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NewsNation Anchor Nichole Berlie Announces She’s Cancer-Free On Anniversary of Diagnosis

BNM Staff
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NewsNation Anchor Nichole Berlie Announces She’s Cancer-Free On Anniversary of Diagnosis

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

Last year, NewsNation anchor Nichole Berlie shared that she had been diagnosed with breast cancer. One year later, she had a positive update.

During NewsNation Now with Nichole Berlie on Friday, the anchor shared part of her story during a breast cancer awareness segment. She detailed what she went through during her diagnosis and how she was told she has a rare form of the cancer that affects millions.

“One year ago today, October 4th of last year, I was one of those women under the age of 50 diagnosed,” Berlie shared. ‘I got the call from my doctor while I was here at work and I went on to do this show, in total disbelief. I was in shock, went into autopilot. Every cancer journey is unique, and mine started with no symptoms. I had no signs.

“So please hear this: y mammogram was fine. I was given the all-clear and it’s because there was no cancer. The cancer was only detected through a recommended ultrasound because I have dense breast tissue. And another twist, I was diagnosed with breast cancer, but doctors never actually found any cancer in either breast,” revealed Berlie. “It was found in one lymph node in my armpit. What I had was a rare form of the disease. It impacts less than 1% of all breast cancer patients.”

The NewsNation anchor added that due to her rare form of cancer, she delayed treatment for nearly two-and-a-half months as doctors formulated the best plan to combat the disease.

And that plan worked, as Nichole Berlie had good news to share on the anniversary of her diagnosis.

“I am thrilled to report today: I am cancer-free … but I am still healing mentally and emotionally,” she shared. “As you can see, my process isn’t over. I still have years of medication and screenings in front of me, which for anyone who knows, who has dealt with this, knows that brings its own immense anxiety.

“But I am here and I am thankful. And I’m so thankful to you for the overwhelming support and love you have shown me. It means so much more than you will ever know. Every card, every note, every letter, every email. It really helped me during some of the darkest days of my life. So thank you.”

BJ Shea Departs Mornings At KZOK Seattle After Just Nine Months

BMM Staff
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BJ Shea Departs Mornings At KZOK Seattle After Just Nine Months

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

In a surprising turn of events this weekend, BJ Shea has revealed his departure from the morning show at KZOK Seattle after a brief nine-month tenure.

Shea shared this statement to his social media followers.

“Hey all, just wanted to let you know that I am no longer on KZOK. I can’t comment any further at this time… Stay tuned.”

Shea, a longtime fixture in the Seattle market, joined KZOK in January and arrived from crosstown KISW. He had been in KISW from January 2006 until last year.

Following the retirement of Danny Bonaduce, he joined incumbent co-host Sarah Schiller at KZOK.

Shea began his career in Boston with additional stops in Rochester, NY, San Francisco, Phoenix, and Jacksonville.

NFL Players Association Asks to Move Media Interviews Out of Locker Rooms

BSM Staff
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Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

Last week, the NFL Players Association Executive Committee released a statement about player interviews and no longer wanting them to take place in locker rooms. The NFLPA posted the statement on their X account and said it is a statement, “on behalf of our Executive Committee regarding the locker room media policy.

The statement read, “Over the past three years, the NFLPA has tried to work with the NFL and Pro Football Writers of America to move media interviews out of locker rooms. However, there has been little willingness to collaborate on a new solution. Players feel that locker room interviews invade their privacy and are uncomfortable. This isn’t about limiting media access but about respecting players’ privacy and dignity.

“The NFL’s current media policy is outdated. We, the NFLPA Executive Committee, urge the NFL to make immediate changes to foster a more respectful and safer workplace for all players. In the meantime, we encourage each player to ask for interviews outside the locker room during the week.”

Various NFL reporters weighed in on social media with many agreeing with the sentiment of finding a better place to do the interviews, although several seem concerned they will not get the same access to players and information they get when they go into the locker rooms.

Darren Smith who covers the Chiefs wrote on X that he had spoken with some of the players about the situation including Patrick Mahomes who generally speaks at the podium and is not interviewed at his locker. Mahomes said he would side with what the players wanted but also understands both sides and respects that the reporters have jobs to do.

Do Young People Still Want to Work in Radio?

Jason Barrett
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Do Young People Still Want to Work in Radio?

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

I launched my company in 2015. Prior to the pandemic, younger people reached out frequently to make sure I knew of their interest in programming radio stations. I still get plenty of messages from young people, but most of that interest is tied to being on the air, and how to improve a show or grow an audience.

Younger people express less interest today in programming and behind the scenes roles than they used to. Having led program director job searches for numerous companies and markets, I wonder why that is. On-air hosting is the more glamorous job. However, not everyone is going to be the next Pat McAfee, Stephen A. Smith or Mina Kimes.

I’ve noticed similar challenges hiring writers and editors. We receive high interest in our openings, in fact, over four hundred people applied in less than five days for two recent openings. Many though are not in the industry, and are simply job hunting on LinkedIn and Indeed. Some young people do reach out and research us, which I love. Most of the interest though comes from older people in different industries. Broadcasters are less interested in writing than they once were.

If being a future reporter, writer or working in the media business is of interest, we’ve had a pretty good track record of advancing careers. We also provide a reason to connect with every single member of the media industry. I’ve seen this same thing in New York City, Los Angeles, Washington D.C., and Nashville when we’ve run conferences. We’ll contact 100-150 professors and faculty members at local universities, offering students an opportunity to attend, learn and network for FREE. If five or six take advantage of the offer, that’s a lot.

Looking at it strictly from the radio side, why are producers and assistant program directors less active pursuing paths forward? Is it better for a young person to build a brand independently, especially if they want to be on the air, rather than working for a company behind the scenes? Are PD’s encouraging behind the scenes people to pursue bigger roles? Do younger people see value working in radio? Is interest up, down or the same when radio brands have openings? How aware are corporate executives of future stars inside their companies? I have many questions.

It’s no secret, the radio industry has gone through a lot of layoffs in recent years. Compensation isn’t great when you’re starting out, and programmers are doing more than ever. That makes it tougher to find time for development, which is the one thing a young person needs. They are not working for you because they love the salary and pressing buttons for live events.

Some brand leaders now manage multiple radio stations. Market managers are pulling double duty too. It’s easy to say ‘you need to find time to coach, develop, and scout future talent’, but when you’re tasked with helping sales and digital teams, managing play-by-play relationships, writing/producing imaging, scheduling clocks/employees, booking guests, analyzing ratings, handling contracts with agents and employees, and balancing sleep and a family life, it’s a lot to juggle. The part that suffers most is finding time to recruit, scout, and coach young talent, and analyzing content.

I have the good fortune of working with a few notable universities. I speak to and hear from students directly. During a recent trip, I asked fifteen students to raise their hands if they were interested in working in radio. One hand went up. That student wanted to call baseball games for a local team. Young people do get excited about creating content though. They love sports, music, and news personalities, the brands they represent, the access the job provides, and the social media platforms where content is distributed. What they don’t get excited by is the medium. Say the words ‘content, podcast, video or digital’ and there’s greater enthusiasm than if the word ‘radio’ is mentioned.

Having noticed the changes, I wondered if others were experiencing the same inside radio buildings. Is interest in working in sports or news/talk radio up, down or the same as it was a decade ago? Are younger people still willing to pay dues behind the scenes to get on the air? Do they see it as more advantageous to build their own brand rather than join a radio station? How difficult is it for programmers to get buy in from direct/corporate bosses when introducing an unproven voice?

To get the best answers, I spoke discreetly with brand leaders from ten companies. Here’s what they had to say.

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Young People Listen to Radio

Audacy: There’s much less interest in behind the scenes roles from younger people. They can create their own content now, and over the air radio isn’t considered cool. The 25-year old male does not listen to traditional radio anymore. They watch YouTube and Twitch, and they stream. We as an industry have to recruit the fun-ness back to the industry. Bankruptcy headlines do not help!

Beasley: Many younger people still desire to get in the radio business. I’ve hired talent from non-media backgrounds and after coaching and developing them, they’ve become major contributors to our content presentation. The Program Director must make it a priority to talk with, build relationships with and check out every new talent that is coming along. For every 10 people you talk to, only one or two may have something to offer. Once you get someone into your organization, you have to give them time for conversation and guidance.

We all want someone to mentor and inspire us. There may be a talent sitting inside your group right now that has tremendous potential but has not gotten the feedback/direction they need. In the end, it’s about leadership, and making a commitment to find the right personnel that can make a difference for the future.

Bonneville: We are finding it more difficult to get young candidates to apply for traditional radio roles behind the scenes. I was in a meeting recently where someone said they noticed a dramatic difference in the robust number of applications they received for a job posting for a digital podcast producer vs. radio producer opening. Regarding unknown voices, I think it has everything to do with the role and expectations. The harder the sell of an unknown talent is often due to needing to gain buy-in from the sales leadership.

Cox: It is the same but I blame the journalism schools more than anything. Most of the potential journalists graduating from big J schools all want to work in TV. They don’t think of radio as a possibility. Each time I talk to a group of students and ask what they want to do the answer is TV sports or TV news. When I follow up and ask if they’ve thought about radio, the answer is 100% no.

We have have some success attracting young talent for board op and traffic anchor roles. We’ve found ways to give them the coaching and reps necessary to get them up to speed, and utilize them across different departments to allow them room to grow and expand their professional horizons. It is very hard recruiting young talent these days specifically for news jobs. However, if we keep our eyes and ears open on the talent we have internally, invest time and energy coaching to grow our next generation, and are willing to take a risk on potential without experience, it’s amazing what you can achieve.

Cumulus: People do see the value in being involved with a big brand. If you have a major sports team, or if they grew up listening to the station, or have a connection with a host you’ll find they want to be with you. I think it’s important though to show people we are invested in them while paying their dues. If we do that, they will stay. They have more options for audio than ever before. They’ll move on if we aren’t helping them meet their goals. Fortunately, digital platforms allow us to help them get reps and develop while paying dues.

For my formats, anything on-air generates as much interest as it ever has. However, I have seen a drop off in interest for behind the scenes positions. We have to be far more patient and dig more than we had in the past. I personally find this to be a good thing because once we find the right people they tend to have more passion for the job vs. it being a quick pathway to being on air.

In terms of introducing new talent, there has to be a reason or story behind the voice you are pitching. I can’t just pitch someone because I like them or their voice. Everyone I have put behind a microphone whether they are a radio veteran, new to the business, or transitioning from another form of media has always been well thought out and planned before pitching to bosses. 

Good Karma Brands/ESPN Radio: It’s not that the younger demo isn’t interested. It’s that the people making decisions are afraid to develop, and take a chance in case it doesn’t work. I’m not sure why that is but it’s what I’ve seen when looking outside our walls. Now, am I seeing more of the newer members of our industry want to pay dues? Not necessarily but find me anyone that’s been in this industry for any amount of time that was patient. We’re all intrinsically anxious to get going on our ‘dream’.

That said, we need to be better at retaining. If someone is excelling behind the scenes and wants to learn how to be a personality, encourage it. Be creative with your approach in finding them reps. Encourage them to work on getting reps by themselves on social media platforms. Coach them when they ask for it. No one is too busy to take 5 minutes to give effective and real feedback. Just think about the loyalty you’re building by investing in the future. What’s the phrase, past performance isn’t indicative of future results? The industry is changing, and we have to adapt with it, not expect it to adapt to us.

I love when people take a risk on a new voice. Just know that it can’t be a short-term risk. Is it the same length it used to be? Nope. But it is important to take the time to let things bake for a window that you are comfortable with. The convincing you have to do of your boss to bring someone new in, is the minimum amount of time you should invest in with their time. It’s a mutually beneficial proposition.

Hubbard: It is REALLY hard to find young talent that has a passion for behind the scenes radio roles, and a willingness to make very little money and grind. We have a hard time finding part-time producers and board-ops to run live events, and generally hire non-radio people (social media producers, podcasters, etc.) and teach them how to run a board so they can be part of our staff. We do still need board-ops.

However, the idea of working on digital content is VERY appealing to young people. We receive far more messages from college-age students wanting to get into podcasting, create content on YouTube, etc. than I ever have from students looking to get into radio. I had multiple guys reach out in the last month wanting to help us with YouTube thumbnails and TikTok videos. 

When it comes to paying dues, young people can just start their own YouTube channels now and get reps vs. grinding as a radio board-op and hoping the weekend host throws them a bone. 

iHeart: We still have plenty of young folks interested in working in the industry who apply for our jobs. There are far more pathways these days for folks who strictly want to be on the air. Everyone now has the tools to do their own thing and build a brand themselves. But I think many realize how hard it is to truly build a big audience. So they find (and are probably influenced by mentors and parents) that working for a traditional media company is a wonderful experience and looks great on a resume. Having a steady income while gaining experience is also worthwhile to young folks. What’s great is they can work for a traditional company, gain valuable experience, develop important relationships, and still explore building an on-air brand on their own with their free time.

Keeping young talent can be harder though due to the going rate of what the industry pays. That is a bigger fundamental problem. We typically lose folks to other industries when the compensation matter is a priority. It’s less about them leaving to become a breakout star on their own. I just wish the industry paid more to keep highly motivated young employees invested in long term growth whether it’s on the air or behind the scenes.

Radio One: We’ve been lucky in our markets to have a steady roster of terrific producers and part-timers but it has gotten more difficult. I try to be up front and let them know that the on-air lineup is really tough to crack. We try though to give them appropriate opportunities to grow. In addition to hosting podcasts, they’ll get the occasional on-air opportunity on the shows they produce. As the hosts make them a part of the show, listeners are more likely to listen to them “step up” on the regular talent’s days off.

When we do have a rare opening, we’ve been blessed to choose from some very motivated, hungry folks. They are out there. However, many young people are applying for jobs that are above their experience level and talent. I do think there is a benefit to doing your own thing as you learn and grow. I don’t know that it’s any harder now to sell a new voice up top than it was 5-10-20 years ago. I’m always looking for talented people who can help deliver the bottom line of attracting listeners and advertisers. Ultimately, we’re looking for young, motivated, smart people who are willing to grow, put in the time and demonstrate a willingness to be a part of the team and its success.

Radio Came Through In An Emergency

Perry Michael Simon
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Radio Came Through In An Emergency

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

Turns out that radio – AM/FM, broadcast radio – is still a useful technology. Who knew?

People in the areas affected by the hurricane know. As Helene blasted through the Southeast and devastated western North Carolina, cell towers failed, power was out, and there were no ways to get information to the victims… except for radio. If, wherever you ended up, you had a battery-powered or hand-cranked emergency radio available, you could hear what was going on and where services were available and which roads were open. The internet can do that, but not if, as in Asheville, there’s little cell service or Wi-fi to be found.

Amazing, huh? All that radio industry propaganda about radio’s emergency powers, and here we are, with proof that it DOES have emergency powers. Take that, naysayers!

Of course, the ability to stay on the air – some stations couldn’t, but the big stations were on the air throughout – is one thing. Collecting and disseminating crucial information is another, and in this case, radio came through. The local clusters aired intense coverage of the disaster, and while you might think that should be automatic, that stations should expect and be prepared for such an emergency, there are no manuals for putting together coverage of an unprecedented weather event like devastating flooding in a mountainous region. On the coast, you know hurricanes are going to be an issue. A hurricane/tropical storm causing damage that far inland? Nobody saw that coming.

Maybe this is yet another lesson for the news media. While you can assume some things are more likely than others to happen in your area, you never know. It has snowed in Miami. There are earthquakes pretty much everywhere. Tornadoes, too, and wildfires. Superstorm Sandy did a number on New York and New Jersey. A train derailment put East Palestine, OH in the news. There is no place in the continental U.S. that is immune from any of this. You have nowhere to hide, and it’s getting worse.

Your preparation for emergencies, then, may be inadequate even if you have set up rules and assignments and phone trees for the natural disasters your area expects. Assume nothing. Perhaps the best way to prepare is to imagine the worst – neighborhoods and towns wiped out, lives lost, no phone service, roads washed away, bridges collapsed – and prepare a game plan for that.

You should already have the local and federal emergency officials on speed dial, and a place from which to report and broadcast if your studios are disabled. Be ready to flush your formats, commercials, and anything else that isn’t emergency related. Stock up on food and drink for the staff. All hands on deck. It’s the plan we’ve talked about before, but ready for things that you might not think will happen to you.

Kudos to the Asheville radio people who got it together for their audience. They can confirm for you that anything can happen, anywhere. Now, if you’ll excuse me, I gotta prepare for Hurricane Milton. At least we know it’s coming. Exactly where it’ll hit is still, pardon the expression, up in the air.

Create A Brand Connection Not A Crutch With Radio Swag

Ron Harrell
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Create A Brand Connection Not A Crutch With Radio Swag

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

We walked around the room at the end of the radio and artist management event, looking for our next move. Merchandise, aka Swag, would play an unexpected role in the psychology of the evening.

The safety of tables and chairs should not be undervalued in group settings. Once we stood up, we quickly assessed and planned. Should we go to the restroom, get a beverage refill, or walk to another table and talk to someone else? 

All of those options are normal. However, the last thing we wanted to do was just stand there. A member of the artist management team spoke up and told us to grab a hoodie and a baseball cap on the way out. I could sense a feeling of social confidence coming from the room. We had direction.

“And the Dove goes to…”

The events were connected to last week’s 55th Annual Dove Awards in Nashville. The Dove’s are the Gospel Music Association’s version of The GRAMMY Awards. Record labels and artist management connect radio programmers and influencers to specialized weekly events. 

The goal is to thank decision-makers and to influence future moves. There are performances by A-list artists in a Nashville studio setting and artist showcases from singer-songwriters that feel like a Laurel Canyon experience in the early 70s. If you want a Masterclass on how to organize these events, contact Chris Hauser at Hauser Promotions.

Over the four days, I popped into several events to connect with friends and colleagues and enjoy the performances. Live music is such a great bonding moment. There’s comfort in seeing a familiar face, and there are people like me who enjoy the challenge of walking into a room of new faces and trying to engage in a conversation. 

Sometimes, it works, and I look for that person the next day to continue the connection. But there are the small-talk conversations where I try, and the moment ends with a smile and a “Nice to meet you.” 

The Green Hat Is Good For My Skin Tone

This is where the benefits of the swag come in. We had something in our hands and a conversation sidebar. I came away with a hoodie, a coffee mug, and four hats. Some of the hats involved choices, and I would model the hats to get feedback from someone I didn’t know. It was another connective tissue moment between humans.

How do we justify radio station swag and merchandise when revenue is flat, and expenses are up? We don’t rationalize it without a strategy of brand exposure and audience connection created by the swag budget line.

Here are a few questions to consider when spending money on brand merchandise:

  1. Does the passion for your brand match the passion of the listener? It’s not a trick question. Some brands have more passion because of the radio station’s format or heritage. However, the passion for the brand doesn’t mean the listener will wear your swag in public. Research through mini-focus groups can help save money. Use the power of your database to get feedback. Listeners love giving their opinions about the ordinary.
  2. Who would wear or display this? It seems simple, but how often have we cleaned out a closet or a drawer and found a radio station or vendor t-shirt, hoodie, or hat that hasn’t been touched since the last time we moved? Are we asking the right people to approve the merchandise? If we want women to wear an item, are we asking a focus group of women to approve the items? I have a lot of coffee mugs, but I rotate a few favorites. Ask coffee drinkers to critique the way a mug looks and feels. 
  3. Who is the audience receiving the swag? Yeti and Stanley cups are popular and expensive, so we settle for a knock-off brand or coffee mugs. What if you purchased limited premium merchandise for the Super P1s, the birthday club, or the top-tier contributors? Additionally, clients (advertisers) should receive a different premium exclusive to the client for their investment in the station.
  4. Would it sell in an online store? This requires answering #1. The audience may love the brand, but that doesn’t always translate to spending money to show affection.

Uh, We’re Striking That Line From The Budget

Finally, what happens if there’s no budget for swag? 

Yeah, I realize there are barter services to fill the need, but it’s not the purpose of this question. How do we work the room, the event, the car remote, and the concert when we have only human interaction?

I enjoyed the hats and hoodie this week, and I’ll wear those swag items because those brands have more impact in Nashville. One of the hats may lead to a conversation in a local restaurant or coffee shop. However, the swag items were nice afterthoughts to remind the participants of the week and the artists. The real connection came from the label pros working the room and filling the voids.

Are we training our on-air staff and street team to come from behind the table and bond with a fan or a potential listener? How would you justify being on-site if you didn’t have swag or a cool prize? 

Swag and merchandise are powerful and needed, but don’t let it be a crutch to replace connection. Let it aid in the goal of nurturing your audience.

The “Radio For Every Home” Act of 2025

Dr. Ed Cohen
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The “Radio For Every Home” Act of 2025

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

Ralph Nader is 90, but unlike Joe Biden, age has not slowed him down. Recently, one of his organizations, the Center for the Study of Responsive Law (CSRL), published a long look into public radio. The trades picked it up, for example, here’s Inside Radio. I downloaded the report and read all 80+ pages.

While much of it was misguided in my view, it did get me thinking. Now that the “AM For Every Vehicle” Act is nearing final passage, the industry should be thinking about the next step. CSRL’s proposals didn’t go far enough so read on, but first, let’s understand where they came from.

Ralph wrote an introduction for the report which went on for eight single-spaced pages. It may not be news to you, but Ralph does not like corporations and both he and the report rail against public stations with boards made up of “corporate interests” that are also major donors. And like commercial radio listeners, Ralph was not pleased with the volume of underwriting announcements on public radio.  He claimed to have counted nearly 30 ads (underwriting blurbs) in one hour on a public station, more than the 18 spots that WTIC in Hartford ran during the same hour. 

The report itself, written by Michael Swerdlow, a J.D. student at Columbia Law School, made some relevant points, such as “news deserts”. It’s true that many small communities have lost local newspapers and commercial radio stations have small local news staffs, if there is one at all. 

When I was in the trade association world many years ago, one mantra was “We never lie but sometimes we don’t tell the truth”. In other words, use facts to your benefit, but if the facts don’t fit the narrative, ignore them or turn them to your advantage.

Some of the report’s “facts” were stretched: it was noted that according to the Washington Post, in 1960, there were only two all-talk radio stations in America. By 1995, there were 1,130. The author’s point was the elimination of the Fairness Doctrine caused the change, but everyone in the business knows that in 1960, AM stations were successfully running music formats because FM barely existed. By 1995, music on AM didn’t work against FM, but talk sounded just fine on an AM frequency. Goodbye Top 40 and hello Rush Limbaugh!

CSRL staff sampled 94 public radio stations and found that 25 of these stations produced no locally produced non-music programs.  Only seven produced two hours or more. But Swerdlow admits their sample did not include local inserts for the national shows. He mentioned another study that covered 215 public stations and included inserts. That study found the median amount of “self-reported local news” was closer to two hours per day, but never mind, the table from CSRL’s sample, with call letters listed, was included in the appendix while the more favorable study was cited in footnote 150 of 229.

Distilling the report down, the key points were:

  • For the stations that have boards, the boards are typically dominated by big donors, often representing corporate interests.
  • The United States has a history of supporting a free press financially dating back to George Washington’s time because mailing rates for newspapers were subsidized.
  • Public radio’s financial model reinforces racial discrimination.
  • There is little local reporting on public radio stations
  • Most NPR programming comes from just a handful of markets and stations
  • NPR’s news operation is biased (we’re not talking about Uri Berliner here) and has promoted “disinformation” from companies, law enforcement, and the military
  • NPR is running more “entertainment news” even in their choice of obituaries

Swerdlow and Nader propose that the federal government fund local reporting. Numbers running from $3 billion to $30 billion per year were bandied about with numerous potential funding mechanisms. Next, public media boards should be representative of the service area’s “economic, racial, gender, and geographic diversity” but diversity of viewpoints was not mentioned. 

CSRL also said boards should be “selected in a transparent, merit-based, or democratic process” and offered other suggestions regarding “transparency”. Transparency sounds nice so I tried to find who funds Nader’s various organizations and I came up with next to nothing. The information is not on his website. What’s good for the goose…

Let’s assume for a moment that the government decided to fund local journalists for public radio and each station would run a one-hour standalone local news program at some time during prime (M-F 6A-7P) at least five days a week. Let’s further assume that the programs would follow the CSRL’s guidelines. Outside of the public radio strongholds (Boston, Washington, SF, Austin, Portland), do you think these shows could pull a 2 share? Do you think the programs would pull better shares among minorities? I’ll take that bet.

But why only public radio? If Congress were to even consider such legislation, why couldn’t commercial stations participate? Some states are giving out money to local newspapers to support hiring journalists; most of the papers are commercial enterprises.

Now let’s go to the next step: If you look at the sample characteristics for the Nielsen PPM markets, you’ll find that a large plurality of sample homes doesn’t have a radio in their home (they typically have radios in their vehicles). Before anyone suggests spending billions on journalists, why not give everyone a radio? Let’s do the AM For Every Vehicle Act one better and propose A Radio For Every Home Act. 

This is not an unprecedented idea. In 2006, Congress required broadcast television stations to move from analog to digital by February 17, 2009. The legislation was part of the Deficit Reduction Act of 2005 under Title III: Digital Television Transition and Public Safety Act. Congress allocated $1.5 billion for a coupon program. Every household in the US could request up to two coupons worth $40 each to buy a “basic” converter box for their analog sets. The cost of a box was expected to be around $50, so the largest part of the cost would be covered by the government. 

Notice how “Public Safety Act” is part of the legislation’s title. Wasn’t a key point of the argument for requiring AM radio in vehicles related to “public safety?” During a hurricane, tornado, or blizzard, do we want people going to their cars to receive emergency information because they don’t have a battery-operated radio in their home? Hurricane Helene was a perfect example; having a battery-operated radio in every home would have been helpful when the power went out and cell phone service was interrupted. A few radio stations were knocked off the air by the storm, but most stayed on.

While I think CSRL was barking up the wrong tree and failed to consider the media marketplace in 2024 or even what the audience wants to hear rather than what the author believes they should hear, the report was valuable in bringing up a new way of thinking about subsidizing media. Let’s give everyone a radio they can use in their home! I believe every radio broadcaster would support it, not to mention Amazon, Best Buy, and any company that still manufactures radios. 

Let’s meet again next week.

Consultant’s Corner: John Lund, Lund Media Group

Jeff Lynn
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Consultant’s Corner: John Lund, Lund Media Group

John Lund is President of the Reno-based Lund Media Group. Lund leads a team of programming specialists nationwide that provides consulting and research to radio stations in markets of all sizes.

For over 30 years, the Lund team has provided consulting and research to radio stations (all formats), TV stations, and broadcast networks, as well as research and consulting for American Forces Radio and Television stations worldwide. 

Lund frequently speaks at broadcast meetings, state and national broadcast conventions, including NAB and NPR, and corporate meetings.  He publishes The Lund Letter, a weekly e-newsletter read by over 13,000 broadcasters, the most-read media management and radio programming newsletter worldwide. 

He is this week’s featured consultant.

Jeff Lynn: What is the state of the radio industry today?

John Lund: The radio industry remains resilient, adapting to digital transformation through streaming and podcasting. While traditional AM/FM radio maintains a broad reach, especially in cars, it faces challenges from online platforms, but local stations retain strong community ties.

Radio is crucial for community engagement and news. 92% of Americans still listen to terrestrial radio today.

Lynn: Your website has an article entitled “The Magic of Localization.” Can you share your thoughts on the subject?

Lund: Sounding local is easy. But now, with digital automation, satellite programming, syndicated shows, and out-of-market voice tracking, many stations sound less local. With the right guidance, this can be a win-win situation for the station and the audience.

Claiming a local identity can be accomplished with a little know-how and ingenuity beyond imaging liners and nationally show-prepped talent bits.

+ Source the localisms. Create a timely events calendar that lists what’s happening and other local attractions/activities for talents to use on their shows.

+ Establish a quota system so every talent delivers two or three localisms an hour.

Talents should prep what’s happening locally, something fun or interesting to see or do today, tonight, or this weekend. Timely localisms help connect the station with the audience. This benefit of radio differentiates us from XM-Sirius, iTunes, or Apple Music.

Lynn: You also have an article entitled “AI Can Help You Localization.” AI is a subject I have talked to a lot of people about. What are your thoughts?

Lund: Artificial Intelligence (AI) can add great value to your station in many ways. This technology can help us improve and streamline day-to-day activities.

Local News and Weather Updates.  AI can automatically gather and summarize news and weather information from various sources. Weather can be delivered for specific Zip Codes and communities, ensuring timely and relevant updates.

Imaging Voices & Production.  AI software can provide voice imaging and “listener” voices that endorse the station. It can generate the perfect voice for your station commercial production with or without an accent.

Back-Announcing Songs.  AI’s synthetic voices can be used for back-announcing songs.

Voice Recognition and Synthesis. AI can transcribe and analyze spoken content, such as listener requests or live commercials, to send to clients.

Social Media Integration.  AI can respond instantly to Facebook posts and questions. It can also automatically post updates and engage with the audience.

Interactive Features. AI can enable interactive features like song requests, polls, and contests, enhancing listener engagement.

By leveraging these AI capabilities, radio stations can provide their audience with a more personalized, engaging, and efficient listening experience.

Lynn: What principles do winning radio stations have in common?

Lund: Lund Media conducted a national study of the top-rated stations in America.  Regardless of music format, we found three important elements in virtually all successful radio stations. These three essential ingredients comprise successful programming that shapes the station’s DNA makeup. 

In programming, the 3-M’s — Music, Mornings, and Marketing – should be the triangular focus of the program department. Prioritize activities, concentrate on the strategic goals, and “hit on results.”

The three M’s to making successful radio stations are:

1. Music: Play the best-researched music perfectly scheduled that resonates with your target audience. Understanding listener preferences and delivering a unique, consistent sound keeps people tuning in.

2. Mornings:  The top stations all possess the best-known, well-executed morning shows that are fun and funny.  These shows anchor the station’s programming.  When you win an audience in the morning, you win all day.

3. Marketing: The station is effectively marketed externally and internally. Market externally to get tune-in and market internally to extend TSL. Constantly build cume and tune-in through External Marketing—utilize all media, including social media, texting, and emailing.  Internal Marketing helps you win the Usage War and increase listening occasions.  Get the audience to “use” the station after the break, in the next hour, daypart, and day.  Strong branding and outreach help build listener loyalty and attract new audiences.

Keep the energy and engagement high with fresh content, dynamic personalities, timely imaging, and promotions. Consistently evolving and adapting to trends helps maintain excitement and long-term success. 

You need to win one of the 3 M’s to have hope. Two ticks, and you’re likely a pretty good station. Win all three, and you are THE market leader. 

Lynn: How should talent approach prep and shows when they do shifts on multiple stations in the same cluster?

Lund: Understand Each Station’s Audience: DJs must familiarize themselves with each station’s demos, format, and presentation to adapt their content accordingly.

Content Planning: Tap multiple sources, not just a prep service.  Reuse core prep content but modify the set-up, delivery, and angle to fit the station’s brand and listener expectations.

Focus on Localization:  Talk about what affects the listeners – the new Trader Joe’s, Aldi’s, dog park, and local happenings.

Cross-Promotion: Take advantage of the cluster’s network to cross-promote relevant content or upcoming shows across different stations to maximize listener engagement.

By staying organized and adaptable, talents can maintain high-quality, engaging shows for each station without overwhelming themselves.

Lynn: What tips do you have for keeping station imaging fresh and timely?

Lund: This requires creativity, regular updates, and strategic planning.

Topical References: Keep imaging aligned with timely events like concerts, holidays, and local events to stay relevant and closely connected to the community and audience.

Audience Feedback and Trends: Stay attuned to listener feedback and trends in music, pop culture, and media to ensure that imagery resonates with the audience’s current tastes.

Rotate Content: Regularly update imaging elements like sweepers, promos, and liners to avoid listener fatigue.  Keep a bank of imaging pieces to change out frequently.

Creative Production Techniques: Use modern production tools and sound effects to enhance imaging, making it more dynamic and engaging.

Collaborate with On-Air Talent: Get input from on-air personalities, as their involvement can make imaging sound more integrated and authentic to the overall station sound.

Stations can maintain a vibrant and engaging presence by constantly refreshing imaging and staying attuned to the station’s evolving sound and audience.

Lynn: What tips can you offer for show brand extension into video and podcasting?

Lund: Extend the talent and station brand into video and podcasting by leveraging one’s on-air personality and audience connection. In video, offer behind-the-scenes content, interviews, or vlogs, allowing listeners to see a more personal side.  Podcasts provide a space for deeper conversations, niche topics, or extended versions of on-air content. Consistency in tone, humor, and style across platforms helps maintain brand identity. Cross-promotion on social media and on-air can drive listeners to these new platforms, enhancing engagement and expanding the DJ’s reach beyond traditional radio.

Lynn: How much importance do you place on a social media strategy?

Lund: A strong social media strategy is crucial for radio stations to engage listeners beyond the airwaves. It boosts brand visibility, promotes on-air content, and fosters real-time interaction. Social media extends the station’s reach, especially to younger, digital-savvy audiences, driving tune-ins and enhancing listener loyalty. Platforms like Instagram, Twitter, and Facebook allow for cross-promotion, event updates, and audience feedback, creating a more dynamic connection. A well-executed strategy also helps promote contests, podcasts, and live shows, keeping the station relevant in an increasingly competitive media landscape.

Lynn: What was the best career advice you were ever given?

Lund: I’ve had many mentors. The best career advice is to pursue what aligns with your passions and strengths while being open to growth and learning. Focus on building relationships, as networking is key to opportunities. Stay adaptable—embrace change and evolve quickly with new trends and skills. Consistently deliver value and take initiative, showing reliability and creativity. Balance ambition with patience—success takes time, but persistence and resilience will guide you toward your long-term goals.

I was also told that the day nothing turns you on in radio, you’re dead, no matter how many years you keep breathing. And: To work with such intensity that to the rest of the world, it seems like insanity.

Connect with John Lund by email here.             Visit the website at Lund Media Group.

Or: Lund Media Group

748 S Meadows Pkwy, A9-331

Reno, NV 89521

650.692.7777

Peter King Still Talking Football on SiriusXM After Retiring from NBC Sports, No Longer Feels Beholden to NFL Schedule

Derek Futterman
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Peter King Still Talking Football on SiriusXM After Retiring from NBC Sports, No Longer Feels Beholden to NFL Schedule

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

As dusk turned to dawn on Sunday mornings, Peter King knew he was in for a long day. Recapping an entire week in the NFL spanned beyond the games, and it was his responsibility to compile information, build relationships and make observations to inform the audience. Crafting pieces of longform journalism on a short deadline without a defined roadmap was a strenuous task, but it was apparent that the demand for and impact of King’s NFL columns was realized around the world.

Because of the fact that his column was distributed on Monday mornings, it was incumbent on King not to lag behind on his work. Prior to a Sunday slate of games, he would have 6,000 words of his column completed, largely facilitated by the news, rumors and transactions taking place during a given league week.

After a busy Saturday consumed by writing and reporting, King would get some rest, walk his dog on Sunday morning and then settle in to watch the action. By the time Sunday Night Football took place, he needed to decide if the contest was worth writing about and would sometimes be on the phone with players or coaches after the game at 12:15 a.m. There were instances where he turned off the game and focused on the remainder of his column, which would often take much of the night to complete.

“I think one of the things I wanted to make sure that I did was there’s a lot of people who are writing about this game or that game only on Sunday or about the games only, and I like to write about a lot of the other things in football,” King said, “and so that’s kind of what I did, and that is the way I had the ability to, usually, I would guess I would write between 5,000 and 5,500 words between noon on Sunday and 3 a.m. Monday, and that’s kind of how I did it.”

King had already been writing an NFL column for Sports Illustrated upon being hired as a staff writer in 1989. In the preceding years, he had demonstrated his worth and became the youngest senior writer in magazine history. When Time Warner merged the CNN and Sports Illustrated brands to create a new sports news network, King’s football editor, Steve Robinson, asked if he would be able to make a contribution to the new venture. He asked King to essentially empty his reporting notebook and create a separate column at the end of every week, a task King agreed to for which he was not paid more money.

“None of us can know what the business is going to be like in eight or 10 years, so if somebody asks you to do it, unless you’ve got some incredibly good reason to not do it, do it, and that’s kind of the lesson of this,” King said. “That was 1997, and then honestly that’s a lot more [of] what I’m known for now than anything else I ever did in my career.”

After more than four decades as a reporter and writer, King officially retired following the 2023 season. Reflecting on the move, he feels he made the right decision and acknowledged that he had other inclinations he aspired to pursue. King referenced several journalists such as Paul Zimmerman and Don Banks who essentially died on the job, along with his two brothers and father who all passed away by the age of 65. On top of that, he walked out of Super Bowl LVIII from Allegiant Stadium in Las Vegas to conclude last season and went straight to the hospital with double pneumonia.

“Look, everybody does what they want to do,” King said. “I’m not saying that other people should do it, but I just really thought that I wanted to do some other things in life. I really don’t know what they are. I don’t know exactly what I am going to do, but I’m just sort of taking it easy looking around.”

Over the last several months, King has been part of several volunteer efforts, including trying to raise money to bring back sports that were eliminated due to budget cuts in his hometown. King also has more plans to travel throughout the year and explore different parts of the United States, something that would not be possible if he were covering the NFL for NBC. Stepping back from the daily grind, he recognizes that his career deviated from his initial prediction; however, most of his success can be tied to an indefatigable work ethic.

One of King’s journalism professors at Ohio University informed him that his occupation was to take people where they could not go and tell them what they did not know. Trying not to lose sight of that, he ensured his information was accurate before dissemination and that he was always seeking out the best modes of storytelling.

Adam Schefter, senior NFL insider at ESPN, is someone King considers to be the gold standard in football whom he can implicitly trust in the spread of information. Schefter’s longtime colleague Adrian Wojnarowski, who covered the NBA, recently retired from the news business to become the general manager of the men’s basketball program at St. Bonaventure University, his alma mater.

“It’s one of those things where you ask yourself, ‘If you don’t really have to work and you want to do something else or you think you might want to do something else, well why keep doing what you’re doing, even if you love it?’ and I did love it,” King said. “The day I quit, I loved it. I never did anything but love it, so I’m just going to try something different. Maybe it’ll be a great move, maybe it’ll be a dumb move. I don’t know, but we’ll see.”

As King continued demonstrating his propensity for writing captivating pieces in different genres, he gained more knowledge about what appealed to the audience. Part of that came in including personal anecdotes, such as recapping his daughter’s tournament softball games and honoring the life of the family dog. Out of all the emails he would receive, there was a stark dichotomy between those who enjoyed the variation and others who wanted the column to be solely focused on football.

“I just always felt like – and I hate to say this because it sounds selfish – I was going to write what I wanted to write understanding that people are coming there to read about football, and the vast majority of the columns, they were going to get football,” King said. “….You had to know that I was going to be able, hopefully, to tell you things when you woke up the morning after the Super Bowl, I was going to be able to tell you things you didn’t know, and so that really is kind of what I hoped to do with the column, and I hope that is a bit of its legacy.”

Proven as a perennial storyteller in sports media, King founded an expanded version of “The Monday Morning Quarterback” and was given a budget to hire writers for the online platform. Acting as a talent evaluator, he agreed to bring on reporters such as Jenny Vrentas, Robert Klemko and Emily Kaplan, all of whom made contributions to help grow the Sports Illustrated vertical. Granting young professionals a chance in the business, many of them elevated their profiles and proceeded to join other outlets and specialize in different areas of coverage.

“In today’s world, I think you’re better off quite honestly hiring young people who are hungry than you are hiring people who essentially have already gotten to the promised land to some degree,” King articulated, “and I’m not saying they’re not as good as the people I hired – they are – but I love giving young people a chance, and I think an awful lot of them ran with it.”

In 2018, King left Sports Illustrated after 29 years and signed an exclusive agreement with NBC Sports where he continued writing his Monday morning football column and also appearing across television and radio platforms. Coinciding with the start of Sunday Night Football on NBC in 2006, King had been contributing long features to the Football Night in America studio show and also making guest appearances across multiple platforms for the company.

“They have the best system of helping you and boosting you and making sure that you have every opportunity to succeed, and whether it’s Fred Gaudelli for years helping all these young people in talent to really learn about how to do TV,” King said, “and also they’re just so many people there who are focused on helping the product to be excellent.”

King divulged that NBC Sports gave him the option to cut his weekly column in half, down from the approximate 11,000-word composition he would write. No matter the company for whom he worked, he was not interested in knowing data pertaining to engagement time or other readership surveys. Instead, he simply focused on his role as a writer and sought to elicit coherent, accurate thoughts on a weekly basis. As a result, when he was approached with the proposed changes, he acknowledged that he would not enjoy the work as much and surmised its quality would suffer.

“If I was still doing it, might I have done that? Maybe, but I just enjoyed sort of the one-size-fits-all aspect of what I did,” King said. “But again, I firmly believe that there’s not a lot of people today who want to spend 45 minutes reading 11,000 words. I don’t think it’s one of those things in today’s journalism [that] is sustainable, which is why I probably came along at the right time and why I probably got out at the right time.”

Although King does not foresee himself returning to write another column in the future, he remains attuned to the dynamic nature of journalism and stresses the indispensable nature of determination and concentration. It is essential to wear blinders and remain focused on the job rather than what other people think in addition to never forsaking journalistic tenets. In viewing the landscape today, he regards ESPN analyst Ben Solak and FOX Sports reporter Tom Rinaldi as talented media professionals and effective storytellers.

“You got to learn to write,” King avouched, “and if you don’t know how to write whether you’re working on television; whether you’re working in radio and writing scripts for radio or working for a podcast, this is still a communications business, and you need to communicate cogently and intelligently, and I think that becomes hugely important.”

Rather than sharing his thoughts by virtue of the written word, King has returned to the audio medium as a co-host of the Let’s Go! podcast with SiriusXM for the NFL season. Working with Jim Gray, Maxx Crosby and Bill Belichick, he watches the NFL games on Sunday, writes about two pages of notes and sends it out to the team ahead of the show. On the next day, he records the episode and provides thoughts on matters around the league. One of King’s recent observations was related to comments made by Tampa Bay Buccaneers quarterback Baker Mayfield regarding a purported tense atmosphere surrounding the team when Tom Brady was in the position.

“Those are the kind of things that I see,” King said. “I said, ‘What in the world is going on here?,’ and we’re able to talk about it, so those are the things that are fun.”

Whereas the NFL schedule oftentimes crafted his workflow, King is no longer beholden by the countdown to kickoff and instead living life naturally. Outside of the weekly podcast with SiriusXM, he is not inextricably tied to the league and action every week. In reflecting on his career though, it is apparent that King has impacted generations of football fans and the anecdotes they crave, stories from behind closed doors that add context to the results. After 40 years telling stories on the gridiron, King is creating his own memories outside of the press box and exploring the other twists and turns life has to offer.

“I have nothing that I say, ‘Oh my God, my life won’t be complete unless I do ‘X,’’ so I don’t know,” King shared. “I wish I could answer your question, but I’m kind of letting life happen to me for a little while, and then I’ll figure it out.”

Mark Simone Just Sticks to the Facts on 710 WOR New York

Krystina Alarcon Carroll
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Mark Simone Just Sticks to the Facts on 710 WOR New York

Barrett Media produces over 20 stories per day on the music, news, and sports media industries. To make sure you’re updated on the latest happenings across the media business, sign up for our newsletters to get the news delivered straight to your inbox.

He’s the longest running and highest rated host on the New York dial. 710 WOR’s Mark Simone credits his success to the facts. “I never give my opinion,” he said. “You might listen and think I’m giving my opinion, but every sentence is a piece of information and hopefully a lot of insight.”

Simone, who was nominated for the Radio Hall of Fame in 2023, believes it is especially important to make sure all the facts get out there during this year’s election. “That’s the most important, key expert inside information. Even the callers, if they got a great question or great point, perfect, but no opinions. Everything is a piece of information.”

Another way Simone keeps his show fact-based is by having experts on and not having politicians. “It’s fast and quick and right to the point,” he said. “You get a politician out and you say, ‘Senator, thank you for being here.’ And then he goes right into, ‘Well, thank you for having me. I enjoy being on here. It’s a great honor,’ but we don’t need all that. Just get right to the information.”

But he does have one exception, Donald Trump. “Because he’s a great, seasoned professional talker,” Simone said. “He’s a professional communicator.”

Another feature of Simone’s talk radio show which likely aids in his popularity, is no screaming, no yelling. “Some people try to stereotype talk radio as a bunch of screaming, angry [people]. [Our audience is] the most highfalutin executive audience you’ve ever seen.”

Simone noted of his audience, “Our show, our station has the highest per capita income audience of anything on the air, 41% of the audience are millionaires. That’s unheard of.”

But his show is not just for the wealthy. Simone is often stopped on the busy New York streets by listeners who love his show. “[One day I was out with a friend and a few listeners stopped to say hello] My friend said, ‘That’s amazing’ and I said, ‘Well, that happens a lot.’ And he said ‘No. I mean, did you notice the first driver was in an Aston Martin? The second car was a Maybach. That is some audience you have. So, the value of talk radio and political talk radio, you get a lot of smart people listening.”

Armed with the facts plus cool, calm, and collective on the airwaves, Simone believes his audience will head to the polls on November 5th fully informed. “Hopefully they’re heading to the polls,” he said. “That’s a very important point. Don’t write in a ballot. Don’t send in a ballot. Don’t mail in a ballot. There is a little bit of fraud, even though both sides acknowledge it, the Democrats will say it’s about 1 or 2%. Some people argue it’s 3%, but it all happens with those mail in ballots. They once did a massive study. Jimmy Carter was the head of the committee and that’s the one conclusion they made. Mail-In voting is the biggest source of fraud anywhere.”

An area of concern for this year’s election for many, including Simone, is Big Tech’s influence in the election. “They did steal the election legally. Mark Zuckerberg figured out there’s 50,000 votes in 12 different counties. If you move those votes, you could actually change the election. That’s perfectly legal to get to those 50,000 people [to change their vote] that cost them $500 million. [Zuckerberg] found that in his petty cash drawer and paid it.”

With Big Tech trying to sway voters one way, Simone pointed out President Trump is holding his rallies in the very same counties where he believes voters can be swayed. “They’re getting your address, your email, your phone number. The one in New York, 16,000 registered. 50,000 were turned away. That’s 66,000 voters. They got the email, everything. That’s what they’re going to do. The same kind of ground game. At election time, they’ll get to those people, make sure they get to the polls and get those voters out. That’s why each rally is put in a spot where they’re trying to move voters to a certain place.”

Simone’s love of radio, and news, started at a young age. “I first started hanging around radio stations making a pest of myself, and I started as a caller,” he said. “A lot of great talk show hosts started as callers to talk shows. If you’re really good at it, at some point the host invites you down to the station. So, I started doing every little odd thing you could do hanging around, learning everything I could learn.”

Listening to radio and watching television day and night, Simone turned his passion into a grandiose career. “My mother would yell at me and scream at me about the TV and the radio. ‘Turn that off. Do your homework,’ and I said, ‘This is my homework,’ and it was.”

Simone is also on TV often, making appearances almost everywhere from MSNBC to Fox News and even hosting PBS specials on music and the arts. But when it comes to breaking news Simone believes there’s nothing better than radio. “That’s one thing about live breaking news on TV. When the story breaks, the [anchor] could read the headline, but you got to wait till they set up a camera. You got to wait till they have the graphics. [That’s not the case in radio].”

Most recently, Simone broke the news of the indictment of New York City Mayor Eric Adams live on his show. “I’m seeing it across the screen. [I was] in the middle of something else but I could go right to it and start describing [the breaking news] in detail. I had a lot of inside sources. I knew a lot of stuff. So immediately the coverage was faster than anything television could ever pull off and in great detail.”

For those who’ve been bitten with the media bug Simone says before looking at any other part of the industry, “Why wouldn’t you get into radio? It’s the best medium of all. It’s the most intimate. It has the most perfect delivery system of any medium at all. I don’t care where you are, you turn it on, it’s there.”

Once you are in radio, Simone suggests young people need to start developing their sources. “Just get to know everybody,” he said. “All the top sources are people that work in government. I’m trying not to say who they are but get information out of them. After a while, they’ll see [you know how to use] whatever they tell you properly. You won’t take advantage. If somebody leaks you something really big, you know how to cover it.”

Most importantly Simone notes, you have to protect your sources. “You gotta know how to use the information carefully,” Simone said. “Completely cover up the trail where it came from. Just develop a huge network of sources and sometimes I don’t have the network, but I know who does.”

Lastly, he said, “When you first get into the business, hang around with much older people. If you’re 23 you tend to hang around with all the other 23-year-olds, hang around with the old veterans ’cause they will teach you everything. You learn everything.”

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