modulation), paving the way for its eventual widespread adoption in the radio industry.
➦In 1939...saxophone player Frank Mane, who knew Frank Sinatra from Jersey City radio station WAAT where both performed on live broadcasts, arranged for him to audition and record "Our Love", his first solo studio recording.
➦In 1940...the daytime drama “Light of the World” began airing on the NBC Blue Network. It aired for 10years and was unique in that it featured the Bible as the center of the story line.
➦In 1974...Jim Kerr started mornings on WPLJ 95.5 FM NYC
He began his career at age 14 in Ypsilanti, Michigan. After working at stations in Howell and Ann Arbor Michigan, Kerr joined WORJ, a progressive rock station in Orlando, Florida. At 18, he returned to his hometown and joined the airstaff of WKNR, Detroit. At 19, he served as morning host at WDAI, Chicago, at 20 he moved to the legendary WLS, and when he was 21, he became New York’s youngest morning show host at WPLJ.
Kerr has been the morning show host on six NYC stations, most notably 15 years at WPLJ and as of 2018, 15 years at WAXQ Q 104.3 FM.
➦In 1985... Capital Cities announced that it would purchase ABC Radio for $3.5 billion, which shocked the media industry, as ABC was some four times bigger than Capital Cities was at the time.
Audacy, Inc. today announced executive changes, including the appointment of Kelli Turner as President and Chief Executive Officer, Chris Oliviero as Chief Business Officer and Bob Philips as Chief Revenue Officer.
Turner, an accomplished media leader, has been serving as Interim President and CEO since January when former President and CEO David Field stepped down. Oliviero and Philips are highly regarded industry leaders with more than a half-century of experience combined serving Audacy and its predecessors. Oliviero was most recently Market President for Audacy New York, and Philips was President of Audacy Networks and Multi-Market Sales.
Kelli Turner
“On behalf of the Audacy board, we are delighted that Kelli Turner has agreed to take on the permanent President and CEO role and lead Audacy through its next phase of reinvention and growth,” said Michael Del Nin, Chairman, Audacy. “She is an exceptional media executive who, along with Chris Oliviero and the rest of the Audacy team, will ensure we continue to invest in high-quality content to engage our audiences and provide best-in-class solutions to our partners.”
Turner has served on the Audacy Board since September 2024. Turner has also served on the boards of directors of several advertising and music technology companies, including DoubleVerify, Downtown Music Holdings and Central European Media Enterprises Ltd. Turner was most recently Managing Director and Chief Financial Officer of Sun Capital Partners, a leading private investment firm. Prior to joining Sun Capital Partners, she was President and Chief Operating Officer of SESAC Holdings, a leading music licensing and rights management company owned by Blackstone. She has also served in various executive and leadership roles in the investment and media industries, including RSL Group, Martha Stewart Living, Time Warner, Allen & Company and Citigroup.
Chris Oliviero
“It’s a privilege to lead Audacy at this exciting moment in its impressive history and the evolution of audio,” said Turner. “This is one of the most dynamic businesses in media and entertainment, and I am looking forward to partnering with Chris Oliviero and all of our teams to build on our momentum with audiences, creators and advertisers. I’m especially excited by the appointments of Chris and Bob, who know Audacy’s businesses inside out and whose track records in management, programming and sales are second to none.”
Bob Phillips
Oliviero has served as Market President in New York since 2020 and spent more than 23 years at CBS Radio (which became part of Audacy in 2017). He started his career as a production assistant on “The Howard Stern Show” and took on progressively more senior programming roles.
Philips joined CBS Radio in 1996 and later served as Chief Revenue Officer for CBS Radio and Entercom. Following Entercom's rebranding as Audacy in 2021, Philips transitioned into his most recent role as President of Audacy Networks and Multi-Market Sales.
The company concurrently announces the departures of Chief Operating Officer Susan Larkin, Chief Digital Officer J.D. Crowley, Chief Marketing Officer Paul Suchman and Executive Vice President and General Counsel Andrew Sutor. Mike Dash has been named Executive Vice President and General Counsel, succeeding Sutor, who will stay on for a transition period. Dash has been with Audacy’s companies for nearly two decades.
Nielsen’s Portable People Meter (PPM) ratings have seen a notable increase due to a significant methodological change implemented in January 2025. This change involved reducing the minimum listening time required to credit a quarter-hour of radio audience measurement from five minutes to three minutes. The adjustment was made to better align with modern listening habits, where shorter bursts of engagement are increasingly common due to shifting media consumption patterns and shorter attention spans.
While the specific figure of a 14% increase isn’t universally cited across all markets or analyses, it aligns with broader trends observed in the wake of this new rule. Nielsen’s analysis prior to the change projected an average market-level radio audience growth of around 24% across all PPM markets, with variations depending on demographics, formats, and dayparts.
For instance, younger demographics like 18-34 and 25-54 were expected to see boosts as high as 27-28%, while the overall average quarter-hour (AQH) listening was anticipated to rise significantly due to capturing previously uncredited three- to four-minute listening sessions—estimated to account for nearly a quarter of all radio occasions.
According to NuVoodoo Research, the 14% figure could reflect a more conservative or specific outcome observed in certain contexts, such as particular formats or markets, rather than the broader projected average.
The shift in Nielsen’s Portable People Meter (PPM) methodology from a five-minute to a three-minute minimum listening threshold for crediting a quarter-hour of radio audience measurement has had a pronounced impact on younger demographics, particularly those aged 18-34 and 25-54. This change, implemented in January 2025, aligns with the listening habits of these groups, who tend to engage with media in shorter, more fragmented bursts compared to older audiences.
Younger listeners, often characterized by higher mobility and shorter attention spans, are more likely to tune in briefly—say, during a commute, a workout, or while multitasking with other digital platforms.
Under the previous five-minute rule, a significant portion of their listening (three- to four-minute sessions) went uncredited, underrepresenting their actual engagement with radio. Nielsen’s analysis prior to the change estimated that these brief sessions accounted for nearly a quarter of all radio listening occasions. By lowering the threshold to three minutes, the new rule captures this previously unmeasured behavior, resulting in substantial audience growth for these age groups.
Specifically, Nielsen projected that the 18-34 demographic could see average quarter-hour (AQH) listening increases of up to 28%, while the 25-54 group was expected to experience gains around 27%.
These boosts stem from the fact that younger listeners are less likely to stay tuned for extended periods but still contribute meaningfully to a station’s cumulative audience (cume). For example, a 20-year-old switching stations during a car ride or a 30-year-old catching a few minutes of a podcast-style radio segment now registers as part of the AQH, where they wouldn’t have before.
This shift has ripple effects across formats popular with younger audiences, like contemporary hit radio (CHR), rhythmic CHR, and urban stations, which often see higher turnover in listenership. The increased ratings reflect not just more credited listeners but also a higher time spent listening (TSL) metric, as brief engagements accumulate over time. For instance, weekend listening and off-peak hours—times when younger demographics might casually tune in—have shown double-digit AQH growth in early 2025 data, amplifying their measured presence.
For advertisers, this means better visibility into a coveted but elusive demographic, driving up the value of radio ad inventory targeting 18-34 and 25-54 listeners. Programmers, in turn, can leverage this data to tailor content—shorter segments, punchier ads, or music-driven blocks—to retain these listeners, knowing their brief tune-ins now count. The result is a more accurate picture of radio’s reach among younger audiences, strengthening its relevance in a media ecosystem where they’re often assumed to favor streaming or social platforms over traditional broadcasts.
Fox News Channel has continued to achieve numerous milestone accomplishments in Nielsen ratings, reflecting its dominance in the cable news landscape.
One of the most significant milestones is Fox News' 23 consecutive years as the No. 1 cable news network in both total day and primetime viewers, a streak that continued into 2025. This longevity underscores its sustained popularity among audiences. In January 2025, Fox News posted its highest-rated January in history, averaging 1.9 million total day viewers and 2.78 million in primetime, far surpassing MSNBC (734,000) and CNN (522,000) in primetime viewership. This marked a 40% increase from the previous year, highlighting a significant surge in audience engagement.
February 2025 was another landmark month, ranking as Fox News’ fifth highest-rated month ever and its most-watched February of all time. The network averaged 3.091 million primetime viewers, achieving its third-highest share of the cable news audience ever. This period saw Fox News dominate with the top five highest-rated cable news shows, including "The Five" (4.699 million viewers), "Jesse Watters Primetime" (4.186 million), "Hannity" (3.597 million), "Special Report with Bret Baier" (3.585 million), and "The Ingraham Angle" (3.485 million). The month also included standout moments like Sean Hannity’s interview with Elon Musk and President Trump, which drew 5.4 million viewers, the second highest-rated cable telecast of February.
A particularly notable achievement came in the first week of March 2025 (March 3-9), when Fox News surpassed the major broadcast networks—ABC, CBS, and NBC—in primetime viewership. Averaging 4.8 million viewers, it outpaced CBS (4.2 million), NBC (3.4 million), and ABC (2.6 million), a feat that reinforced its position as a leading force in television news, not just cable. "The Five" maintained its status as the most-watched cable news program during this period, averaging 4.7 million viewers..
In the coveted Adults 25-54 demographic, Fox News has consistently led, averaging 353,000 primetime viewers in January 2025 (up 61% from the prior year) and 387,000 in February, dwarfing CNN and MSNBC. This strength in the advertiser-preferred demo further solidifies its market position.
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