Episodes

  • Music Industry Raises the Rent: ASCAP and BMI Hike Radio Royalties
    Aug 22 2025
    Music Industry Raises the Rent: ASCAP and BMI Hike Radio Royalties. Meanwhile SoundExchange Hits a Wall with SiriusXM

    The music industry, acting as a landlord for songwriters, has successfully raised the "rent" on terrestrial radio through new deals with ASCAP and BMI, finalized with the Radio Music License Committee (RMLC) for nearly 10,000 stations. BMI’s agreement jacks up royalty rates to 2.14% of gross revenue for 2022-2023 and 2.20% from 2026-2029—a nearly 24% spike—demanding back payments for 2022-2024.

    ASCAP’s deal, though less detailed, also ups the rent with higher rates and broader digital licensing, easing station operations but pinching budgets, especially for smaller players.

    Both settlements, lasting through 2029, include digital revenue discounts and minimum fees, ensuring songwriters get a bigger cut while radio tenants face steeper costs.

    Meanwhile, SoundExchange’s attempt to raise the rent on SiriusXM for digital royalties was blocked when a federal court dismissed its $150 million lawsuit, ruling it lacks legal authority to sue under the Copyright Act, leaving it stuck with audits and negotiations.

    These moves show the music industry squeezing more from radio broadcasters while hitting a legal dead end in the satellite realm, reshaping the cost of music for airplay tenants.

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    49 mins
  • Taylor Swift Teases The Life of a Showgirl and a Stern SiriusXM Exit Sparks Debate
    Aug 15 2025
    The music and media worlds are buzzing with seismic developments as Taylor Swift gears up for the release of her 12th studio album, *The Life of a Showgirl*, on October 3, 2025, while Howard Stern’s impending departure from SiriusXM after a 20-year run ignites controversy and speculation. Swift’s album, announced with characteristic flair on her boyfriend Travis Kelce’s *New Heights* podcast, is set to inject a surge of adrenaline into the fall music scene, with industry insiders and fans alike predicting it will dominate the Billboard Hot 100 and streaming platforms. Meanwhile, Stern’s expiring $100 million-a-year contract with SiriusXM, set to conclude in December 2025, has sparked a firestorm of commentary, with polarized reactions highlighting his polarizing legacy in radio.Swift’s *The Life of a Showgirl* promises to be a cultural juggernaut. Revealed on August 13, 2025, during a nearly two-hour *New Heights* episode, the album features 12 meticulously crafted tracks produced by Swift alongside pop titans Max Martin and Shellback, marking their first full collaboration since 2017’s *Reputation*.The album’s title track includes a highly anticipated feature from Sabrina Carpenter, a former Eras Tour opener, adding to the excitement. Swift described the album as a vibrant reflection of her behind-the-scenes experiences during the record-breaking Eras Tour, emphasizing its “infectiously joyful, wild, dramatic” energy. With a focused tracklist—Swift confirmed no bonus tracks will follow, unlike the 31-song *The Tortured Poets Department*—and a glittering aesthetic featuring a Mert Alas and Marcus Piggott-shot cover of Swift in a diamond-encrusted showgirl costume, the album is poised to be a pop masterpiece. Four deluxe CD variants, each with unique artwork and collectibles, have already driven pre-order frenzy, while a curated Spotify playlist and orange-themed promotions (including the Empire State Building glowing orange) amplify the hype. Given Swift’s track record—*The Tortured Poets Department* claimed 17 weeks at No. 1 on the Billboard 200 and smashed streaming records with 300 million plays in a single day—industry analysts expect *The Life of a Showgirl* to dominate charts and streaming platforms, potentially replicating her historic 2022 feat of occupying the entire Billboard Hot 100 top 10 with *Midnights*. Fans have already spotted numerological Easter eggs, like the October 3 (10+3=13) release date tying to Swift’s lucky number, fueling speculation of a calculated chart takeover.Concurrently, Howard Stern’s reported exit from SiriusXM has unleashed a torrent of reactions, reflecting his divisive status in media. InsideRadio suggests SiriusXM and Stern are capitalizing on the controversy, noting that Stern’s team is “making sure a hot controversy doesn’t go to waste” by hyping a potential announcement around September 2, 2025, possibly clarifying his future with the network or a new venture. Supporters argue Stern’s boundary-pushing style remains relevant, pointing to his loyal listener base and cultural impact over decades. The polarized feedback underscores a broader debate about legacy media figures in a digital age, with some X users reveling in Stern’s potential downfall and others speculating he may pivot to a new platform to maintain his influence.Together, these stories highlight contrasting dynamics in entertainment: Swift’s unstoppable ascent, leveraging her cultural dominance and fanbase to redefine pop music, and Stern’s uncertain transition, as his once-dominant radio presence faces scrutiny. As Swift prepares to electrify the fall with *The Life of a Showgirl*, potentially sweeping the Billboard Hot 100 and streaming charts, Stern’s saga serves as a counterpoint—a reminder of the challenges legacy media faces in retaining relevance. By October, Swift’s album is likely to be the soundtrack of the season, while Stern’s next move, expected to be clarified in September, will determine whether he can reclaim his spotlight or fade into media history.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcastsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
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    38 mins
  • Howard Stern's Exit Signals Podcasting Superiority and the End of Morning Radio
    Aug 8 2025
    Howard Stern, the self-proclaimed "King of All Media," faces an uncertain future at SiriusXM as his five-year, $500 million contract nears its end in December 2025, marking a potential close to his 20-year tenure with the satellite radio giant. Reports indicate that SiriusXM is unlikely to renew Stern’s contract at his reported $100 million annual salary, not due to his polarizing political stances, but as a strategic business decision driven by the evolving dynamics of live and on-demand audio, particularly the rise of podcasting. This shift reflects broader industry trends where SiriusXM is pivoting toward more cost-effective, digitally native content to attract younger audiences and compete in a fragmented media ecosystem.Stern’s transformative impact on SiriusXM is undeniable. When he joined in 2006, the platform had fewer than 600,000 subscribers; today, it boasts nearly 35 million, with Stern’s uncensored, boundary-pushing show playing a pivotal role in that growth. As Charlamagne Tha God noted, “Howard Stern put SiriusXM on the map,” elevating satellite radio’s cultural relevance and subscriber base through his raw, engaging style and high-profile celebrity interviews. However, the audio landscape has changed dramatically since Stern’s arrival. The rise of podcasting, amplified by platforms like YouTube and Spotify, has disrupted traditional radio models, offering on-demand, visually engaging content that appeals to younger demographics. SiriusXM’s recent investments in podcasting superstars like Alex Cooper of *Call Her Daddy* ($125 million deal) and *SmartLess* ($100 million-plus) signal a deliberate shift toward diversified, podcast-driven content to bolster subscriber growth and ad revenue.This pivot is driven by economic realities. SiriusXM’s subscriber growth has plateaued, and the company reported a 3% year-over-year revenue decline to $2.2 billion in its latest quarter. Stern’s high salary, coupled with his reduced schedule—now broadcasting just three days a week with extended breaks—has become harder to justify as listener habits shift toward on-demand audio. The company’s acquisition of podcasts like *SmartLess* and *Call Her Daddy*, which resonate with Gen Z and millennial audiences, reflects a strategy to convert free podcast listeners into paid subscribers, potentially through paywalls, as noted by SiriusXM President Scott Greenstein. These shows, with their massive download numbers (e.g., *Crime Junkie* ranks as the second-biggest U.S. podcast), offer a more scalable, cost-effective way to engage new audiences compared to Stern’s expensive, live-radio model.Tensions with newer talent, such as Alex Cooper, whom sources claim Stern “can’t stand,” highlight the generational and format shift. Cooper’s *Call Her Daddy* has been praised for its digital-first approach, leveraging SiriusXM’s infrastructure to expand into video and live events, areas where Stern’s show has lagged. Industry analyst Brian Russo estimated in 2020 that 15% of SiriusXM subscribers (roughly 2.7 million at the time) could cancel if Stern leaves, but the company’s bolstered roster—including James Corden, Andy Cohen, and Conan O’Brien—suggests confidence in weathering this loss. The broader podcasting boom, with YouTube emerging as a dominant player (handling 70% of U.S. podcast consumption), underscores the challenge: Stern’s live, audio-only format struggles to compete with the accessibility and visual appeal of podcasting.If Stern departs, potential landing spots include podcast platforms like Spotify or iHeartRadio, where he could maintain creative control, or even YouTube, where video podcasts thrive. Alternatively, he might sell his extensive archive for replays on uncensored digital platforms or pursue limited-run specials. While Stern’s legacy as a trailblazer in uncensored broadcasting remains intact, SiriusXM’s move away from his high-cost model reflects a pragmatic adaptation to a podcast-driven future, prioritizing flexibility and broader audience reach over reliance on a single, aging star.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcastsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
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    56 mins
  • The Digital Transformation of Talk Radio: From Airwaves to the Algorithmic Age
    Aug 1 2025
    KOP welcomes Michael Harrison, the Founder of TALKERS Magazine, discussing his influential roles at TALKERS magazine and "Radio & Records," his pioneering work in progressive rock and "Album Oriented Rock" (AOR), and his transition from on-air talent to trade publishing.
    We tackle the critical challenges facing the radio industry today, and the profound shifts in talent recruitment, noting the decline of the traditional farm system and the new reliance on digital platforms and college radio for fresh voices.
    The financial burdens and inherited debt of major radio corporations are also examined, with Harrison acknowledging the difficult circumstances current leaders face. The potential impact of proposed FCC rule changes on media ownership is debated, with Harrison asserting that radio's cultural and financial value has diminished, rendering it "largely obsolete" compared to its 20th-century importance, though still possessing a role in the evolving media landscape.
    Despite these challenges, Harrison emphasizes the necessity for radio to reinvent itself by prioritizing quality content and creating engaging programming rather than resting on past laurels. He advocates for personal responsibility in media creation, stressing that new opportunities exist for individuals to build their own platforms.The discussion also touches on the competitive environment between public and commercial talk radio, with Harrison suggesting that public radio may need to adapt to fewer resources.
    Finally, they address the commercial challenges in radio, particularly the impact of lengthy ad breaks on listener retention, proposing that the industry could learn from podcasting's advertising models, such as authentic host endorsements, to better monetize content in the digital age.
    Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
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    1 hr
  • Skydance Paramount Purchase Stirs Up Hollywood Culture War
    Jul 25 2025
    In a watershed moment for the entertainment industry, the Federal Communications Commission (FCC) has officially approved the $8 billion merger between Paramount Global and David Ellison’s Skydance Media. This merger marks the end of a century-old studio as a standalone entity and ushers in a new era of corporate consolidation, political realignment, and shifting content strategies within Hollywood.

    The deal comes with unprecedented conditions, including Skydance’s appointment of a CBS ombudsman to oversee news editorial integrity and the company’s controversial pledges to scale back diversity, equity, and inclusion (DEI) initiatives—a move that has sparked debate across media and political circles. These concessions appear to reflect the growing influence of conservative-leaning sentiment at the FCC under GOP Commissioner Brendan Carr, who has signaled a broader effort to overhaul broadcast ownership rules following recent court wins and a Republican majority at the agency.

    Immediately following the deal’s approval, Paramount Global co-CEO Chris McCarthy, who also oversaw MTV Entertainment, announced his resignation—signaling a major changing of the guard. His exit represents not just corporate reshuffling but the collapse of the traditional cable-era entertainment power structure, especially as the Paramount-Skydance merger pivots the company toward a stripped-down, IP-focused model centered on blockbusters and franchise revivalism.
    The merger approval comes amid a rapidly changing media landscape where the traditional box office model is no longer a sure bet. Superhero and horror franchises, once dependable earners, are showing signs of fatigue, leaving the industry grasping for new formats and platforms.

    Meanwhile, creators are fleeing broadcast and basic cable for the booming world of podcasts and streaming-first video content. YouTube is actively courting podcasters with the pitch that discovery is driven by video, and industry think pieces like “Creatorverse” argue that podcasting has replaced late-night talk shows as the go-to cultural conversation driver.

    At the same time, public media institutions like NPR are also feeling the pressure. NPR recently announced an $8 million budget cut, reallocating resources to its member stations as it tries to stay relevant in an age where streaming algorithms and podcast platforms dominate audience attention.
    The Paramount-Skydance deal is more than a business story—it’s a flashpoint in the broader battle over the future of media, where tech-driven distribution, culture war politics, and the decline of legacy entertainment formats are reshaping the industry from every angle.

    With the FCC increasingly poised to roll back ownership restrictions, and private equity-backed entities like Skydance asserting greater control over Hollywood’s narrative engines, the next phase of entertainment may be as much about ideology as it is about innovation.

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    1 hr and 5 mins
  • Recession Pop Resurgence in and a Crumbling Pop Music Cycle
    Jul 18 2025
    In 2025, "recession pop"—a distinctive genre characterized by its euphoric, high-energy, and escapist qualities—is experiencing a significant revival, echoing its widespread popularity during the Great Recession of 2008-2012. This resurgence is not merely a nostalgic whim but a multifaceted phenomenon driven by evolving consumer behaviors, economic anxieties, and the cyclical nature of popular music, as articulated by radio consultant Guy Zapoleon's theories on music cycles.Recession pop, as its name suggests, first emerged as a cultural antidote to economic hardship. Artists like Lady Gaga, Kesha, Katy Perry, and Flo Rida defined the genre with their upbeat, danceable tracks that served as a temporary escape from the anxieties of the financial crisis. Key characteristics of this sound include euphoric and high-energy beats designed to uplift spirits, carefree lyrics that promote living in the moment and partying, a potent sense of nostalgia for those who remember its original prominence, and a fundamental offering of escapism from real-world worries.The current return of recession pop in 2025 is fueled by several interconnected factors.Firstly, the overall growth rate in music streaming, while still positive, is slowing down. Luminate's 2025 Midyear Report indicates that while global on-demand audio streams increased to 2.5 trillion in the first half of 2025, the growth rate has dipped from 15.1% in 2024 to 10.3% in 2025. In the US, the slowdown is even more pronounced, with growth at 4.6% in 2025 compared to 8% in 2024. This deceleration may be prompting listeners to revisit popular music from the past, particularly the infectious hits of the 2008-2012 era. Indeed, Luminate highlights that US on-demand audio streams of pop music from that period have increased by 6.4% in 2025, outpacing the overall industry growth rate.Secondly, nostalgia plays a crucial role. As Guy Zapoleon's long-discussed pop music cycle theory suggests, musical trends often operate in cycles.Zapoleon's theory, often described as a 10-year cycle with phases like "Birth/Pure Pop," "Extremes," and "Doldrums," implies a natural ebb and flow of musical styles. The 15-year gap since the initial recession pop boom places its revival perfectly within a generational nostalgia cycle, as those who were coming of age during the Great Recession now look back fondly on the music of their youth.This is amplified by platforms like TikTok, which have become powerful engines for rediscovering and recontextualizing older songs for new audiences, further fueling the nostalgic trend.Thirdly, ongoing economic concerns, despite some positive indicators, contribute significantly to the desire for escapist entertainment. The persistent threat of a potential recession in 2025 creates a palpable need for music that offers a sense of carefree fun and positive emotions, mirroring the psychological coping mechanisms observed during the original recession pop era. As Luminate's report notes, this desire for escapism and familiarity is driving consumers towards catalog music (tracks older than 18 months), which accounts for a substantial 75.8% market share of total US audio streams in H1 2025.Finally, contemporary artists are embracing and reinterpreting the recession pop sound. While the term "recession pop" was coined retrospectively, artists like Chappell Roan and Charli XCX are at the forefront of this new wave, alongside veterans like Kesha, who has released new music ("JOYRIDE") that resonates with the genre's spirit. Lady Gaga, a progenitor of the original sound, is also seeing renewed popularity, cementing the idea that the core tenets of recession pop — its upbeat nature, danceability, and celebratory lyrics — remain deeply appealing in times of uncertainty.In essence, the 2025 recession pop revival is a testament to music's enduring power as a cultural balm. It reflects a collective craving for escapism, a comfortable embrace of nostalgia, and a return to the high-energy, feel-good anthems that historically provided solace and distraction during challenging economic landscapes, all within the framework of cyclical music trends that radio consultant Guy Zapoleon has long observed.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcastsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
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    1 hr and 2 mins
  • James Gunn’s Pre-Release Fumble Derails Superman Debut and DCEU Relaunch
    Jul 11 2025
    James Gunn’s much-anticipated Superman reboot—simply titled Superman—was meant to usher in a bold new era for the DC Extended Universe (DCEU), but instead, it finds itself mired in ideological backlash, political controversy, and a fractured audience response that could derail the studio’s grand cinematic relaunch.Starring David Corenswet as a younger, idealistic Man of Steel and Rachel Brosnahan as Lois Lane, Gunn’s Superman emphasizes themes of compassion, alienation, and global unity, reimagining the superhero as an immigrant navigating a divided world—a creative decision that has become the lightning rod for both cultural praise and conservative outrage.The film has received generally favorable reviews from critics, who laud Gunn’s signature blend of heart and humor, as well as its cinematic craftsmanship and emotionally resonant character arcs. But while many applauded the updated portrayal of Superman as a “hopeful alien outsider,” the framing has triggered backlash among certain segments of the American public—particularly right-wing commentators and conservative media, who accuse the film of being "woke" propaganda in a cape.Former Superman actor Dean Cain, who played the titular role in the 1990s TV series Lois & Clark, criticized the film for abandoning what he described as “traditional patriotic ideals” in favor of “immigrant-first messaging” and “virtue signaling.” He further claimed that the movie tries to appeal to "everyone except the people who made Superman iconic in the first place.”The discourse around the movie has been amplified by a coordinated online backlash, calling for boycotts and labeling the film as "another failed woke experiment." Social media campaigns under hashtags like #NotMySuperman and #GoWokeGoBroke have surged in the weeks since its release, further politicizing the film’s reception.This controversy couldn’t have come at a worse time for Warner Bros. Discovery, which entrusted Gunn and producer Peter Safran with rebooting the DCEU from the ashes of previous box office misfires and internal creative chaos. The studio had pinned hopes on Superman to lead a ten-year plan of interconnected films and series, starting with a clean slate after the end of the Zack Snyder era. But the political turbulence around Gunn’s choices may now cast a long shadow over the franchise's future.Adding to the friction is Gunn’s own active engagement on social media, where he has been unapologetically candid about his values and dismissive of reactionary critics. While his transparency has earned him respect among fans who appreciate his no-BS approach, it has also fueled perceptions among detractors that Superman is less about heroic storytelling and more about culture war sermonizing.Despite projected respectable international numbers and a modestly successful opening weekend, domestic performance has underwhelmed compared to expectations for a tentpole reboot. Industry analysts suggest the polarizing political framing and lack of four-quadrant appeal may be holding the film back from reaching the mass audience it was designed to court.The situation places the future of the DCEU in a precarious position. While Gunn still enjoys support from the studio and a loyal fan base, the mixed commercial outcome of Superman may force Warner Bros. to rethink how much political messaging audiences are willing to accept in their superhero blockbusters—especially in an election year when ideological divisions are already at a boiling point.In the end, Superman may not be judged solely on the strength of its storytelling or visuals, but rather on how it navigated (or stumbled through) the cultural minefield of modern America. And as the DCEU tries to build its cinematic future, it must now reckon with a new villain in its origin story: polarization.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or X and TikTok @kingofpodcastsListen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a CashApp https://cash.app/$kingofallpodcastsBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.
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    53 mins
  • The Best and Worst Movies of 2025... So Far
    Jul 6 2025
    Speaking with host Lou Pate on 1210 WPHT, KOP shares his opinions on movies released so far in 2025. After KOP watched 62 movies last year and almost 30 this year , he highly recommends "F1," especially for the theater experience, praising its immersive racing scenes and Brad Pitt's performance and "Ballerina" from the John Wick universe.

    Conversely, the guest identifies "The Weekend" as arguably the worst movie of the year, criticizing its amateur acting and poor plot and a strong disapproval for "Bride Hard," calling its premise of Rebel Wilson as a CIA agent saving a wedding from mercenaries ridiculous.

    The conversation touches on a "Jurassic Park" rebirth and the final "Mission Impossible" movie, "Dead Reckoning, Part Two"and how that the "Mission Impossible" sequels can be watched independently, as they provide refreshers on Ethan Hunt's career.

    KOP also expresses anticipation for the John Madden biopic starring Nicolas Cage. The discussion concludes with speculation about the next James Bond.

    Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.com
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    38 mins