John Catsimatidis, the Greek American businessman who owns and operates WABC Radio, addressed reporters during a press conference on July 13 at the station's 77 studios in New York. During the press conference, Catsimatidis said, "We never fire anyone for saying the Truth." He also said, "The White House wants us to tell the truth internationally." The press conference comes as WABC Radio launches a new program, "When You Know, You Know... with Michael Cohen," that debuted this past Sunday at 5 p.m. Eastern time. The one-hour show that airs on Sundays will be hosted by former Trump attorney, Michael Cohen, described in a press release from the station as an insider on politics, Washington, federal prison, and the people who hold power. The show's debut guest lineup included Jerry Falwell Jr. and Anthony Scaramucci.

According to the press release, a companion podcast, "When You Know, You Know... Unleashed," is set to premiere on Tuesday June, 14th, 2026. The station said the podcast will operate free of FCC broadcast regulations, with no topics off limits, and will feature extended, unfiltered conversations beyond what airs on the radio broadcast. The press release said Cohen will draw on an established network of contacts to bring guests from politics, media, entertainment, law enforcement, corrections, and business to both the radio program and the podcast.

About: WABC Radio is licensed to New York City and serves the greater metropolitan area. It is owned by Red Apple Media, a subsidiary of Red Apple Group, the company controlled by John Catsimatidis. The station's roster includes Sid Rosenberg, Greg Kelly, Rita Cosby, James Golden (also known as Bo Snerdley), Dominic Carter, Joe Concha, Walter Sterling, and Lionel. WABC Radio traces its history to 1921, when it began broadcasting as WJZ in Newark, New Jersey. The World Wide News Network is bringing the latest news world wide.

In a quiet yet powerful way, Yannis Pantazis has turned preservation into purpose. From his roots in Grevena to international recognition including his music in Gladiator II and his ancient Greek Instruments in Nolan’s “the Odyssey”, his work bridges ancient tradition with a modern global audience, earning him a place among finalists for the Tällberg-SNF-Eliasson Global Leadership Prize.

In this conversation, Pantazis reflects on a journey that began not with ambition, but with curiosity. “The tsabouna wasn’t just an instrument,” he says. “It was a voice that was fading.” What followed was not simply revival, but reinvention. Through years of study and craftsmanship, he brought the nearly forgotten sound back to life, giving it a new stage far beyond Greece.

That stage became the development of Symposium Cultural Center in Santorini, where he and his wife Argy Kakissis, have created a space that feels less like a venue and more like an experience. Visitors don’t just observe; they engage. Music, mythology, and storytelling unfold together, offering something deeper than performance. “Culture is not static,” Pantazis explains. “It has to be lived, shared, and understood across generations.”

His work has reached academic halls like Cambridge and Oxford, as well as major film productions, where authenticity and storytelling intersect. Yet, he remains grounded in the idea that culture is a form of connection. “When people hear the music, they may not understand the language, but they feel something. That’s where the real dialogue begins.”

Pantazis also speaks about responsibility. Recognition, he notes, is not a destination but a reminder. His nomination by the European University Institute carries weight, not just personally, but as a reflection of cultural work gaining global relevance. “We often think innovation is about creating something new,” he says. “Sometimes, it’s about rediscovering what we already have.”

Beyond accolades, his focus remains clear: to continue building spaces where heritage is not preserved behind glass but brought into the present. For Pantazis, the past is not distant, it is active, evolving, and essential.

And perhaps that is what defines his work best: not nostalgia, but continuity, most of all his life purpose.