The Radio Music License Committee (RMLC), representing nearly 10,000 U.S. commercial radio stations, reached settlements with both Broadcast Music, Inc. (BMI) and the American Society of Composers, Authors and Publishers (ASCAP) to resolve disputes over music licensing rates.
The agreements, retroactive to January 2022 and extending through December 2029, ended over three years of litigation and negotiations, providing rate certainty for radio stations and increased royalties for songwriters and publishers.
BMI Settlement Details:
The BMI settlement increased royalty rates paid by radio stations from 1.78% of net revenue to 2.14%, with a gradual rise to 2.20% by the end of the term. This was described by BMI President and CEO Mike O’Neill as the “largest rate increase ever” for the radio industry, reflecting BMI’s growing share of music played on radio.
Impact: The deal ensures fairer compensation for BMI’s songwriters and publishers for music performed on radio, covering over 22.4 million works. Stations will also pay retroactive fees for 2022–2024, with the RMLC assessing annual administrative fees ranging from $28.50 for small licensees to $1,080 for those paying BMI $20,000 or more annually.
Court Approval: The settlement awaits final approval from U.S. District Court Judge John Cronan, with a conference scheduled for September 3, 2025.
ASCAP Settlement Details:
ASCAP’s agreement with RMLC also secures higher royalty rates, though specific terms were not disclosed, unlike BMI’s public filing. ASCAP’s previous rate was 1.73% of net revenue, and the new deal includes year-over-year increases. ASCAP CEO Elizabeth Matthews emphasized that the settlement “locks in an important royalty stream at higher rates” for its over one million members, representing more than 20 million works.
Context: The agreement reflects changes in how AM/FM radio broadcasts and streams music, distinguishing terrestrial radio from internet music services like Spotify. Like BMI, ASCAP expects stations to make retroactive payments for prior years.
Litigation Background: The ASCAP case was dropped by RMLC on August 15, 2025, just before the settlement was announced, following a failed 2023 attempt to combine ASCAP and BMI rate-setting under one judge, which was rejected by a federal court.
Ronn Owens, a prominent former KGO radio host, and his wife, Jan Black, a former KCBS anchor, filed for Chapter 13 bankruptcy on August 14, 2025, in Arizona federal court, citing $2.3 million in liabilities.
The couple, once considered Bay Area media royalty, owes over $511,000 to more than 40 creditors, including banks and credit card companies, with over $400,000 of the debt incurred in 2025. Significant debts include $300,000 in credit card balances to creditors like American Express and Bank of America, and a $51,000 lawsuit from JP Morgan Chase for unpaid balances. Their monthly expenses include $6,640 for medical, dental, and insurance costs, plus a $14,188 mortgage they reportedly stopped paying.
Owens, who hosted The Ronn Owens Program on KGO 810 AM for 46 years until his retirement in 2021, has been battling Parkinson’s disease since 2001, four bouts of cancer (most recently colon cancer), heart issues, COVID, and pneumonia. These health challenges have led to extensive medical bills, with Owens spending up to six months in hospitals over recent years, requiring an in-home caregiver.
Ronn and Jan
Black noted that their supplemental health insurance does not cover all residual medical expenses, exacerbating their financial strain.
A GoFundMe campaign launched on December 31, 2024, to support their medical and financial burdens has raised over $131,000 of a $140,000 goal, with contributions from notable figures like former KGO colleague Leo Laporte and Santa Clara attorney Todd Rothbard.
However, questions arose about the use of these funds, particularly as the couple incurred significant debt after the campaign began. Owens publicly denied allegations that the funds were used for their daughter Laura’s legal expenses, emphasizing that the money was a “lifeline” for their financial struggles.
The bankruptcy filing coincides with a high-profile legal controversy involving their daughter, Laura Owens, who lives with them in their $1.5 million Scottsdale, Arizona, home. Laura faces seven felony charges, including perjury, fraud, forgery, and evidence tampering, stemming from a 2023 claim that she was pregnant with twins by Clayton Echard, a former star of The Bachelor. She allegedly fabricated evidence, including an altered ultrasound image, and is scheduled for trial in early 2026.
1893..It's National Radio Day. Though we typically attribute the invention of the radio to Gugliemo Marconi in the 1890s, Nikola Tesla was reportedly first to demonstrate radio in 1893. Nonetheless, the process spanned decades, with many scientists making small but significant contributions to the understanding of electromagnetic induction, electric conduction, and radio waves. For example, Heinrich Rudolph Hertz discovered radio waves in the 1880s, which helped prove a theory of electromagnetism put forth by James Clerk Maxwell in 1873.
It took quite a bit of time after the discovery of the radio for the technology to be used as communication — this was both because the inventors hadn’t yet realized the practical and life-changing applications of their development and because there were many more components needed to transmit and detect electrical waves.
Public radio broadcasting has its own inventor and that’s Lee de Forest. He transmitted the first public radio broadcast, which featured the voices of opera stars, in 1910. De Forest’s Radio Telephone Company went on to manufacture the first commercial radios which could pick up a signal from miles away.
Obviously, radio was huge for music and changed the landscape of the industry immediately. News took to the radio, as well, and announcers could quickly hop on air to deliver the happenings of the day to a massive audience. The first radio news program was broadcast on August 31, 1920, out of Detroit — at a station that survives today as WWJ. In the early 20th century, radio also began to be used for broadcasting sports, aiding telephone services, and even navigating by airplane.
With the digital revolution and the wireless era, radio changed and adapted. Today, though radio is used for a variety of functions, it no longer holds its former top slot in entertainment and news media. With television, the internet, and more, it’s hard for radio to compete in that space – but people still love it, and it doesn’t look like radio is going away anytime soon. In fact, we appreciate radio even more these days for its old-school vintage.
Alan Reed
➦In 1907...Actor and voice artist Alan Reed born Herbert Theodore Bergman (Died from a heart attack at age 69 – June 14, 1977). He was best known as the original voice of Fred Flintstone on ABC-TV cartoon series The Flintstones and various spinoff series. He also appeared in many films, including Days of Glory, The Tarnished Angels, Breakfast at Tiffany's, Viva Zapata! (as Pancho Villa), and Nob Hill, and various television series.
As early as 1930, Reed (billed as Teddy Bergman) co-starred with Herbert Polesie in Henry and George, a CBS program that featured "minute dramas, popular laugh makers ... interspersed with dance music selections."
Reed's radio work included having two roles in Valiant Lady, the role of Solomon Levy on Abie's Irish Rose, as the "Allen's Alley" resident poet Falstaff Openshaw on Fred Allen's NBC radio show, and later on his own five-minute show, Falstaff's Fables, on ABC, as Officer Clancey and other occasional roles on the NBC radio show Duffy's Tavern, as Shrevey the driver on several years of The Shadow, as Chester Riley's boss on the NBC radio show The Life of Riley, as Italian immigrant Pasquale in Life with Luigi on CBS radio, various supporting roles on Yours Truly, Johnny Dollar and The Phil Harris-Alice Faye Show, and as Lt. Walter Levinson in several episodes of Richard Diamond, Private Detective.
Reed was "heard regularly on the Crime Doctor series," and "was the original Daddy to Fanny Brice on Baby Snooks." Billed as Teddy Bergman, he had the title role on Joe Palooka.
Billed as Teddy Bergman, Reed appeared on Broadway in Double Dummy (1936), and A House in the Country (1937), and Love's Old Sweet Song (1940).
Baruch began his career as a pianist for NBC Radio. He got into the wrong line of applicants; he had entered the announcers' line and was hired on the spot.
After World War II, Baruch and his wife worked as a husband-and-wife disc jockey team in New York on WMCA, where they were billed as Mr. and Mrs. Music. Their show was later presented on the ABC and NBC networks.
Baruch was an announcer for such programs as The American Album of Familiar Music, The Fred Waring Show, The Kate Smith Show, The Shadow, Your Hit Parade and The United States Steel Hour.
Fulfilling a 20-year dream, in 1954 he was named to the Brooklyn Dodgers broadcast team, for whom he worked for two years on WMGM radio and WOR-TV.
In 1973, Baruch and Wain moved to Palm Beach, Florida where they did a top-rated daily four-hour talk show on WPBR 1340 AM. Baruch was the host of the show and ran the control board.
After nine years, Baruch and Wain relocated to Beverly Hills, California. During the early 1980s, the pair hosted a syndicated version of Your Hit Parade, reconstructing the list of hits of selected weeks in the 1940s and playing the original recordings.
1920 Front-Page Ad for 8MK Radio
➦In 1920...WWJ owned by The Detroit News inaugurated daily broadcasts from a studio established in the newspaper's headquarters building, located at the corner of Lafayette and 2nd Avenues. These initial broadcasts, by what was then called the "Detroit News Radiophone", were sent under an amateur station license operating with the call sign "8MK"
The person most responsible for establishing the Detroit News Radiophone service was the newspaper's vice-president and managing director, William E. Scripps. The Scripps family had a long history of interest in radio developments.
8MK began nightly trial broadcasts, in order to check if the equipment was ready for regular service. However, because the station was still un-publicized the original audience consisted only of a small number of interested local amateur radio enthusiasts. The test programs proved satisfactory, so on August 31, 1920 the Detroit News announced on its front page that, starting that evening, nightly (except Sunday) broadcasts would be transmitted by the "Detroit News Radiophone" service. That evening's debut program featured regularly updated returns for a primary election held that day, plus vocal performances by Lois Johnson. Malcolm Bingay, managing director of the Detroit News, was the broadcast's master of ceremonies.
The front page of the next day's News contained enthusiastic reports attesting to the success of the election night broadcast, which had begun "promptly at 8:10 p. m.", with the newspaper declaring: "The sending of the election returns by The Detroit News Radiophone Tuesday night was fraught with romance and must go down in the history of man's conquest of the elements as a gigantic step in his progress." The paper also reported receiving "numberless telephone calls to The News office asking for details of the apparatus".
Daily broadcasts, most commonly between 7 and 8 p.m., continued through September. Although the initial programs consisted mostly of phonograph records interspersed with news announcements, programming also included fight results from the heavyweight championship bout between Jack Dempsey and Billy Miske on September 6, and, in October, play-by-play accounts as the Cleveland Indians bested the Brooklyn Dodgers in the 1920 World Series baseball championship. In March 1922, the call-letters were changed to WWJ, which they have remained ever since. Today the station is owned by Entercom Communications and airs news/talk.
➦In 1960...19-year-old Marv Alpert, a journalism major at Syracuse University and future sportscaster was working at WMGM 1050 AM radio in New York during the summer in the record library and news department.
➦In 1963...It was announced that all-night talk show host Long John Nebel - heard on WOR 710 AM in New York would also be heard on WNAC 680 AM in Boston, also owned by RKO-General.
➦In 1963...NYC Deejay Stan Z. Burns at 1010WINS, New York had the magic touch. After playing “That Sunday, That Summer” off of Nat King Cole’s latest album with tremendous response, Capitol Records announced it will release it as a single.
➦In 1963...Many in the industry were stunned by the promotion of Rick Sklar, director of community services at 77 WABC Radio in New York, to Program Director, replacing Sam Holman. The announcement was made by newly-appointed vice-president and general manager Walter Schwartz. “Sam Holman, who has done so much to bring WABC to its present enviable position in the market, will continue to be a front-line piece of talent for us" (Holman was also a DJ).
Rick Sklar
Under his management, WABC became the model for tight-playlist, teenager-targeted Top 40 programming, with a strong signal and famed disc jockeys such as "Cousin Brucie" Bruce Morrow, Dan Ingram, Harry Harrison, Chuck Leonard, and Ron Lundy.
His relationship with some of the DJs he oversaw was contentious at times. Scott Muni departed from WABC after a number of confrontations with Sklar over playlists including Sklar's refusal to remove Louis Armstrong's version of the #1 smash hit "Hello, Dolly" from the playlist at Muni's request. Under Sklar, the station's ratings soared and was often the most listened to radio station in North America through the mid-60s into the late 70s.
In March 1977, Sklar was promoted to vice president of programming for ABC’s radio division. In 1984 he left ABC to start his own consulting firm, Sklar Communications.
➦In 1963...CBS radio network launched its Net Alert systems. Units were installed in more than 200 affiliate stations of the CBS radio network. Net Alert allowed the network newsrooms in New York or Los Angles to notify affiliates of important breaking news stories.
➦In 1967...With FM radio making some ratings noise in New York, it was announced that a new kind of transmitting antenna was available to improve FM reception. WABC 95.5 FM & WCBS 101.1 FM in New York, began transmitting in September with a circularly polarized antenna from the Empire State Building.
Nexstar Media Group will acquire Tegna in a $6.2 billion deal, combining two major local TV station operators.
The price includes Tegna’s net debt, transaction fees, and expenses. Pending regulatory approval, including from the FCC, the deal is expected to close in the second half of 2026.
Nexstar operates over 200 stations, while Tegna owns 64 across the U.S. Post-acquisition, Nexstar and its partners will control 265 stations in 44 states and Washington, D.C., reaching 80% of U.S. TV households across 132 of 210 markets, including nine of the top 10 and 41 of the top 50.
The companies claim the merger will enhance local news and programming, preserving diverse local voices.
The deal aligns with recent FCC moves under Chairman Brendan Carr, including a June initiative to review the 39% national audience reach cap and a July 8th U.S. Circuit Court decision vacating the FCC’s rule against owning multiple top-four stations in a market. Nexstar CEO Perry Sook credited the Trump administration’s deregulation efforts as a key driver of the deal.
Streaming viewership continued to heat up in July as its portion of TV watch-time edged closer to the 50% threshold, according to Nielsen’s monthly report of The Gauge™, the media industry’s leading snapshot of total TV and streaming consumption. Driven by an influx of streaming options across platforms, streaming usage trended upward slightly as audiences spent a record 47.3% of overall TV viewing time in July watching its content.
Netflix rode the momentum of a strong June into July, notching a 5% monthly viewing increase to achieve a platform record of 8.8% of TV. Netflix’s consecutive monthly uptick was driven by a continued steady flow of new releases among original and acquired titles, which led the streamer to represent eight of July’s top 10 streaming titles. Its original series Squid Game was this month’s most watched title with 5.4 billion viewing minutes.
Peacock also carried some of its June momentum into July as its original series Love Island USA was this month’s second most-streamed title with 5.3 billion viewing minutes. Overall Peacock was up 3% versus June and added 0.1 share points to tie its non-Olympic monthly record of 1.6% of TV. The rest of July’s top titles included:
In addition to Netflix, The Roku Channel (2.8%) and YouTube (13.4%) also set platform records in July. The Roku Channel exhibited the largest monthly usage increase across all platforms with a 7.5% lift vs. June, while YouTube viewing climbed 2% with 18-24 year-old viewers notching the largest increase among age demographics (+8%).
TV Viewing Trending
Broadcast and cable were each affected by standard summer programming slates, which remained light on sports and original shows before those return on a larger scale in the fall. Broadcast’s 18.4% share of TV was helped slightly by a 28% increase in news viewing, which was illustrated by ABC World News Tonight collecting 19 of this month’s top 20 broadcast telecasts. The MLB All-Star Game on FOX took the remaining slot at 13th.
Cable finished with 22.2% of TV watch-time in July. Although it exhibited monthly declines in news (-11%) and sports (-17%) viewing, with the latter feeling the absence of the NBA Playoffs, the MLB Home Run Derby on ESPN was the bright spot, topping cable telecasts for July with 5.3 million viewers.
Daily podcast listening in the United States is now second only to radio, according to Nielsen’s Podcasting Today report for Q2 2025.
While advertisers are tracking shifts in consumer behavior across multiple audio platforms, Nielsen notes that podcasts’ share of daily listening time has remained stable and significant.
Edison Research’s Podcast Metrics ranker for the same period highlights the top 50 podcasts in the U.S. by weekly reach.
Spotify’s The Joe Rogan Experience retains the number one spot, followed by Crime Junkie from audiochuck and The Daily from The New York Times.
Other chart highlights include Alex Cooper’s Call Her Daddy at number four, SmartLess in sixth place, and This American Life securing ninth.
Independent shows such as Bad Friends (17th) and Impaulsive with Logan Paul (46th) also continue to make a strong impression.
Nielsen’s Podcast Brand Impact Norms Database, which has tracked nearly 2,000 campaigns over the past decade, shows podcast advertising delivers consistently strong top-funnel results.
On average, podcast ad exposures generate a 10-point lift in brand awareness, with 66% of listeners believing the advertised brand is a good fit.
The findings suggest listeners not only tolerate podcast advertising but actively engage with it. In Q2 2025, 37% of audiences exposed to podcast ads described them as interesting, while 62% considered podcast hosts to be likeable – an important factor in how messages are received.
Auto brands were among the strongest categories, driving an average eight-point lift in both affinity and information seeking.
Consumer packaged goods, financial services and media and entertainment also delivered notable uplifts across key marketing measures.
As the medium matures, both Edison and Nielsen’s data underline why podcasts remain a powerful channel for advertisers.
The combination of stable audience habits, trusted hosts and proven advertising effectiveness reinforces podcasting’s role as one of the most effective tools for brand storytelling and audience engagement in today’s crowded audio marketplace.
Marquee Broadcasting, a family-owned television station group, is expanding into radio by acquiring Bicoastal Media’s five radio stations in Medford, Oregon, creating a TV/radio combo in Southern Oregon.
The deal, announced Monday, involves an undisclosed purchase price and includes a Local Marketing Agreement allowing Marquee to assume programming and administrative duties pending regulatory approval.
The acquired stations are:
Oldies “99.3 The Jukebox” KBXG Grants Pass
Country “Q100.3” KRWQ Gold Hill
Classic Hits “Kool 103.5” KLDZ Medford
Conservative Talk 106.3 KMED Eagle Point (with simulcasts on 105.9 K290AF Rogue River and 106.7 K294AS Ashland)
AAA “The Valley” 105.5 K288CP Ashland (also on KMED-HD2)
Rhythmic AC “107.5 The Beat” KIFS Ashland
Marquee already owns two television stations in the Medford-Ashland DMA: “Fox 26” KMVU and “My 48” KFBI-LD, offering programming from FOX, MeTV, Telemundo, and MyNetworkTV.
This acquisition makes Marquee the only media company in the Rogue Valley combining television, radio, and digital platforms, enhancing its market presence.
Marquee’s CEO Patricia Lane expressed excitement about integrating the stations and their employees into the company, while COO Gene Steinberg emphasized the strategic advantage, stating, “Two words describe this agreement: ‘Better Together’—adding the power of the Bicoastal radio stations to our television properties makes us the only triple play media company in the Rogue Valley.”
Newsmax Monday settled a defamation lawsuit from Dominion Voting Systems for $67 million, resolving claims over false 2020 election coverage alleging Dominion rigged votes.
Per an SEC filing reported by The New York Times, Newsmax will pay in three installments by January 15, 2027. A Dominion spokesperson expressed satisfaction with the settlement, while Newsmax maintained its coverage was “fair, balanced, and within professional standards,” claiming court rulings favored Dominion and restricted its defense, framing the case as an attack on free speech.
Delaware Superior Court Judge Eric M. Davis ruled on April 28 that Newsmax’s segments contained inaccurate information likely to harm Dominion’s reputation but stopped short of a defamation verdict, leaving it to a jury.
Newsmax’s 2020 on-air clarification, also addressing a $40 million Smartmatic lawsuit settled in March, was cited by Davis as evidence the network acknowledged false reporting. No further settlement terms were disclosed.
Dominion previously settled with Fox News for $787.5 million in 2023. Newsmax’s statement emphasized its commitment to balanced reporting and open dialogue, arguing the judiciary’s actions undermine press freedom while positioning the network to continue its mission amid low public trust in media.
As unveiled Monday, MSNBC will rebrand later this year, dropping its iconic peacock logo and renaming to My Source News Opinion World, or MS Now, as part of its separation from Comcast’s NBCUniversal.
Versant CEO Mark Lazarus announced in an internal memo on Monday, according to CNBC. Despite earlier assurances in January that the network’s name would remain unchanged, NBCUniversal leaders decided during transition planning to adopt a new name to clearly distinguish MSNBC from NBC News, Lazarus explained.
MSNBC President Rebecca Kutler emphasized in a separate memo that the network’s core mission and commitment to its audience will remain unchanged, stating, “While our name will be changing, who we are and what we do will not.”
The network is actively building an independent newsroom, hiring around 100 new staff, including 40 journalists from outlets like CNN, Bloomberg, and Politico, to establish its first Washington, D.C., bureau.
Unlike MSNBC, CNBC’s news organization is sufficiently distinct from NBC News and will not undergo a name change. Notably, CNBC’s acronym stands for “Consumer News and Business Channel,” not National Broadcasting Co.
MSNBC unexpectedly the rebranding to MS NOW, prompting sharp criticism and mockery on social media.
A Bluesky user ridiculed the new logo, noting that an American flag beside “MS NOW” resembled “KMS NOW,” an acronym for “kill myself.”
The new name, standing for “My Source News Opinion World,” was unveiled despite prior assurances from executives that MSNBC’s name would remain unchanged.
The rebrand, which severs ties with NBC, drew ire from figures like former NBC anchor Megyn Kelly, who posted on X, “MSNBC gets shivved by NBC (can’t share our respected name!),” mocking NBC’s perceived need to protect its reputation.
Morning Joe’s Joe Scarborough announced the change on-air.
Mark Lazarus, CEO of the forthcoming spinoff company housing MS NOW, assured staff in a memo that the brand’s audience commitment remains unchanged.
Network head Rebecca Kutler hinted at internal debates over removing “NBC,” stating the decision followed “significant debate” and an eight-month effort to “untether” from NBC News under the new Versant structure. Kutler highlighted hiring dozens of reporters and leaders, recruiting for nearly 100 roles, and boosting non-linear platforms like YouTube, TikTok, and audio, while developing a direct-to-consumer product.
Democratic Senator Adam Schiff of California has raised significant concerns about potential political interference by President Donald Trump in the FCC approval of the $8.4 billion merger between Paramount Global, the parent company of CBS, and Skydance Media.
In a letter sent Monday to FCC Chair Brendan Carr, Schiff demanded transparency regarding whether Trump or his associates sought to influence programming or media coverage decisions as part of the merger review process, citing actions that suggest the FCC may have been used as a tool for political retribution, undermining press freedom.
Schiff’s inquiry focuses on a series of events that raise questions about the FCC’s independence, an agency legally bound by the First Amendment and the Communications Act of 1934, which prohibits censorship or interference with broadcast content.
Key points prompting Schiff’s letter include:
Paramount’s $16 Million Settlement with Trump: On July 1, 2025, Paramount agreed to pay $16 million to settle a $20 billion lawsuit filed by Trump, who claimed CBS News’ 60 Minutes deceptively edited an interview with then-Vice President Kamala Harris during the 2024 campaign. The settlement, which legal experts deemed related to a “frivolous” lawsuit, occurred just weeks before the FCC’s merger approval on July 24, 2025. Schiff highlighted the timing as suspicious, suggesting it could indicate an attempt to curry favor with Trump.
FCC Meetings with Skydance Executives: Schiff noted a private meeting on July 15, 2025, between FCC Chair Carr and Skydance CEO David Ellison, just nine days before the merger approval. He questioned whether discussions about programming or editorial decisions, including specific shows like The Late Show with Stephen Colbert, took place. CBS announced in July 2025 that The Late Show would be canceled in 2026, shortly after Colbert criticized the Trump settlement on air. Schiff, a guest on the show the night the cancellation was announced, flagged the timing as potentially retaliatory.
Trump’s Claims of Additional Commitments: Trump claimed on Truth Social that the settlement included an additional $20 million in “advertising, public service announcements, or similar programming,” totaling over $36 million. Schiff questioned whether the FCC was aware of or discussed such commitments, which could imply influence over Paramount’s content.
FCC’s Merger Conditions: The FCC approved the merger by a 2-1 vote, with conditions requiring Skydance to ensure CBS programming reflects a “diversity of viewpoints” and to eliminate diversity, equity, and inclusion (DEI) programs. An ombudsman was also mandated for two years to review complaints. Schiff argued these conditions suggest an improper FCC effort to shape content, violating its legal limits under the First Amendment. Democratic FCC Commissioner Anna Gomez dissented, accusing Paramount of “cowardly capitulation” to the Trump administration and the FCC of imposing “never-before-seen controls” over editorial decisions.
Merrill Reese, the iconic play-by-play radio announcer for the Philadelphia Eagles, has signed a multi-year contract extension with SportsRadio 94WIP, ensuring he will continue as the voice of the Eagles into his 49th season and beyond.
At age 82, Reese, a Pro Football Hall of Famer and the longest-tenured NFL play-by-play announcer, remains a beloved figure among Eagles fans for his passionate and memorable calls, including the “Philly Special” and the final moments of Super Bowl LII in 2018.
The announcement, reported by the Philadelphia Business Journal, highlighted Reese’s enduring commitment to broadcasting, with no plans to retire, as he has famously stated he would need to be removed “with a crane.”
The contract extension was negotiated by Reese’s firm with Audacy Inc., the parent company of WIP, though specific terms were not disclosed.
This follows a previous three-year extension signed in 2022 at age 79, as noted by Montco.Today, underscoring his long-term dedication. Reese, who began calling Eagles games in 1977 after the sudden death of announcer Charlie Swift, has been paired with former Eagles wide receiver Mike Quick since 1998, and their partnership will continue under the new deal.
His recent honors, including the 2024 Pete Rozelle Radio-Television Award, reflect his significant impact on sports broadcasting. Reese’s preparation, including meticulous note-taking and tape study, and his emotional connection to Philadelphia’s passionate fanbase, continue to define his legendary career.
University of South Florida (USF) Athletics and Beasley Media Group have announced a multi-year radio partnership starting with the 2025-26 season.
WRBQ-FM Q105 FM will serve as the flagship for USF Football, providing robust regional coverage. A historic first, Playa 106.9 FM will launch Spanish-language broadcasts for Bulls Football in 2026, with select games potentially airing in 2025.
Additional USF content will be featured on 1010 AM Alumni Radio, with promotional support from Beasley’s 92.5 Maxima, WiLD 94.1, 98.7 The Shark, and 99.5 QYK.
“This partnership expands our reach and strengthens ties with Bulls fans, introducing a groundbreaking Spanish-language broadcast and leveraging Q105’s powerful signal,” said USF Interim Vice President of Athletics Jay Stroman.
Beasley’s Tampa Market President Ron deCastro added, “This is about connecting with fans, celebrating USF pride, and reaching our diverse community through Q105 and Playa 106.9.”
The 2025-26 broadcast team includes Jim Louk in his 29th season as “Voice of the Bulls,” alongside former USF linebacker Sam Barrington, sideline reporter Joey Johnston, and engineer Brett Holcomb.
Bulls basketball voices Jim Lighthall and Darek Sharp will contribute to pregame/postgame coverage, with Lighthall calling men’s games with Johnston and Sharp joined by former Bulls standout Brigid Merenda for women’s home games.
The two-hour USF Football Pregame Show will feature exclusive interviews in the first hour on Bulls Unlimited and platforms like GoUSFBulls.com, Spotify, and Apple. The second hour and a 30-minute postgame show will air on Q105 FM and Bulls Unlimited.
BullsEye: The USF Coaches Show, hosted by Sharp, Johnston, and Caylee Cottrell, will air Thursdays on YouTube, Bulls Unlimited, podcast platforms, and 1010 AM, featuring Head Coach Alex Golesh and student-athletes.
USF basketball broadcasts will remain available globally via Bulls Unlimited on the USF Bulls App and Tune-In Radio.
New data from Samsung Ads reveals that high-cost sports TV programming, like NFL broadcasts, struggles to retain streaming platform subscribers post-season.
A Samsung survey found that 65% of new subscribers who joined streaming services during the NFL season last fall canceled their subscriptions after the season ended. However, the specific platforms—likely including Amazon Prime Video (“Thursday Night Football”), Paramount+ (CBS simulcasts), Peacock (“Sunday Night Football”), Disney+, and ESPN+ (“Monday Night Football”)—were not disclosed.
The data, drawn from Samsung’s ACR (automatic content recognition) on smart TVs from Q2 2024 to Q2 2025, shows a 28% increase in streamer viewership and 57% more hours per viewer per month during the NFL season (September-December 2024) compared to July-August 2024. Post-season (March 2025 vs. September-December 2024), viewership dropped 33%, with 59% fewer hours per viewer per month.
Samsung’s report lacks detailed breakdowns by platform or genre, complicating analysis. Viewership spikes in fall may also reflect traditional TV season starts, with non-sports content like Peacock’s “Yellowstone” potentially influencing retention.
Subscriber churn was lower in Q4 2024 through January 2025 but rose post-Super Bowl in February 2025.
Streamers likely use their own data to balance sports and non-sports content releases. The NFL’s push for year-round football, including the UFL’s third season in 2026, aims to sustain engagement. Meanwhile, ESPN’s new sports-focused streamer, launching next week at $29.99/month, raises questions about its ability to combat churn given these trends.
CNN has announced a refreshed programming schedule for its domestic FAST (free, ad-supported streaming television) channel, CNN Headlines.
The updated lineup includes:
CNN Headline Express: A live news program airing at 7 AM, 11 AM, and 5 PM ET, hosted by Brad Smith, who joined CNN in July 2025. It covers the latest national and international news, sports, entertainment, business, and culture.
ICYMI (In Case You Missed It): Airing at 10 AM, 3 PM, 8 PM, and 11 PM ET, this show features the most newsworthy and compelling stories from CNN’s U.S. programming.
American Pulse: Broadcast at 2 PM, 4 PM, and 9 PM ET, this hour-long program highlights reporting from CNN’s extensive network of affiliates across the country.
The relaunch aims to enhance CNN’s digital reach with live and original content, moving beyond its previous format of mostly repurposed cable network clips.
Eric Sherling, Executive Vice President of U.S. Programming for CNN Worldwide, emphasized the strategic importance of the relaunch, leveraging CNN’s affiliate network and timely updates to complement its existing cable offerings.
CNN Headlines is accessible for free on CNN.com, the CNN app, and connected TV platforms like Roku, Amazon Prime Video, and Pluto TV, though distribution remains limited (e.g., not yet on Apple TV). This move is part of CNN’s broader digital strategy, including a planned subscription streaming service and a new CNN Weather app.
Sounds Profitable, a leading podcasting trade association, has merged with Podcast Movement, the premier platform for podcast creators and industry leaders, in a seven-figure deal announced Monday. The partnership unites two key players to form a powerhouse in podcasting research, events, and thought leadership.
Sounds Profitable will continue as a trade association, focusing on industry research, with partners Bryan Barletta and Tom Webster remaining shareholders. Barletta will take on the role of President of both Podcast Movement and Sounds Profitable. The merger enhances Podcast Movement’s event expertise and expands its presence at major media events like Cannes Lions, SXSW, The Podcast Show London, and Advertising Week.
“This merger brings together two champions of podcasting, amplifying our mission to connect creators, brands, and innovators while delivering unmatched event experiences,” said Barletta.Podcast Movement co-founder Dan Franks will remain President of Event Movement, the production company expanding to support Sounds Profitable’s events and future Podcast Movement gatherings.
“Sounds Profitable’s vision and research create a unique opportunity for Podcast Movement to evolve with the industry,” Franks noted.
Starting September 2026, Podcast Movement’s flagship event will move to New York City, and its Evolutions event will integrate with SXSW for a broader conference experience.
Rob Lorei, a co-founder of WMNF Community Radio in Tampa and a prominent media figure in the Tampa Bay area, passed away Saturday, at the age of 70, following a battle with cancer.
Lorei announced his cancer diagnosis in March 2025, around the time he stepped down from hosting WEDU’s Florida This Week, a public affairs program he had moderated for nearly 24 years.
Lorei was instrumental in establishing WMNF in 1977, helping to raise funds by collecting donations in coffee cans on the streets of Tampa Bay. He served as the station’s News and Public Affairs Director for 43 years, becoming a trusted voice through his program Radioactivity, which was known for its substantive political discourse and commitment to amplifying diverse perspectives, including those of labor leaders, academics, activists, and community members. His work embodied the ideals of community journalism, focusing on underrepresented stories and holding local politicians accountable.
In addition to his radio career, Lorei hosted Florida This Week on WEDU, Tampa’s PBS station, where he facilitated thoughtful discussions with journalists, political strategists, and scholars. After stepping down from the show, he continued at WEDU with a new interview program, Perspectives.
Lorei’s career was not without challenges. He was fired from WMNF in 2019 due to programming disputes but was reinstated after public outcry. He faced a second dismissal in 2021 over an alleged email exchange involving a political term, which he disputed as being misrepresented as an ethnic slur. Despite these controversies, his dedication to independent journalism and community engagement left a lasting impact.
Tributes from colleagues, listeners, and community members highlight Lorei’s integrity, curiosity, and commitment to giving a voice to the voiceless. WMNF programmer Jeannie Holton described him as “the voice and conscience of WMNF,” while NPR’s Eric Deggans called him a “beacon of smarts and compassion.” His legacy endures through the institution he helped build and the countless lives he touched in Tampa Bay.
➦In 1903...Francis Hamilton "Fran" Striker born (Died from injuries suffered in a car accident – September 4, 1962). He was a writer for radio and comics, best known for creating The Lone Ranger, Green Hornet, and Sgt. Preston of the Yukon characters.
Fran Striker
Born in Buffalo, NY, Striker attended Lafayette High School and the University of Buffalo. He dropped out of college and soon joined the staff of radio station WEBR (now WDCZ 970 AM Buffalo), working as an announcer. In 1929, he moved to WTAM in Cleveland, Ohio, where he served as announcer and continuity writer and wrote his first radio drama script, a biography of Stephen Foster. Lured back to WEBR as station manager, Striker wrote material ranging from skits to half-hour mysteries and Western scripts.
Striker soon began a long association with station owner George W. Trendle and radio station WXYZ in Detroit, which was trying to make a name for itself as a producer of radio drama, creating and writing the early series.
Late in 1932, Striker began working on The Lone Ranger; his earliest scripts were largely reworked from his earlier series Covered Wagon Days. A letter from Trendle dated Monday, January 30, 1933, clearly gives Striker credit for creating the character. However, by 1934 Striker was pressured by Trendle to sign over his rights to the Lone Ranger, and Trendle claimed credit as the creator. This sparked a long-term controversy over the creation of The Lone Ranger, extending as far as a 1960 television appearance by Striker on To Tell the Truth, which mentioned his role in the character's creation.
The actual first trial episodes of The Lone Ranger were broadcast on WEBR in Buffalo prior to the official premiere on WXYZ. When the Lone Ranger series began to gain popularity, Trendle convinced Striker to move to WXYZ, where he eventually became head of WXYZ's script department.
Striker was extremely prolific. In addition to writing 156 Lone Ranger scripts a year, he wrote The Green Hornet (built around the Lone Ranger's descendant, Britt Reid) and a short-lived series, Ned Jordan Secret Agent.
Striker was 59 when he died in a 1962 car accident. He was posthumously inducted into the Buffalo Broadcasting Hall of Fame in 1998.
➦In 1929…"Amos 'n' Andy," the WMAQ Chicago radio comedy program starring Freeman Gosden and Charles Correll, heard in Chicago and then in syndication since March 1928, made its network debut on NBC Radio Blue Network.
Under a special arrangement, Amos 'n' Andy debuted coast-to-coast November 28, 1929, on NBC's Pacific Orange Network and continued on the Blue. WMAQ was then an affiliate of CBS and its general manager tried, to no avail, to interest that network in picking up the show. At the same time, the serial's central characters — Amos, Andy and the Kingfish — relocated from Chicago to Harlem. The program was so popular by 1930 that NBC's orders were to only interrupt the broadcast for matters of national importance and SOS calls. Correll and Gosden were making a combined salary of $100,000, which they split three ways to include announcer Bill Hay, who was with them when they started doing radio.
The program stayed on the air until November 1960.
➦In 1955...1010WINS in NYC, one of the first stations in the United States to play rock and roll/Top40 music full time, announced it will not air white cover versions of R&B (DJs must play Fats Domino's "Ain't It A Shame," not Pat Boone's)
➦In 1974...NYC personality Cousin Brucie Morrow started at WNBC 660 AM. He aired on 77WABC for 13 years and 4,014 broadcasts until August 1974, when he jumped to rival station WNBC. He left three years later and teamed with entrepreneur Robert F.X. Sillerman to become the owner of the Sillerman Morrow group of stations.
