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Sports Leagues Are Forgetting The Foundation Their Success Is Built On

John Mamola
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Sports Leagues Are Forgetting The Foundation Their Success Is Built On

Sports fans are simple people. They love their teams, players, and the escape that sports provides. It’s a simple concept. Come home, have a meal, and watch their team. Sports’ greatest attribute is entertainment. Without question, there are more options for entertainment today than ever before. That is why streaming platforms have found so much success in providing content that cable companies or networks could never offer.

However, sports are different. They have historically been a cable or network television property. I remember WGN carrying nearly every Chicago Cubs game when I was a child. Every time I would go see my grandfather and he’d watch a game, he’d yell from the other room, “Put on channel 9.”

That’s what sports are forgetting. Games are entertainment, and history matters. Sports educated generations of fans on where they’ll be, how they’re presented, and how much they cost. In the last six months, sports have forgotten that, and it’s beginning to cost them, especially with so many other entertainment options now available.

Last Thursday was Major League Baseball’s Opening Day, following a much-promoted, hyped, and overproduced evening debut on Netflix. What better way to celebrate the start of a new season than asking baseball fans to pay additional money to watch it?

Then came the morning. The breeze in the air signaled that spring had finally arrived. The boys of summer were about to begin their 162-game journey toward postseason glory. The rosters set, and stadiums across the country were ready to open their gates. Yet one question remained: Where do I watch the games?

As of the morning of Opening Day, Major League Baseball had yet to inform fans in a majority of its markets where to watch games. For nearly a month, teams under MLB’s umbrella told fans to buy (insert team name here).tv so they wouldn’t miss a second of the action. However, that messaging failed to include cable, satellite, and internet TV providers that had yet to be announced.

In the end, MLB spring games were not watched nearly as much as in the past for many fans. At the two spring games I attended the weekend before the season started, countless fans I spoke with had no idea how to watch their team on Opening Day. Outside of paying more money, that seemed to be the only option. Many said it wasn’t right to pay for a service and then pay extra to watch something they had always known how to access.

Then Opening Day arrived, and MLB released a news article while teams announced their local distribution. That’s it. No tweet, Instagram post or information posted on any of the MLB social media accounts. Just a lot of games on MLB.tv.

For me, that meant finding a channel simply labeled RAYS on my cable guide, with a different channel number than in previous seasons. I spent most of my morning trying to figure it out. With 14 of 30 teams announcing this information on Opening Day, MLB dropped the ball.

How can baseball spend an entire spring training delivering one message, then assume fans will wait for last-minute instructions on Opening Day? The messaging had been clear since pitchers and catchers reported: buy this so you don’t miss it. Now, some who paid discovered a free viewing option at first pitch, forcing MLB to absorb refund costs.

It was sloppy, misguided, and wrong. Again, sports fans are simple people. MLB put those 14 teams in a difficult middleman position. Those teams took heat from fans on radio, at stadiums, and on social media. That’s not fair.

MLB did a disservice to a large portion of its fan base that still consumes games through traditional cable or satellite providers by waiting until Opening Day to share that information.

However, the larger point remains. Even with heavy streaming promotion during spring training from nearly half the league, fans were left confused about what to do and how to do it.

Technology continues to move at a pace faster than many sports fans are willing—or able—to keep up with.

Another example came with the rollout of ESPN’s direct-to-consumer app. When ESPN introduced its revamped app, confusion spread about who needed to pay and what content came with it. Did pay TV subscribers who already had ESPN need to pay an additional $29.99 per month for access?

That question came to a head with WWE’s partnership with ESPN, as wrestling fans asked the same thing—myself included. There were numerous hoops and gaps in information. CNBC’s Alex Sherman even attempted to explain it with a step-by-step guide outlining what fans had to pay for and what they could access.

Needless to say, why was that level of explanation necessary in the first place?

Currently, a lawsuit has been filed against WWE by fans over access to premium live events, with complaints centered on that very confusion. ESPN has since filed a motion to intervene in the case, though not as a defendant.

Again, technology continues to move faster than many sports fans can reasonably keep up with.

This week, the NFL will discuss allowing individual teams to sell preseason broadcast rights to streaming platforms as soon as next season. What has long been an opportunity for local fans to watch games and learn where to find them may now shift to streaming services.

This is another way for NFL teams to increase revenue, potentially at the consumer’s expense. Living in Tampa Bay, I’ve always watched Buccaneers preseason games on my local NBC affiliate. It’s a major marketing opportunity for the station and a valuable revenue driver. What better addition to an advertising package than an NFL team logo?

That could disappear if games move to platforms like Peacock. Instead of a simple, familiar destination, fans may have to pay extra to watch exhibition football, where more than half the players won’t make the roster. That’s a tough sell. Charging fans for games where the stars don’t play and the top broadcast teams aren’t involved.

How confusing will this be for sports fans across the country? It’s yet another example of technology moving faster than audiences can comfortably follow.

At some point, someone in these leagues and boardrooms has to ask a very simple question: who is this all for? If the answer is the fan, then the current model isn’t just flawed—it’s backwards.

Sports should not be this complicated. You didn’t need a flowchart, a password reset, or three subscriptions to find your team. You needed a channel number, a remote, and a routine. That simplicity built generational loyalty. It turned afternoons with your grandfather into lifelong fandom. It made sports accessible, communal, and constant in a world that rarely is.

Now, that simplicity is being replaced with fragmentation, confusion, and added cost—all in the name of progress.

Progress is fine. Evolution is necessary. But not at the expense of the very people who made sports matter in the first place.

Here’s the truth: fans won’t chase the product forever, no matter how inflated “viewership figures” become.

If sports becomes too hard to find, too expensive to follow, or too confusing to understand, they’ll do what they’ve never done before—they’ll find something else. In a world overflowing with entertainment options, that’s not a risk leagues should be willing to take.

Sports don’t need to reinvent how they’re delivered. They need to remember why people showed up in the first place. Make it easy, clear, and fair. Because sports fans are simple people.

And that’s not a weakness—it’s the foundation everything was built on.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Eva Under Fire’s Amanda Lyberg Embraces Change With ‘Villainous’

Terrie Carr
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Eva Under Fire’s Amanda Lyberg Embraces Change With ‘Villainous’

Fridays are always inspiring for music fans with new tunes and full releases dropping. This past Friday, I was inspired when two incredible women in active rock landed in my inbox—on one song. The new Eva Under Fire release drops July 10. It’s called Villainous with a title track delivers a double vocal assault. The collaboration formed by Eva frontwoman Amanda Lyberg joined by metal goddess Maria Brink from In This Moment.

Eva Under Fire is the epitome of a hardworking heavy rock band with major success within reach.

The group was formed in 2015 by Amanda Lyberg and Rob Lyberg. Their presence in active rock—along with collaborations with Ice Nine Kills, Funeral Portrait, and others —set a foundation. Add in their roll-up-your-sleeves, get-it-done work ethic and the output has become one of my favorite new bands of the past decade.

I have a great deal of respect for Lyberg (a.k.a. Eva Firebrand), who brings a superpower to her role as the band’s vocalist. She truly puts the “fire” in Eva Under Fire with her vision and voice.

Her “Eva” alter ego was born at the merch booth more than a decade ago while meeting fans and navigating growing notoriety. However, this record is more Amanda and less “Eva.”

Amanda comes from a unique place as an artist and writer. She’s also a licensed therapist who has spent years unpacking the lives of those around her. Now, it’s her turn with the band’s deeply personal upcoming release.

I caught up with Lyberg this past week for a conversation. We discussed the meaning behind Villainous, leaving the “Eva” alter ego behind, and how 2026 is shaping up to be a banner year for her band. With a new album, a massive tour with metal superstars Five Finger Death Punch, and renewed energy in the months ahead.

*Editor’s Note: Answers have been edited for clarity and length.*

Terrie Carr – We’re here during Women’s History Month. When I heard that you were doing interviews, I had to line up an interview before the month concluded. It’s incredible to have you on at the beginning of what I think will be such an amazing year and run for you. This is going to be your year.

Amanda Lyberg – Thank you so much for having me here, friend. I truly appreciate it. All of the positivity is what we’ve been needing, right? We are coming off a really long writing cycle. To get this busy this quickly, I feel like something is happening this year.

TC – You’ve got a new record coming on July 10 called Villainous. I get the impression that it’s going to be heavier and darker from what I’ve heard so far. I love the journey on this record because a lot of different people contributed to making it. So, it feels like there’s going to be some unpredictability.

Talk to me about putting this record together and making it a mission that’s a little different from your past experiences.

AL – The whole concept revolves around the world-building we’re doing behind Villainous as an album. Villainous as a single is a lot of self-discovery. It’s a story about self-empowerment and taps into all the different emotions you experience when you go through hard times.

You change things, and process them differently because of what you’ve been through. You experience new information. So, it takes you through a journey.

All of these songs, in my brain, are locations of self-discovery. Each song is its own conversation about what that particular moment felt like. There’s a lot of hurt, heartbreak, and ferocity. That’s where Villainous comes in.

What a cool thing to talk about during Women’s History Month. I think a lot of women could use this kind of self-empowerment message. As humans and people, we are not built to live in a box.

The human experience is so much more complex than what people think—“Well, it’s this way or it’s that way.” No. Depending on the circumstance, it could be a million different ways. But as soon as something happens and someone changes to say, “I’ve got to have healthy boundaries, and I’ve got to do something different because I’m looking out for myself.” The person on the other side quickly says you’re the problem.

“You’re no longer serving what I need,” right? So, Villainous is basically saying, “You can call me a villain all you want. It doesn’t mean I am one. If that’s what you want me to be, that’s who I am.”

TC – You and Maria [Brink] on this new album. Wow. She’s a G.O.A.T. (Greatest of All Time) who has traveled many years and paths. She’s worked through different management and record labels, with people always trying to put her in different boxes. She said this is my lane, and this is what I’m doing. It’s not always easy to say that as an artist.

AL – The grind is real, especially as a woman in any business. There are career women out there who want their vision to be heard. I think Maria [Brink] is very much about that. The vision and the artistry behind it are amazing, and I had to compliment her on that.

The last time we did a show together was at Soaring Eagle Casino. She told me my voice was so unique, but also was my vision and world I build around myself. I loved that we got a chance to be on a track together—especially this one. It meant everything to me.

TC – When’s your “baby being born?” I talk to artists all the time about this. It’s like a baby being born. Then once it arrives, there’s almost a sense of sadness. Because of all the buildup, especially with a record you’re so proud of.

As people start discovering the tracks, you’re not just jumping in a van and doing one-offs. You’re heading out on a major tour with Five Finger Death Punch. That long tour starts in July and runs through November.

So, who calls you? When do you find out this is the next step in building this record?

AL – You’re right. The whole van situation—we have a 12-passenger van. That’s what we were used to. And we’ve been writing for so long. Doing stuff from my bedroom doesn’t feel real. We’re a band that loves playing live, so we need that component. It does get exhausting. It’s expensive to be out there, and there are a lot of hang-ups. It’s a grind.

We were feeling a little discouraged because it had been such a long process to get here. I was celebrating a friend’s birthday—our sound guy’s birthday—in Las Vegas. We didn’t know what was coming next.

We were trying to stay encouraged and focused, but it’s tough when you don’t know what’s next.

I was standing in line because my key card wasn’t working. Then I got the call that we landed the Five Finger Death Punch tour and I started crying. This is the level we’ve been working toward, hoping for, and grinding for—for years.

To get on amphitheater stages with one of the biggest bands in hard rock and heavy metal—are you kidding me? I get to play my hometown amphitheater, where I attended my first concert ever.

What a feeling. It was crazy. I was in tears.

For more on my conversation with Amanda Lyberg, check out my Carr Stereo Podcast on YouTube.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Nielsen is the Umpire That Everybody Hates

Dr. Ed Cohen
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Nielsen is the Umpire That Everybody Hates

Major League Baseball opened the season last week and while I could write a column decrying Netflix’s opening night coverage (Dancers? Paraphrasing Tom Hanks: “There’s no dancers in baseball!”). Instead, let’s discuss the media’s favorite pastime: complaining about Nielsen.

After all, isn’t Nielsen the umpire? And who likes umpires?

The genesis for this column came from two pieces published in the past week: one for video and one for audio.

Evan Shapiro has a Substack called Media War and Peace, and I’m a paid subscriber. Evan has strong opinions, and he plays a unique role as the “media cartographer” with excellent charts that let you visualize different aspects of the media business.

But if you think my comments are occasionally “in your face,” Evan appears to subscribe to a comment made to me long ago by a media research colleague about another — since passed-on — media research colleague: “Some people call a spade a spade. He calls a spade a f—ing shovel.”

Putting Blame on Nielsen

Nielsen produces a monthly report called The Gauge. It may be the only data in existence that gives the media business an understanding of how much viewing goes to various sources, including streaming, broadcast, cable, etc. The problem is that Nielsen has had to delay the latest report twice.

According to an article in Variety on March 20, the latest delay came about “after some clients became alarmed by a downturn in streaming audiences” after Nielsen started using different data. This may have been caused by a methodological change using the new DASH universe estimates released by the Advertising Research Foundation. I could explain it to you, but I’d prefer you read the rest of this column.

Evan placed much of the blame on the Media Rating Council, an organization that has been discussed here in the past. The MRC accredits — or chooses not to accredit — audience measurement services that apply for their “blessing” and meet MRC standards after rigorous auditing.

Some Nielsen services are accredited. Evan’s hyperbole is “burn it all down,” meaning let’s get rid of the MRC, as he doesn’t feel the group is truly holding Nielsen’s feet to the fire.

The reality is more complicated. Media companies and researchers want the best possible outcomes for their companies, which means more viewing, listening, hits, clicks, whatever.

Unfortunately, that goal can conflict with good research. And in an age with an infinite number of media options, measurement has become increasingly complicated to the point that very few people understand how the system works.

George Ivie, the CEO and Executive Director of the MRC, spoke to my class at Western Kentucky earlier this semester and told the students about how incredibly complicated it is to measure online behavior.

Understanding the Data

That brings me to the second complaint.

Barrett Media’s own John Mamola published a piece last week titled “Why Sports Radio Should Lead the Fight for Nielsen Ratings Reform.” Based on my decades of experience in radio audience measurement, his opening line is not unique: “For over my two decades in sports radio, I never truly understood how Nielsen Ratings work.”

I can’t tell you how many people in the business share John’s plight. They know shares, rankers, and trends — in other words, did my station or stations do better this month, quarter, or year than last? That’s it.

John’s point was that radio/audio needs what video already has, which is big data. As a sports guy, he cited record-high audiences for various sports events in the past year, some of which is also due to the use of PPM in the national data. On behalf of the radio industry, I’d like to say, “You’re welcome,” to our video brethren who are enjoying the fruits of our industry’s investment.

John has a point, but where do you find the online data for audio? Triton has a system, but no demos. Perhaps that’s an unwillingness to invest, or perhaps it’s due to a Nielsen patent on modeling demographics for audio streaming. John noted — and I’ve also pointed out — Nielsen’s penchant for filing patent infringement lawsuits, whether valid or not.

Xperi’s DTS AutoStage is out there and growing, with a methodology for retrieving data from car infotainment systems. It looks promising, but the number of cars with DTS AutoStage is still small relative to the number on American roads, and there are some other methodological concerns as well.

Meanwhile, Nielsen and Cumulus are still locked in a courtroom battle, even if Cumulus’ latest bankruptcy threw a spanner into the works.

I’ll keep saying it: the radio industry and Nielsen need to come together for everyone’s good and build a better mousetrap. We need all listening included, we need it in one place, we need big data, and while many people still won’t understand how the numbers are calculated, the estimates should end up bigger — and that means better.

Forget the silos, forget the “I’m bigger than you so I get my way,” and Nielsen’s PE overlords need to understand that a healthy radio business means more profit for them and their investors at exit time.

Sorry, Evan, but the MRC needs to continue — and John, you’re right.

Let’s meet again next week.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Nexstar Media Group Merger with TEGNA Halted By Federal Judge

BNM Staff
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Nexstar Media Group Merger with TEGNA Halted By Federal Judge

A federal judge has temporarily halted the merger between Nexstar Media Group and TEGNA, throwing the $6.2 billion broadcast deal into uncertainty just days after regulators approved it.

U.S. District Judge Troy Nunley issued a temporary restraining order Friday evening after siding with DirecTV, which filed suit to block the transaction on antitrust grounds. The ruling prevents Nexstar Media Group from integrating TEGNA’s operations for at least 14 days while the court considers further action.

DirecTV argues the merger would give the combined company excessive leverage in retransmission consent negotiations with distributors. The satellite provider says higher fees would ultimately be passed on to consumers.

Nunley wrote that DirecTV demonstrated “a likelihood of success on the merits” of its claim. He also determined that allowing the transaction to proceed immediately could create “irreparable harm.” Those findings are key legal standards for granting a temporary restraining order.

The decision means TEGNA must continue operating independently while the case proceeds. Nunley ordered Nexstar to maintain TEGNA as “a separate and distinct, independently managed business unit.”

Under the order, TEGNA must retain its own management structure and continue operating under pre-closing practices. The judge said the company must remain an “economically viable and active competitor” during the court process.

Newsmax CEO Chris Ruddy, who has opposed the merger as well said in an article on Newsmax’s website: “The federal court took the unusual step of stopping this merger because Brendan Carr rubber-stamped the most massive TV consolidation in history using a kangaroo process.”

A hearing is scheduled for April 7. At that time, Nunley will consider whether to issue a preliminary injunction that could extend the pause on the merger.

The ruling comes shortly after both the Federal Communications Commission and the Department of Justice approved the deal. Nexstar announced the transaction had closed soon after receiving regulatory clearance.

Nexstar has argued the acquisition is necessary to compete in a rapidly changing media environment. The company says declining local advertising and competition from major technology platforms have pressured broadcast revenues. Executives also contend the combined company would have greater resources to invest in local journalism.

Opponents remain skeptical. DirecTV and several state attorneys general, including those from California and New York, argue the merger would concentrate too much power in local television markets.

Additional legal challenges remain pending. Newsmax, DirecTV, and several cable and broadband groups are also contesting the FCC’s approval of the merger in federal appellate court in Washington.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Clinton Yates Departs ESPN, ESPN Radio Show ‘Clinton & Friends’

BSM Staff
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Clinton Yates Departs ESPN, ESPN Radio Show ‘Clinton & Friends’

ESPN Radio host Clinton Yates has hosted his final program on the nationally syndicated network. Yates joined ESPN in February 2016 and served as a columnist and commentator across various ESPN programs, in addition to hosting his daily radio show from 10 a.m. to 12 p.m.

ESPN Radio confirmed the news to Barrett Media in a statement, noting that the network is making changes to its lineup.

“As part of this transition, Clinton Yates’ role on the national network and KSPN (ESPN Los Angeles) will conclude,” said ESPN in a statement to Barrett Media.

Yates’ program, Clinton & Friends, debuted on ESPN Radio in January of last year after Mike Greenberg stepped down from his daily Greeny program following a five-year run.

ESPN also confirmed that Yates’ role with Andscape, the Black multimedia content studio formerly known as The Undefeated, will conclude, with no additional work planned for the platform.

“We thank Clinton for his contributions and wish him continued success,” said ESPN in a statement.

Prior to ESPN, Yates worked for The Washington Post for nine years, covering local news, sports, politics, and pop culture. He began as a local news editor in May 2007 for “Express,” the free daily publication focused on dining, music, movies, arts, fitness, and shopping in the Washington, D.C., area.

He later moved to the Metro desk and then to Sports, where he wrote for The Post’s popular “DC Sports Bog.” Yates also worked at WTOP News Radio as a commentator, offering perspectives on a wide range of topics across the Washington, D.C., metro area, from politics to pop culture. His weekday morning commentaries—“My Take” on WTOP News—helped establish him as one of the more distinctive voices of his generation in the District.

ESPN Radio has not named a permanent replacement for the timeslot. The belief is the network will have programming on Monday utilizing ESPN Radio talent for the time being before naming a full-time replacement for Yates.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

San Diego Padres Extend Contract of Radio Play by Play Voice Jesse Agler

BSM Staff
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San Diego Padres Extend Contract of Radio Play by Play Voice Jesse Agler

The San Diego Padres have locked in a familiar voice, signing radio play-by-play announcer Jesse Agler to a multi-year contract extension, according to the San Diego Union Tribune.

Agler enters his 13th season with the organization. His extension follows a similar move for television analyst Mark Grant, signaling continuity across San Diego’s broadcast team. The Padres finalized Grant’s new deal just days earlier.

Agler joined the franchise in 2014. He initially hosted the team’s pregame television show while filling in on radio. Two years later, he moved into a full-time role alongside longtime voice Ted Leitner.

When Leitner retired in 2021, Agler stepped into the lead chair. He now calls games with color analyst Tony Gwynn Jr.. The pairing has become a consistent presence for the club’s audience. Both broadcasters also contribute occasionally to television coverage.

Team CEO Erik Greupner praised Agler’s impact in a statement to the Union Tribune.

“I am excited to congratulate Jesse on his well-earned multi-year extension, and thrilled that his voice will continue to represent Padres baseball on the radio,” said Greupner. “Jesse brings intelligence, preparation and an authentic passion for storytelling that resonates with our fans every night. His connection with our audience and partnership with Tony Gwynn Jr. make him an invaluable part of our organization.”

Agler, 42, has built a reputation for detailed storytelling. He often blends humor with historical context during games. That style has helped him stand out in a crowded play-by-play landscape.

“I want to thank Erik for his continued confidence in me and our fans for welcoming me into their homes and cars every night,” Agler said. “The support from the organization and the city of San Diego means the world to me, and I never lose sight of how special this opportunity is. It’s an honor to continue sharing the stories of Padres baseball on the radio for a community that cares so deeply about this team.”

Padres games air on 97.3 The Fan, the club’s flagship station operated by Audacy. The station remains a key platform for reaching the team’s regional audience.

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Salem Radio Network Tabs Jennifer Horn, Mark Davis to Fill In on Morning Drive

BNM Staff
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Salem Radio Network Tabs Jennifer Horn, Mark Davis to Fill In on Morning Drive

Salem Radio Network requires a new morning show. It isn’t looking far for the fill-ins, as Jennifer Horn and Mark Davis will step in in the interim.

After Chris Stigall announced on Friday morning that he would be departing the network to seek a Congressional seat in the Missouri 6th District, the company announced that already established hosts will fill in for Stigall.

AM 870 The Answer morning host Jennifer Horn and 660 AM The Answer morning host Mark Davis will each serve as substitute hosts in Stigall’s absence.

Horn has hosted mornings solo on the Salem Media Los Angeles news/talk station since Grant Stinchfield exited late last year.

Davis, meanwhile, has been on the Dallas news/talk station since 2012.

Salem Radio Network will also feature other, yet-to-be-announced hosts in the daypart before it settles on an eventual successor to The Chris Stigall Show in morning drive.

Rep. Sam Graves (R-MO) has announced he will not seek re-election for his seat representing Missouri’s 6th Congressional District. He has held the position since 2001. The district represents the northern third of Missouri, including cities like Kirksville, Maryville, and St. Joseph, among others. That area is where Chris Stigall calls home. And on Friday morning, he announced his intention to seek the seat previously held by Graves.

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Audacy’s Michael Martin Stepping Down From SVP of Programming and Head of Music Initiatives Position May 1

BNM Staff
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Audacy’s Michael Martin Stepping Down From SVP of Programming and Head of Music Initiatives Position May 1

Audacy will soon see a key programming executive exit its leadership ranks, as Michael Martin plans to step down as senior vice president of programming and head of music initiatives on May 1.

Martin shared the decision in a note to colleagues, signaling the end of a lengthy run shaping the company’s music strategy and partnerships. He said he is preparing to begin the next phase of his career after years spent building programming platforms and artist relationships.

“Throughout my career, I’ve had the chance to build and evolve programming platforms, develop meaningful artist partnerships, and create large scale events that connect brands with audiences in real, measurable ways,” Martin wrote. “I’m proud of the work, the innovation, and the results.”

Martin emphasized his continued focus on brand building and talent development. He also pointed to his passion for music as a driving force behind his work.

“Music is how I breathe,” he added. “Thank you for supplying the oxygen.”

In a separate internal message, Jeff Sottolano detailed Martin’s impact across multiple company eras, including CBS Radio, Entercom and Audacy. He noted Martin’s 17-year tenure and highlighted his leadership in both local and national programming roles.

Martin joined CBS Radio in 2009 after time with Clear Channel Communications, where he built a reputation in major market programming. In San Francisco, he led prominent music brands, including KLLC, KMVQ and KITS, before expanding his responsibilities companywide.

In 2014, Martin stepped into a newly created senior vice president role focused on programming and music initiatives. From there, he helped shape Audacy’s relationships with artists, labels and managers while working closely with format vice presidents and brand managers.

Sottolano credited Martin with driving several of the company’s most visible music initiatives. Among them was We Can Survive, an annual concert series that has featured artists such as Taylor Swift, The Weeknd, Ariana Grande, Pitbull and Rihanna.

He also pointed to the company’s LAUNCH program, which focuses on developing emerging artists. That initiative has contributed to the rise of acts including Jelly Roll and Alex Warren.

“Michael’s creativity and competitiveness have been a tremendous asset to Audacy,” Sottolano said in the note. “We will sorely miss him as we wish him well in the next chapter of his career.”

Martin will remain with the company through May 1 to assist with the transition. Audacy leadership has not yet announced a successor, but expects to provide additional details as the date approaches.

Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.

Elon Musk Antitrust Lawsuit Over Lack of X Advertisers Dismissed By Federal Judge

BNM Staff
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Elon Musk Antitrust Lawsuit Over Lack of X Advertisers Dismissed By Federal Judge

The lawsuit brought forth by X owner Elon Musk over what he viewed as antitrust violations related to major advertisers has been dismissed by a federal judge.

On Thursday, U.S. District Judge Jane Boyle dismissed the lawsuit. She stated that the social media company had failed to show that it had suffered damages.

The lawsuit was originally filed after Elon Musk accused the World Federation of Advertisers and major brands like Colgate, CVS, and Mars of allegedly boycotting advertising on the social media platform.

Originally filed in 2024, the lawsuit alleged that the World Federation of Advertisers colluded to avoid placing ad buys with the Musk-owned company. In the suit, X argued that the Global Alliance for Responsible Media, an initiative launched by the WFA, intentionally withheld “billions of dollars in advertising revenue” from the social media company.

At the time of the filing, Elon Musk stated, “We tried peace for 2 years, now it is war.”

However, Judge Boyle argued that Musk failed to prove it had been harmed by any antitrust violations.

“The very nature of the alleged conspiracy does not state an antitrust claim, and the court therefore has no qualm dismissing with prejudice,” Boyle wrote.

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Marcellus Wiley: Ryan Clark “A Full Blown Mess”After Questioning Cam Newton’s Loyalty With Stephen A. Smith

BSM Staff
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Marcellus Wiley: Ryan Clark “A Full Blown Mess”After Questioning Cam Newton’s Loyalty With Stephen A. Smith

Former ESPN commentator Marcellus Wiley is taking aim at Ryan Clark after Clark publicly questioned Cam Newton’s loyalty during a dispute involving Stephen A. Smith and Jason Whitlock. The situation escalated earlier this week when Newton hosted Whitlock on his 4th & 1 podcast. During the interview, Whitlock criticized Smith, prompting a response from the ESPN personality.

Smith later said Newton should have challenged those remarks made by Whitlock more directly. Clark then weighed in on social media. He suggested Newton showed a lack of loyalty by platforming someone widely viewed as a critic of Smith.

That reaction drew a sharp response from Wiley during an appearance on Whitlock’s Fearless show Friday.

“Stephen A Smith gave Jason Whitlock 35 minutes in retort,” Wiley said. “I think that’s enough. We don’t need your tweet on top of that to say, ‘Pom poms. Yes. Stephen A. [Smith]. You see, I got your back big dog.’ As a man, for what? Stephen A. [Smith] got this, whether he wins or loses, he got this.”

He went further, accusing Clark of following others rather than thinking independently following Whitlock’s appearance on the 4th and 1 podcast.

“He is a full blown mess. Seriously, like he’s a problem. I told him [Clark] back then, when he first started coming at me. He is truly a group thinker. He’s truy led by the pack,” Wiley said. “He let Stephen A [Smith] lead him into this, and he ain’t got nothing to do with this.”

Wiley also argued the dispute never involved Clark in the first place. He framed it as a two-part disagreement that did not require outside commentary.

“This was a Cam Newton, Jason Whitlock beef, part one,” Wiley said. “Part two… Jason Whitlock and Stephen A Smith… where’s Ryan Clark in this? He has no business being in this except the business of following the pack and trying to get a reaction”

Beyond questioning Clark’s involvement, Wiley took issue with the tone of Clark’s criticism. Clark had described Newton’s actions as “ain’t G,” a phrase Wiley dismissed as performative.

“He literally wrote that ‘ain’t G,’” Wiley said. “You’re over here making millions of dollars talking about you ‘ain’t G.’ If I was really a ‘G,’ if I was still on Slauson. Man, when I see him, I’m gonna show him what a ‘G’ is. Because y’all up in them air conditioned studios, with them suits on talking about ‘G.’ Dog, Stop..”

Wiley added that such language felt out of place in the context of modern sports media. He suggested it reflected a persona rather than authenticity.

“I’ve always had a problem when someone is trying to act. In this particular case, act black instead of just being black. Because when you act black, then also you limit your expressions. You start to see, ‘Damn, ain’t nothing but a walking stereotype,’” Wiley said.

He continued by calling Clark’s approach “fraudulent,” arguing that media figures should not adopt identities or attitudes that do not align with their reality.

“Where I’m from, and I really saw real ‘G’s.’ I’m knowing I ain’t trying to be one. I ain’t gonna let your [Clark] fake a** act like you want to aspire to be one. Your a** is way past that point in life, if you’ve matured,” says Wiley.

The broader disagreement highlights ongoing tension between traditional sports media voices and independently run platforms. Newton defended his decision earlier this week, saying guests should be free to express their views without interference.

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