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The 2026 Barrett Media Audio Summit Reveals Its First 22 Speakers

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The 2026 Barrett Media Audio Summit presented by Point to Point Marketing is coming to New York City, June 30-July 2, 2026. The show takes place at the SVA Theatre on West 23rd Street. Ticket prices are lower this year to make it easier for industry folks to attend. A one-day pass is $199.99, a two-day pass is $324.99, and a three-day pass is $399.99. You can buy tickets on the Summit page up top on the website.

We are reformatting this year’s show to unite creators, programmers, executives and business professionals across all formats. News Talk is our focus on Tuesday June 30th. Sports media is our area of examination on Wednesday July 1st. Music radio takes us home on Thursday July 2nd. Each day’s show runs 9a-5p with a lunch break in the middle of the day. After parties follow each day’s show from 5:30p-7p.

Before I reveal our first group of speakers, here are some details regarding our hotel. Hotel Hayden is our partner for this year’s event. The hotel is a 10-minute walk from the venue. Rooms are available for $288 per night. Our room block will fill up fast. If you plan to fly in and need lodging, book your room today. Once rooms are full, we can’t add more. Click here to secure your discounted hotel room. You can also get the link for discounted rooms on the Summit page.

Hotel demand in New York City is high this summer due to the World Cup. There are other hotels in the area if you prefer to stay elsewhere. Some like to stay near Times Square or MSG and take a train or taxi to the show. Whatever works best for you, go for it. Just know that most hotels in the city will cost more.

The First 22 Speakers

Since announcing the date, location and venue for this event, speaker interest has been insane. Nearly 400 people have inquired about participating, and more will likely reach out after this announcement. I know a lot of sharp broadcasters want to share their expertise and opinions, but we can’t accommodate all requests. Delivering the most informative and balanced show for attendees is our key focus. Doing so requires being extra picky about the conference agenda.

Joining us this year from the on-air talent side are the following: Paul Finebaum of ESPN, Premiere Networks hosts Buck Sexton and Angela Yee, 77 WABC morning host Sid Rosenberg, 710 WOR midday host Mark Simone, and SiriusXM Mad Dog Sports Radio morning host Damon Amendolara. Other high-profile personalities will be announced in the near future.

Next, we are excited to welcome to the room a number of key executives guiding the way for some of the audio industry’s top brands. It’s an honor to welcome iHeartmedia President of Programming Operations and Digital Music Jon Zellner, Connoisseur Media’s Senior Vice President of Programming Keith Dakin, Audacy Chief Programming Officer Jeff Sottolano, Hubbard Radio EVP of Programming Greg Strassell, Fox Sports Radio’s Senior Vice President of Programming Scott Shapiro, and the Executive Director of Westwood One Sports 24/7 Programming Armen Williams.

Moving to our next group, we are thrilled to welcome Z100 Program Director and iHeartmedia VP of CHR Programming Mark Adams, iHeartmedia VP of News/Talk and Sports Programming Chris Berry, and KOA Denver Program Director Dave Tepper. Also joining the mix are Vice President and Brand Manager of 104.3 The Score in Chicago and VP of BetMGM Network Mitch Rosen, Audacy News/Talk Format VP and KRLD Brand Manager Drew Anderssen, and 95.5 WSB Director of Branding and Content Ken Charles.

Our first announcement concludes with a few broadcasting gurus and business professionals joining the lineup. We are honored to welcome back McVay Media President Mike McVay, and Jacobs Media President and Founder Fred Jacobs. Longtime music radio programmer turned consultant and Barrett Media columnist Jim Ryan, and Xperi Senior Director of Broadcast Strategy and Business Development Juan Galdamez will make their Summit debuts. Barrett Media News Editor Garrett Searight and Sports Editor John Mamola will also guide discussions at this year’s show. I will serve as event host.

The SVA Theatre

Still to Come

We are planning to make another big announcement for the show this Wednesday. With 10 sessions and the Premiere Networks awards ceremony planned each day, it’s vital that we tackle the right issues with the right speakers. We will take our time building the show to make sure attendees gain maximum value from being in the room. This event is designed to serve executives, managers, programmers, talent, sales/advertising professionals, and anyone who has an interest in better understanding the audio business. Our only requirement, you must work in the media industry to attend. This is not a public event.

I will be in San Francisco February 2-4 taping episodes of the upcoming Jason Barrett Podcast, promoting our Sports Top 20 series, and talking to a few folks about participating in the conference. I’m also traveling to Nashville in March for CRS and the RAB meetings where I’m sure a few other conversations will take place. In addition, I hope to schedule an upcoming zoom call with a few leaders to gather feedback to make sure we’re hitting all the right notes in NYC.

Summit and Top 20 Sponsorships

We are grateful for the support for the Barrett Media Audio Summit from Point to Point Marketing, Premiere Networks, Core Image Studio, Steve Stone Voiceovers, and MRN Radio. Additional groups will come on board in advance of the event too. For rate information and details on available opportunities, contact Stephanie Eads at 415-312-5553 or Stephanie@BarrettMedia.com.

Additionally, the Top 20 Sports Television Shows, TV Talent, and Top 20 Sports Digital Shows of 2025 get revealed January 28-30. The Top 20 of 2025 in Sports Radio (Feb 2-6 and 9) comes next. After that, we unveil the Top 20 of 2025 in News/Talk Radio and News Television (February 10-13 and 16-20). The Top 20 of 2025 in Music Radio (February 23-27 and March 2-4) wraps things up. Companies interested in sponsorship of the biggest online projects of our year should email Stephanie@BarrettMedia.com asap.

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.

Is Nielsen Willing to Burn Nationwide Ratings to Save Its Margins?

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Vacations are a wonderful thing. Depending on your preferences, you may visit a part of the world that is new to you. We spent the last couple of weeks in Argentina and Chile. Buenos Aires and Santiago are cool cities, and if you ever have the opportunity, go see Patagonia in either country. We did the Chilean version (“another Pisco Sour, please”), and it was incredible. Vacations are also great for helping you disconnect from what’s happening. I kept up on the trades while away but couldn’t get all the details of Judge Jeannette A. Vargas’ decision in the Cumulus-Nielsen court battle.

Now that I’m back in Kentucky, the fog is settling in again. I read Judge Vargas’ Opinion and Order, Nielsen’s request for a stay including Rich Tunkel’s declaration, and Judge Vargas’ denial of that request. As a public service to Barrett Media readers, you can peruse my thoughts on numerous pages of legal filings and not have to read the proceedings yourself.

The bombshell landed just before the ball dropped in Times Square (we left the country on December 28). On December 30, Judge Vargas of the U.S. District Court for the Southern District of New York granted Cumulus a preliminary injunction against Nielsen.

Specifically, Nielsen is “restrained from enforcing its Network Policy.” It’s also enjoined and restrained from charging a commercially unreasonable rate for its Nationwide Report as a complete standalone product. Judge Vargas defined “reasonable” as “a rate that is equal to or lower than the highest annual 2026 rate Nielsen charges any broadcaster (whether network or local) for Nationwide.” She felt Cumulus stood a good chance of winning its case against Nielsen on antitrust grounds.

Nielsen requested a stay of the order, filing a letter on January 9 along with a declaration from Rich Tunkel. I know Rich, I’ve worked with him. I like him, and above all, I respect him. From what the trades reported, the highlight comment in his declaration to the court was that “it (Nielsen) may have to retire the Nationwide report similar to when Nielsen retired its other national data product, RADAR.”

Judge Vargas considered Nielsen’s request and, told Nielsen to pound sand on January 12th. She did give the company an “administrative stay” of four days, just long enough for Nielsen to appeal her decision to the U.S. Second Circuit Court of Appeals, which its lawyers did on January 15.

Being retired, aside from writing this column, advising a student radio station, and teaching at Western Kentucky University, I had time to read Judge Vargas’ 47-page decision. Rather than offer quotes, I have some other thoughts based on how the radio audience measurement business has changed.

Nielsen Audio is a very profitable business. I don’t know any figures, but that’s always been the case. Yet Nielsen does make a couple of reasonable points, although I understand that using “Nielsen” and “reasonable” in the same sentence will upset some readers.

My immediate reaction to Rich’s declaration about the possible retirement of Nationwide was “Bulls — t.” However, there is a scintilla of truth there. Nielsen must measure the entire country (a few parts of Alaska are exempted), including areas that aren’t already measured in the current 242 metros to produce Nationwide.

Decades ago, the diaries that went into “white counties” (counties that weren’t part of any metro) produced revenue from the County Coverage product. County Coverage (CC) still exists, but small-market stations, the subscribers back then, no longer buy it. Agencies have been the majority of CC clients for years. As we all know, agencies don’t pay very much for any ratings service. The agency dominance in that service is one reason why Nielsen sells County Coverage on a state-by-state basis.

Meanwhile, more small metros are taking a pass on Nielsen data. It’s not because they don’t want the information, but because station owners can’t justify the cost. My home market of Bowling Green, Kentucky, ranked 161, is reportedly down to one subscriber. The market may shut down if Nielsen can’t get owners to sign up. If Bowling Green goes away as a metro, Nielsen still has to place diaries there, though far fewer.

The 48 PPM markets aren’t going anywhere, especially now that PPM is being used for TV. You can thank PPM for the monster numbers for sports now that Nielsen TV no longer uses the pathetic visitor methodology to account for out-of-home viewing. Meanwhile, there are plenty of major radio markets that still use the diary. Examples include New Orleans, Oklahoma City, Buffalo, and Louisville, all of which are reasonably large, and those markets will continue.

If Nielsen shuts down enough markets, doesn’t receive much revenue from County Coverage, and still must place a greatly reduced number of diaries to ensure Nationwide has true nationwide coverage, you can see its point, sort of.

The court case centered around antitrust issues, specifically Nielsen’s tying policy. This means that if an owner wants to subscribe to Nationwide ratings, they must buy local data for every metro where the company operates stations. The other market for Nielsen data, agencies and advertisers, was a tangential concern. However, agencies are also Nielsen clients, and many want Nationwide as well. We all know that national business is in the toilet. Dollars are still spent nationally though, whether with Westwood One, Premiere, or other networks.

Would Nielsen seriously consider shutting down Nationwide, forcing agencies to put national dollars into other media because they can’t justify buys without data? Doing that could hurt radio and, concomitantly, shoot itself in the foot. Is that what Nielsen’s private equity overlords really want? I read it as, “Let’s threaten the industry with shutting down a service that helps funnel millions of dollars to radio because we can’t maintain the historically huge margins that the PE people would like to take even higher.”

If you agree with that statement, don’t blame Rich Tunkel. His predicament made me think of the title of an old Elton John album, “Don’t Shoot Me, I’m Only the Piano Player.” Rich is the head sales guy for Nielsen Audio. This stance is likely coming from much further up the food chain.

Last year, I wrote a series of columns describing my view of what the radio industry needs for audience measurement. I had no preference for a source, Nielsen or another company. Ideally there would be multiple companies, as competition generally lowers prices.

Regardless of how the Second Circuit Court of Appeals rules on Nielsen’s appeal of Judge Vargas’ decision, we’ve seen the first crack in a 60-year reign of radio audience measurement. Next week, I’ll offer more thoughts on how this might play out, as well as other aspects of this case.

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.

ESPN’s College Football Playoff Formula May Not Work for the Super Bowl in 2027

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Tonight marks the 12th College Football Playoff National Championship game on ESPN’s family of networks. What began as ESPN’s Super Bowl has been exactly that. The network has leveraged all of its assets, talent, studios, affiliate networks, and technology to create a showcase strong enough to lure the NFL into considering ESPN for the largest television event of the year.

Mission accomplished. Next February, for the first time in network history, ESPN will broadcast the Super Bowl.

So, what will go into ESPN’s first crack at a Super Bowl Sunday broadcast day? Will the all-in approach executed over the past 12 years remain the same game plan in February 2027? More importantly, should it?

Many may not realize that ESPN broadcasts more than 47,000 live events annually. The company oversees a host of networks and consistently pushes the boundaries of alternative broadcast presentations. From Pat McAfee and his crew roaming the sidelines to collaborations with Disney, Pixar, and others to create kid-friendly game experiences, ESPN has positioned itself at the forefront of broadcast innovation.

Make no mistake, ESPN has mastered the art of showcasing the biggest events in sports. The lone exception forever has been the Super Bowl.

For college football fans, ESPN and its family of networks are offering 14 different ways to consume tonight’s Indiana matchup against Miami. Nearly every ESPN channel features some form of alternate presentation, each with its own twist.

The main telecast airs on ESPN and ABC, as viewers have come to expect. Pat McAfee and his crew appear on ESPN2, while The Film Room returns on ESPNU, featuring four former head coaches watching the game in real time and sharing commentary throughout the contest.

There is also SkyCast, which provides camera angles familiar to fans of the Madden video game series. A Field Pass option airs on ACC Network, featuring its roster of analysts calling the game from the sidelines. For those away from a television, ESPN Radio carries the national call, while ESPN’s direct-to-consumer app offers five additional viewing/listening options.

What ESPN has done, and continues to do, with the College Football Playoff National Championship is something FOX, CBS, and NBC cannot replicate. For all the cameras and microphones that can be placed inside a stadium, the depth of content options ESPN delivers remains untouchable.

Most networks that host the Super Bowl traditionally emphasize pregame and postgame programming, ESPN’s strength lies in the in-game experience.

That raises the question: should ESPN take this same approach with Super Bowl LXI? Does the Super Bowl need a Film Room? Would a SkyCast presentation make sense for “The Big Game?”

More importantly, does it make sense to segment the Super Bowl audience across multiple platforms when viewers are accustomed to a singular destination?

Every network’s goal is to maximize revenue and reach while delivering a viewing experience that feels fresh. Programmers constantly chase a new look, sound, or presentation that hooks and audience to come back for more. There remains an older audience rooted in tradition, alongside younger viewers who consume content in entirely different ways.

Historically, the Super Bowl has been a singular destination. While networks have experimented with streaming elements or secondary broadcasts, the priority has always been clear: drive viewers to one central presentation.

Should ESPN follow that same model?

It is an intriguing dilemma, and one that ESPN’s leadership is well-equipped to navigate. The opportunity is unique for a network getting its first crack at the apple, albeit one that arguably should have come much sooner.

First impressions matter. Do Super Bowl fans really need 14 different ways to watch the biggest game of the year when they’ve only traditionally consumed one? Probably not. The Super Bowl is a rare balance of sports, entertainment, pop culture, and advertising.

Would a SkyCast viewer miss the debut of a new Pepsi commercial? Would a Field Pass broadcast fully integrate the halftime performance? With the added complexity and cross-promotion potentially required, the question becomes simple: is it worth it?

For all the effort ESPN will pour into tonight’s College Football Playoff National Championship, less is more when it comes to the Super Bowl. It is Americana. Peanut butter and jelly with fireworks and Bruce Springsteen. The game arrives every year with a built-in audience and fixed expectations.

ESPN’s role should not be to sell viewers on alternate experiences when the Super Bowl is about more than just football. That distinction does not apply to the College Football Playoff National Championship.

For the Super Bowl, give me Joe Buck and Troy Aikman calling the game. Lisa Salters on one sideline, Laura Rutledge on the other. Lean on the NFL analysts we trust during Monday Night Countdown, then mix in current and former coaches at halftime and postgame.

Do viewers need a ManningCast? It appears to be in motion, if Eli Manning is to be believed. If so, elevate it by adding McAfee as a third analyst and combine assets for a different experience there. Beyond that, there is no need for a Film Room, SkyCast, or Field Pass broadcast. Leave Mickey and Minnie at Disneyland, and allow Monsters Inc. to sit back and enjoy the game.

ESPN’s mission should be to keep viewers anchored in familiarity and enhance that experience through simplicity.

That is how ESPN should pivot its College Football Playoff National Championship approach to the Super Bowl. Preserve what works. Avoid segmenting the audience in a way that risks diluting the moment.

For 12 years, ESPN has treated the College Football Playoff National Championship like its Super Bowl. Now, it finally has the real one. That does not mean it should treat it the same.

This is a moment for ESPN to show discipline, not dominance. Lean on its best voices, its cleanest presentation, and the understanding that the Super Bowl does not need help being massive.

It already is.

Get it right, and ESPN will not just check a box in 2027. It will prove that when the biggest stage calls, it knows exactly how to play it.

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.

How ARANDA Landed at the Top of the Rock Charts With ‘You Don’t Wanna Know’

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I’m always inspired when new rock singles are one listen and instantly click for me. That’s the case with the new one from ARANDA.

Never heard of them? Kind of remember them? ARANDA has been a band for over 20 years. I must confess, they were one of my favorite bands to come out of the 2000s, with super-charged, well-crafted, hook-heavy bangers. However, they were not a “top of mind” band. That’s about to change.

The band is led by brothers Gabe (vocals) and Dameon (guitars and more) ARANDA. They broke out in 2008 and enjoyed moderate success at rock radio with songs like Satisfied, Whyyouwannabringmedown, and Don’t Wake Me. Kelly Clarkson recorded ARANDA’s music, and the WWE was a fan as well. It seemed Aranda was on their way.

In fact, ARANDA had seven songs chart in the Rock Top 40. They toured with Shinedown, Nickelback, Daughtry, and more.

What happens when a band is “almost there?”

I’ve often thought that instead of being called “criminally underrated,” “severely underpromoted” might be a more accurate phrase.

The band enters 2026 on a high note, though, with a killer new song, You Don’t Wanna Know, from their forthcoming release, Are You Not Entertained?, due in May. Congratulations are also in order, as You Don’t Wanna Know was the number one most added song at rock radio in its first week.

I recently caught up with ARANDA guitarist and songwriter Dameon Aranda on my Carr Stereo Podcast. We discussed the business of music, his serial songwriting, and returning after a few years of catastrophic loss.

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

Terrie Carr– You guys have been dealt a couple of really crappy hands. You’re a phenomenal songwriter, an amazingly talented live band. Talk to me about how the past is defining your future.

Dameon Aranda – My brother and I have been doing it for more than 25 years. Since we were five and six years old, actually. Playing, singing, harmonizing. We always knew that we were going to do music together and that we were going to do it long-term.

We had that sense when we were young. Always together and really close. As we progressed, we started getting out there in 2008 and had some moderately successful charting songs.

Then we’d go play and do all these things. From about 2008 to maybe 2016 or 2017, we were hitting it as hard as we could. In today’s music business, you feel like having a music career has to be supplemented with something else. Trying to find other things to supplement your income. Especially with streaming entering the equation and physical releases fading away.

TC – You are a great songwriter. Kelly Clarkson doesn’t record songs written by bad songwriters.

I thought some of your songs should have been number ones, but there are a lot of factors that determine why a song reaches number one that has nothing to do with its quality. ARANDA deserved more than what you got.

So how does the spirit move you? When do you get your best ideas for writing?

DA – Gabe would probably say when we get together, because he’s writing for the band. That’s just how his brain works. Me? I’m a serial songwriter.

I have 200 to 300 ideas on this phone right now. On the new song, You Don’t Wanna Know, we worked with a guy who’s been doing a lot of rock stuff in Nashville, Kyle O’Dell. We had been working mainly with in-house and at-home producers, and that’s been great.

Gabe had a melody, kind of the chorus idea. I felt we have to write this song today. So we did. We wrote it in about two and a half hours and recorded the whole thing that day. From inception to completion, it took about a day and a half.

You Don’t Wanna Know really started the cycle for this new record. It looks like early May for the album [release]. The record is called Are You Not Entertained? It’s a tongue-in-cheek way of saying, ‘Here we are, putting all of this out to you.’

As an artist, you bare your soul. When you do that, you invite people to slam you, praise you, or whatever they choose to do. You put yourself out there. So it’s like, Are you not entertained? Well, here it is. Here’s all my brokenness. Can you connect with this. or are you going to throw more tomatoes?

You Don’t Wanna Know is the first song to kick that off.

TC – The people you’ve worked with, and some incredibly tough things you’ve had to overcome. You lost your drummer in 2019. He was murdered, which is such a heavy subject. I don’t know how you come back from that. Longtime drummer, longtime friend. Like a brother. I remember reading about it.

You also worked with producer Kato Khandwala. A phenomenal producer who we lost in a motorcycle accident. There were so many bumps in the road. It has to be incredibly hard to keep that fire going.

DA – Yeah. In that stretch of time over about a 10-month period, we lost our longtime sound guy. We lost Kato. Then we lost my dad. After that, we lost Mike, our drummer. All of that happened within a short window. We asked ourselves, ‘Are we really going to do this or not?’

Then it became clear. We had to. We absolutely had to keep going.

I agree. I’m so glad ARANDA is back. This time, they may just get that number one.

Check out the full  Carr Stereo Podcast with Dameon Aranda interview on YouTube, or listen wherever you podcast.

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.

As ’80s and ’90s Rise in Classic Rock, What’s the Future of ’60s and ’70s?

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If you are reading this, you probably know the story: as the Classic Rock and Hits formats have attempted to continue appealing to the vaunted 25-54-year-old demo and not fall over the dreaded demographic cliff, music from the eighties has become central to the format, and the nineties are starting to push their way to greater prominence.

That does, however, leave us with a critical issue: what role should music from the seventies and even the late sixties play in the format? How do we manage some of the artists and songs that, once upon a time, were the biggest in the format?

There is not a clear-cut answer to this question, and to muddy the waters further, here are three interesting, possibly conflicting, stories that might impact your opinion on the matter.

1) 1,000 Weeks

According to a recent Billboard article, Pink Floyd’s iconic album The Dark Side of the Moon is approaching a milestone: 1,000 weeks on the Billboard Hot 200. The January 10 chart was the album’s 996th non-consecutive week. That means, barring anything unexpected, on the chart dated February 7, the album should hit 1,000 weeks.

Bob Marley’s Legend: The Best of Bob Marley and the Wailers and Journey’s Greatest Hits are second and third, with 920 and 890 weeks, respectively. All three were off the chart from 1991 through the end of 2009, when “catalog” albums were not allowed to chart, only current and recently released albums. For reference, that period represents another 936 weeks that Pink Floyd could have been padding their statistics.

The article notes that the revival and consistent chart success of older albums is partially due to streaming activity, which was mixed into the chart methodology starting in 2014. Consistent listening to classic albums like The Dark Side of the Moon plays a large role in keeping the album on the chart.

2) More Than a Billion

Speaking of the impact of streaming, in a story on the Far Out website, Lauren Hunter wrote about which Classic Rock songs have surpassed the one billion stream mark. She points out that “Here Comes the Sun” is the only Beatles song in Spotify’s Billions Club.

At first glance, that seems surprising, but when Hunter notes that the Classic Rock artist with the most songs past the billion mark is Queen, with five titles in the club, it all starts to fall into place. The catalyst is likely the 2018 biopic Bohemian Rhapsody, which exposed Queen to a younger audience.

After the movie hit, she says, over seventy percent of Queen’s streaming play came from people under the age of thirty-five, illustrating how that audience, and their taste, can clearly drive future consumption of Classic Rock.

3) 50 Years Old

Unbelievably, that’s how old Sean Ono Lennon is. I know that’s how time works, but it’s still hard for me to conceptualize that he has turned the big five zero. Even more difficult to imagine is that he believes it’s possible future generations could completely lose touch with the music of The Beatles and the impact the band had.

In an interview with CBS Sunday Morning, Ono Lennon talks about being a custodian of his dad’s legacy and explains that something he once thought was impossible — people forgetting about The Beatles — now seems plausible.

The interview also talks about a short film Ono Lennon set to his parents’ classic “Happy Xmas (War Is Over),” which won an Oscar award last year, and a new documentary on HBO called One to One, which chronicles the benefit show John and Yoko headlined in 1972 at Madison Square Garden.

While both of Ono Lennon’s recent projects are wonderful, a short film and an HBO documentary seem unlikely to capture the imagination of younger listeners the way the Queen biopic did.

Which leaves us with the same question this post started with: what, if anything, do we as Classic Rock and Hits stations owe to the legacy of the artists that launched the format?

For my part, I think finding ways to package and pay tribute to this music, while keeping stations in their lane and primarily playing the hits people are asking for, is the true artistry of programming in these formats. But then again, maybe all the nights I spent listening to Abbey Road and The Dark Side of the Moon just leave me wistful for a time that has passed.

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.

Tony Dokoupil Has Already Failed His Promise to Make CBS Evening News More ‘Transparent’ and ‘Accountable’ Than Walter Cronkite

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Tony Dokoupil began his run atop the CBS Evening News with a sweeping declaration. Before his first broadcast, Tony Dokoupil promised, “I can promise you we’ll be more accountable and more transparent than Walter Cronkite or anyone else of his era.”

That is a bold place to plant a flag, especially in a role so steeped in legacy.

It is also, to be fair, a noble goal. Every television journalist should strive for maximum accountability and transparency, whenever those ideals can reasonably apply. Viewers deserve clarity about how stories are gathered, edited, and presented. Anchors should welcome scrutiny rather than fear it.

After three weeks in the chair, though, Dokoupil’s tenure has already been uneven. A few on-air flubs have circulated online. Certain statements have drawn criticism that feels louder than the offense itself. In several cases, the pushback has struck me as unfair.

Part of that is context. Dokoupil is operating under an intense magnifying glass. CBS News, now under the direction of Bari Weiss, is being watched for any hint of philosophical drift. Every word feels litigated in real time.

That atmosphere makes mistakes seem bigger than they are. It also shortens the grace period most new anchors typically enjoy. Learning curves are allowed in theory, but rarely in practice.

Still, the controversy that erupted over the weekend cannot be dismissed. It also cannot be spun away as a misunderstanding or a bad-faith attack. The audio speaks for itself.

Hearing White House Press Secretary Karoline Leavitt say that the CBS Evening News needed to air its interview with President Donald Trump in full or they would “sue your ass off” is jarring. It is troubling on multiple levels.

The first issue is the confidence with which that threat was delivered. A major news organization should not sound like a legal hostage. The fact that Karolien Leavitt feels emboldened enough to tell a major news organization how it will — not should — present the news is a major statement on the current state of our country and the news media.

The second issue is more damaging. CBS News did exactly what the White House demanded.

The network insists the decision to air the interview unedited was made before any agreement with the President. That explanation may be accurate. It may even be defensible. Unfortunately, optics matter in television news as much as intent.

For someone who promised to be more transparent and more accountable than Walter Cronkite, this is a brutal early test. When a White House official is heard making a demand, and the outcome aligns perfectly with that demand, reasonable people draw reasonable conclusions.

Those conclusions don’t speak highly of CBS News, Bari Weiss, or Tony Dokoupil. At a time when they need all the goodwill they can get.

Can an anchor reasonably look into the camera after that and claim full independence? Can he assure viewers that no outside pressure influenced editorial decisions? And can he say the only constituency that mattered was the audience at home?

I do not think that answer is yes. It is not because Dokoupil lacks integrity. It is because perception has already undercut the promise.

This is not a career-ending moment. It is not even a scandal on the scale cable news thrives on. But it is a credibility hit, and those accumulate faster than they heal.

The irony here is painful. Dokoupil invited this scrutiny by invoking Walter Cronkite. He set the bar at an almost unreachable height. Once you do that, every stumble feels like a fall from a greater distance.

There is also a broader issue worth naming. Modern network news does not operate in Cronkite’s world. Legal threats are louder. Political pressure is more aggressive. Corporate caution is omnipresent. Transparency now is harder, not easier, to deliver.

That reality does not excuse what happened. It does explain why the promise was always unrealistic. Accountability is not just about what you say. It is about what you resist.

CBS News may believe it acted responsibly. Dokoupil may feel he kept his hands clean. Viewers, however, are left with an uncomfortable tape and an unanswered question.

Trust is gained in drops and lost in buckets. Three weeks is not enough time to define a tenure. It is, however, enough time to establish a pattern.

I did not expect to have a definitive answer about Dokoupil’s grand promise this soon. Yet here we are, less than a month in, with a moment that cuts directly against it.

That does not mean Tony Dokoupil cannot recover. It doesn’t mean the honeymoon is over or that his tenure leading the CBS Evening News is doomed. Accountability, it turns out, is not something you declare. It is something you prove, night after night, especially when saying no is the harder choice.

I’m interested to see how — or perhaps, if? — Dokoupil takes accountability or offers transparency for what transpired last week. That can go a long way with gaining some of those drops of trust back with viewers. Because it appears, from where I sit, that CBS Evening News might have kicked over that proverbial bucket before it even had enough trust to cover the bottom of said bucket.

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.

ESPN Adds Bill Belichick to ACC Network Coverage of College Football Playoff National Championship Game

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The ACC Network will offer extensive on-site programming surrounding the College Football Playoff National Championship in Miami, Fla., from January 17–19, with special contributions from NFL coaching legend Bill Belichick. The network’s coverage will spotlight the Miami Hurricanes as they compete for the national title while providing fans with unparalleled access to coaches, players, and behind-the-scenes insights.

Belichick will appear as a guest analyst on ACC Huddle, sharing his perspective on championship preparation, game strategy, and postseason execution. His commentary will complement ACC Network’s regular analysts throughout the weekend. This provides a unique blend of professional and collegiate experience.

Coverage begins Saturday morning at 9 a.m. ET with ACC Huddle: Miami Media Day, delivering behind-the-scenes access from the official CFP Media Day at the Miami Beach Convention Center.

Taylor Tannebaum will anchor the broadcast from Hard Rock Stadium alongside analysts Jimbo Fisher and Eddie Royal. Eric Mac Lain, Andrea Adelson, and David Hale will report live from Media Day. They will bring interviews with players and coaches directly to viewers..

Sunday’s programming includes the Head Coaches News Conference, featuring Miami’s Mario Cristobal and Indiana’s Curt Cignetti previewing the matchup. That evening, ACC Huddle: Championship Preview airs at 8 p.m. Tannebaum will work alongside Mac Lain, Royal, and Fisher to break down all facets of the Hurricanes-Hoosiers game.

A special edition of the ACC Network Football Podcast, hosted by former Florida State quarterback EJ Manuel and Georgia Tech captain Roddy Jones, follows at 9 p.m.

Gameday Monday brings more than seven consecutive hours of live coverage from Hard Rock Stadium.

Programming kicks off at 5 p.m. with Inside ACCess at the National Championship, featuring ACC insiders Adelson and Hale. ACC Huddle at the National Championship follows at 6 p.m., offering over 90 minutes of pregame analysis. Tannebaum will host alongside Mac Lain, Royal, Fisher, and Belichick. They will be joined by ACC Network personalities Kelsey Riggs Cuff, Tom Luginbill, and College Football Hall of Famer Mark Richt.

During the game, Field Pass with ACC Huddle will provide sideline commentary and real-time reactions. This continues the network’s tradition of an ACC-focused alternate viewing experience. Halftime analysis will be delivered by Cuff, Luginbill, and Richt.

Belichick’s addition to ESPN’s coverage follows the first-year head coach finishing 4-8 in his debut season at North Carolina.

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.

Which Entertainment Industry Makes The Most Money In 2026? Casinos vs Movies, TV, Music, And Gaming

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Everyone argues or two to share about which entertainment industry makes the most money. But most people argue with the wrong scoreboard. Movies chase hits. Streaming chases subscribers. Music lives in the catalog and repeat listens. Casinos and games monetize sessions.

So let’s use the correct definition of lucrative first. Then, we’ll use hard numbers to rank the industries.

Casinos And iGaming: The Cashflow Monster

A casino can print cash on a high-traffic weekend, while a streaming service can bleed money for years chasing subscribers. A game studio can look “small,” too. Right up until one live-service hit turns into a multi-year money engine.

If you want a clean way to think about why casinos stay near the top, start with how users browse Spin Palace sister sites. Action is where revenue starts, but repetition is where the model becomes a machine. People come back in sessions. In the case of Spin Palace, alternatives compete on concrete levers that directly impact return visits. Think game catalog depth, bonus structure, and how easy it is to move money in and out. Availability and verification also vary depending on licensing and jurisdiction, which is another reason users look at multiple options rather than treating one brand as the default.

If you’re measuring “lucrative” by direct revenue, commercial casino gaming is one of the biggest checks in entertainment, especially in the U.S. The American Gaming Association reported that U.S. commercial gaming revenue hit $71.92 billion in 2024, the fourth straight record year. That total blends traditional casino revenue with sportsbook and iGaming results where legal.

Why casinos stay near the top, year after year:

  • Money is the mechanic. The product is built around fast feedback and repeat play.
  • High-frequency spending. It’s not one ticket, one album, one season. It’s session-based.
  • Margins can be thick. Especially on slots, where the math and scale do the heavy lifting.

The catch is that casinos make a lot of money, but that money is affected by laws, geography, and how much it costs to attract new customers. Still, if you ask what is “most profitable,” industries that depend on repeat visits, like casinos and live-service games, usually do better than ones that depend on one-time events, like buying a movie ticket.

Video Games: The Biggest “Time Spent” Industry That Converts Into Dollars

Games are the entertainment category that wins on time spent and increasingly wins on money spent.

In the U.S. alone, the Entertainment Software Association said consumer spending on video games totaled $58.7 billion in 2024. That includes content, hardware, and accessories. Moreover, that’s a huge number for an industry that also monetizes globally at scale.

The reasons why games are “lucrative” in a way movies and music often aren’t are:

  • The purchase doesn’t have to end. Live-service games keep earning after launch.
  • Monetization has layers. Full game → battle pass → cosmetics → expansions → subscriptions.
  • Global reach is built in. A hit doesn’t need theaters or radio to scale.

If you’re trying to answer who wins overall, games usually belong in the final two. Every time.

Movies: Big Peaks, But The Theatrical Number Isn’t The Whole Business

Movies look gigantic when a franchise hits. Then they look fragile when the slate is weak. That’s the nature of a release-driven business.

Globally, the box office has been climbing back toward pre-pandemic levels, but it’s still volatile. Industry trackers have put the global box office in the low-to-mid $30B range in recent years (with forecasts and revisions depending on slate strength and exchange rates).

The key point for the most lucrative debate is that the box office is not the whole movie industry. Studios also monetize through PVOD, licensing, and streaming deals. That’s why the “movies vs. games” comparison can be misleading. Theatrical is one revenue stream inside a larger IP machine.

What movies do uniquely well is turning a single title into a multi-channel asset. Think sequels, merch, theme park tie-ins, and long-tail licensing. But if you’re judging the industry on steady annual revenue, theatrical is lumpy by design. Even Disney has reported an entertainment revenue decline in 2025 and they are loaded with popular movies.

TV And Streaming: Massive Reach, But Profitability Is Uneven

TV is still a money factory, but the model is in transition. Cable affiliate fees used to be a cheat code. Streaming traded that stability for scale. And churn.

Streaming can be a huge revenue. It can also be expensive. The reason is simple. Subscriptions are recurring, but so are content costs.

A clean way to show how real that revenue is (without guessing) is to look at company reporting and the way media conglomerates talk about their direct-to-consumer numbers. Paramount’s streaming strategy is a good example of how hard the economics are being pushed.

Where streaming wins:

  • Recurring revenue at scale (when churn is controlled)
  • Global distribution without theaters
  • Bundling and price increases once a platform becomes a habit

Where it loses:

  • Content spending races
  • Subscriber acquisition costs
  • Profitability that can lag for years

So TV/streaming can be the most lucrative for the winners. As an industry-wide answer, it depends on who you’re talking about.

Music: Smaller Than People Think, But Extremely Durable

Recorded music revenue is not the biggest pile on this list. What it is is consistent, global, and increasingly subscription-driven.

IFPI reported the global recorded music market was worth $28.6 billion in 2023. That’s up 10.2% year over year, driven largely by paid streaming.

Why music stays lucrative even when the topline is smaller than casinos/games:

  • Songs have long tails (catalog monetization is real)
  • Streaming makes revenue recurring
  • Licensing spreads music into film, TV, games, ads, and socials

Music rarely wins on raw annual revenue versus casinos or games. But it competes on longevity and global repeat listening.

So, Which Entertainment Industry Is The Most Lucrative?

If “most lucrative” means bringing in the most money directly every year in the U.S., then $71.92 billion in 2024 from commercial casino gaming makes it a strong case.

Video games are right up there with the most lucrative if you want to talk about broad consumer spending and the best way to make money off of time spent. In 2024, U.S. consumers will spend $58.7B on them, and the business model is set up to make money off of them over time.

Music’s growth through subscriptions keeps it in the running, even though its global topline in 2023 was only $28.6B, if “most lucrative” means most long-term repeat consumption.

The clearest answer is that casinos and games make the most money because they’re based on repeat visits and habits. Sure, films and TV can make money, but they depend on hits and cost a lot. The music industry is smaller, but it’s the most consistent and plays forever.

The New York Times to Expand ‘The Daily’ to 7 Days Per Week

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The success of The Daily — the podcast from The New York Times — has led the organization to expand the show to seven days per week.

Beginning on Sunday, the podcast will now release an episode on that day, completing the expansion to each day of the week. Previously, the podcast released six episodes per week, with Sunday being the lone day without a release.

“Sunday will be a time to lean back and listen to stories and conversations that surprise, delight or help us understand this moment,” Deputy Managing Editor Sam Dolnick, Director of Audio Paula Szuchman, and The Daily‘s Executive Producer Ben Calhoun said in a joint statement.

Michael Barbaro, Natalie Kitroeff, and Rachel Abrams will continue to host the program on its new edition. Wendy Dorr, one of the executive producers of The Daily, will lead the Sunday edition.

The outlet says it will experiment with the edition, looking at its format and content as the program progresses.

The Daily is one of the most popular podcasts — regardless of genre — in the country. In the latest rankings from Podtrac, it was the second most-listened-to show in the United States.

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.

ChatGPT to Start Testing Ads on Free and Lower-Priced Subscriptions

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ChatGPT is getting into the advertising game. The company has announced plans to start testing ads for free and it’s Go tier subscribers.

In a statement on Friday, the company shared that it is planning on testing ads in the coming weeks “so more people can benefit from our tools with fewer usage limits or without having to pay.”

“We’re not launching ads yet, but we do plan to start testing in the coming weeks for logged-in adults in the U.S. on the free and Go tiers,” the company said. “To start, we plan to test ads at the bottom of answers in ChatGPT when there’s a relevant sponsored product or service based on your current conversation.

“Ads will be clearly labeled and separated from the organic answer,” it continued. “You’ll be able to learn more about why you’re seeing that ad, or dismiss any ad and tell us why. During our test, we will not show ads in accounts where the user tells us or we predict that they are under 18, and ads are not eligible to appear near sensitive or regulated topics like health, mental health or politics.”

The company said it will remain open to feedback and that its long-term focus “remains on building products that millions of people and businesses find valuable enough to pay for.”

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.