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How Rock Radio Can Still Be the One That Matters to the Next Arena Act

Keith Cunningham
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How Rock Radio Can Still Be the One That Matters to the Next Arena Act

The next Nirvana or Guns N’ Roses just landed on your desk. The only problem is much of the rock radio audience has already heard it.

Radio spent years — even decades — fighting to own music discovery, but that battle is over. Radio lost.

That’s no knock, it’s just reality. With over 100,000 new songs uploaded daily and DSPs absorbing all of them and setting the pace, there was no scenario where radio was winning that fight.

So the strategy evolved away from breaking songs or bands to becoming the validator — the place that filters what will actually matter. Not a bad pivot. Still very viable. But it hasn’t been effectively positioned that way to the audience.

Programmers have to be honest with themselves: a lot of the “new” music being played on RockTernative stations isn’t “new” to many listeners. Calling it “new” doesn’t make it a discovery if the audience already knows it.

I’m no purist, and I’m definitely not the focus group attendee who loudly argues that a song released 60 days ago is no longer “new.” But sometimes it’s true.

The song being billed as “new” at radio actually broke on TikTok months ago, showed up in a binge-watched show, or is already sitting in playlists. In those cases, calling it “new” creates a disconnect — which is unfortunate, but often understandable.

Not every listener moves at the same speed. That illustrates another challenge: trying to set a pace so the tortoise listeners still get their participation trophies, meanwhile, the hares are warming up for their next race over on YouTube.

But it does point to the larger issue — or question: if radio no longer owns discovery, what role should “new” music really play? Because the industry still treats it like a risk. Programmers are trained to treat new music like a threat: slow to build, risky, rarely worth the bet, don’t play the chart game.

All true. But listeners might see some other layers.

They haven’t lost interest in new music — especially in Rock Radio. What’s changed is how they find it. But they still want help deciding what matters today and what they’ll be blasting on their iPhones of the future. That’s still the opportunity.

Because right now, many brands are stuck in between — not owning discovery, but also not fully leaning into explaining the validation role and its benefit to the cume — compounded by promoting some new music that isn’t new to many.

That’s when things become background: boxes being checked, easy to ignore and forget.

Don’t go running headfirst into machine gun fire by plotting against a researched plan or willingly playing something you believe will cause tune-out. But if “new” is an important part of the brand, there’s strategic upside in rethinking how it shows up.

Not just how often it plays — but how it’s framed, supported, and remembered. The standard new rock promos and staggered rotation strategies are from a different era. What a listener hears, digests, and recalls over the course of a week is very different from what a music log says on paper or what rotation math may predict.

Don’t take my word for it. Ask your database. What has cut through? What hasn’t? You might not like the answers. Some might surprise you. Then review your programming strategies and be tough on yourself.

  • Is the brand treating new music like an obligatory risk or an opportunity?
  • Is Power, Medium, Light still the best structure?
  • Should the Music Director become a bigger star on the station?
  • Do the website and e-blasts help, hurt, or are they mostly MIA in this battle?

Spring and Summer are when this matters most. New releases ramp up for tours, windows go down, volume goes up, the vibe changes, and the entire musical ecosystem plays out “what’s next.”

I’m not here to strategy dump — I do enough of that in my day job, and every brand deserves its own playbook — but it’s as clear as day:

While the battle to be the first to discover bands is over, the fight for new music relevance isn’t. The battle to determine which bands end up in arenas — that’s the one radio can still win.

How Rock Radio evolves its position could be the difference.

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.

Why Career Success Shouldn’t Define Your Personal Worth

Bob Lawrence
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Why Career Success Shouldn’t Define Your Personal Worth

Have you ever noticed that when we introduce ourselves or engage with someone we just met, we almost always focus first on what we do as a career? “Hi, Bob. So, what do you do?” I find it fascinating that people begin conversations with what we do rather than who we are as a person.

In truth, women don’t do this as much as men. For some, perhaps biological reason, men are more prone to value themselves (and others) by their careers rather than the quality of their character. Women are often better at highlighting (or at least including) things like family, children, or other priorities. Those items outside of their careers that shape who they are and what they find intrinsically important.

To be clear, this is not driven solely by gender. Rather, some women tend to parse out the “what” and the “who” of their personal identity more effectively.

This mindset seems to have existed for generations, with identity and occupation tightly intertwined. For many, a job title isn’t just a description of what they do at work. It’s a measurement of their internal importance.

Think about your own career. As you climb what you believe to be the ladder of success, the title you receive with each new role often becomes more important. We rarely want to accept positions that don’t appear at least on par with the title we most recently held.

This desire to measure our self-worth by occupation is not entirely our fault. From an early age, we are conditioned this way. Think about how often we ask young children “what” they want to do when they grow up.

Wouldn’t a better question focus on the kind of person they want to be?

I am not suggesting that success isn’t important. Rather, I’m questioning whether it should sit at the top of the list of lifetime priorities. Value is often framed around careers, promotions, income, or industry recognition. Over time, the message becomes clear: what we produce determines our worth.

My concern is that while this mindset can be motivating, it can also create a fragile sense of self.

When our identity is primarily based on work, any disruption—such as a layoff, termination, or being passed over for a promotion—can feel like personal failure. A job loss, career change, or even retirement can trigger a genuine identity crisis. If the foundation of someone’s value rests on what they do, then the question becomes unavoidable: “Who am I without it?”

This dynamic is particularly strong in passion-driven industries. Media, broadcasting, entertainment, and creative fields are filled with people who deeply love what they do. However, that same passion can create a divide between profession and personal identity.

Believe me—I get it.

I’m someone who has held virtually every position in broadcasting, including being on air. I understand how much of who we are can become wrapped up in what we do. A radio personality, for example, may not simply see themselves as hosting a show. The microphone becomes a core part of their identity. If or when the show ends, or the industry shifts, it can feel like they’ve lost a piece of themselves.

I suggest we all take a step back so the distinction between doing and being becomes clearer.

What we do is external. Without minimizing its importance, we need to recognize that it’s a role. Roles change. Careers evolve. Industries rise and fall. In reality, the skills we use today may not even exist in the same form twenty years from now.

“Who we are” runs deeper.

Character, family, love, faith, curiosity, creativity, empathy, humor, strength, resilience, and contentment. Traits that don’t disappear when jobs change. In fact, they are often the qualities that make us successful in the first place.

The challenge is that few people celebrate internal qualities as loudly or as visibly as external achievements. Everyone sees a promotion. Paychecks are measurable. Character is quieter, and frankly, people are sometimes criticized for highlighting it.

If we begin defining ourselves by who we are rather than what we do, something powerful can happen. Setbacks become easier to navigate because our identity is no longer tied to a single role or career. Transitions feel less threatening. Retirement becomes a new chapter rather than the end of a story.

Ironically, I’ve learned that separating identity from occupation can also make us better at our work. When we are less emotionally dependent on a title, we take more creative risks. We collaborate more freely, and adapt more quickly.

In the end, what you do is only one expression of who you are. It doesn’t define you. Careers may shape our lives, but they shouldn’t be mistaken for the measure of a life. Your real value rests in the human qualities that existed long before your first job and will endure long after the last one.

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.

Why CBS News Employees Should Be Optimistic About Life After Media

Krystina Alarcon Carroll
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Why CBS News Employees Should Be Optimistic About Life After Media

Life after media. It’s a scary phrase many in the industry are facing, and I’m not just talking about the CBS News layoffs.

Newsrooms have been shrinking for at least a decade. News deserts are growing. Not to mention, AI is taking over almost every job — from taking entry level jobs to writing your teases, in-studio camera production, and now AI can even edit VO for you.

Yet, so many of us still have the bug. The thrill for investigation, being the first to break a story, a quest for sharing information. So what can we in the news media do? Take a pay cut. Move from market to market. Find a wee bit of happiness in the pursuit of a story.

And still, the industry does not hug you back. The closest thing you often get is an Emmy or another form of award to put on the shelf. The sacrifices you make — working weekends, holidays, birthdays. Time flies by and it all becomes a blur. Then it hits you: laid off.

My first personal experience with layoffs was in the middle of COVID — while on maternity leave. It didn’t stop me. I eventually found another gig, but the passion I brought dwindled.

To hear and see so many well-qualified industry friends on LinkedIn searching for a job, never getting a reply, is disheartening. It’s almost as frustrating as seeing the same job posted by a local news outlet for the last year and a half — it’s never been filled. Nor will it be. It’s one of the dozens of ghost gigs we waste our time applying to, never to be heard from again.

The industry’s “numbers game” is taxing. It feels often like big and mid-sized companies have forgotten what we are supposed to be doing. I’ll give you a clue — it’s not making money, turning a profit, or curtailing coverage to help boost a particular party. It is bringing checks and balances to our political system.

For some, heading to the “dark side” of the industry will suffice (aka Public Relations/Marketing). Others — who typically have a big following — may end up doing their own thing and, if they are lucky, will be able to hire a handful of trusted friends.

So where does that leave the rest of us? When the mics are off, the lights are gone, and retirement is not an option (because, let’s be real, most of us won’t make the type of money to retire early), what are we left to do?

I’m here to tell you two things. First, there is life after media and it’s way better than you’d think. Second, it’s time to redefine what it means to work in the industry. We are going to talk about the latter first.

Often, many of us feel compelled — or obsessed — to keep up with the news, or “feed the beast” as one of my former colleagues loved to call it. This is unhealthy. You should be able to stay informed about what is going on without being obsessed.

The news cycle will go on with or without you. So pick up a hobby, go train for that triathlon, take off on a weekend, and travel to that one off-the-beaten-path place you’ve been dreaming of. Work will be there when you get back. And if it’s not — because of layoffs or your outlet closing — know it’s not your fault. These small habits will help you push forward when layoffs come your way. (I say “when” because we all know it hits us every year, and some companies twice a year.)

Redefining what working in the industry means starts with using all your PTO before the end of the year, because it doesn’t carry over. Take time for yourself, your family, and anything else you value, because time is a thief — it’s something you will never get back. Cherish the moments outside of the news noise. They give you more worth than any Emmy ever will.

For those of you looking for a job, contemplating leaving the industry, or simply at a loss for words over the incredible amount of change that’s gone on in the last 15 years — life after media doesn’t have to mean going to the dark side or giving up on the years you’ve dedicated to this unforgiving industry. It could mean working part time, using your skills to start your own business, or sharing your wisdom with those looking to break into media.

It’s hard to believe, but there is life outside of our beautiful media microcosm. It might be scary, nerve-racking, and at times uncomfortably different from the pace we’re used to. But trust me, it’s worth 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.

Women’s History Month: Bonneville International President and COO Tanya Vea Never Felt the Ceiling Until She Broke Through It

Garrett Searight
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Women’s History Month: Bonneville International President and COO Tanya Vea Never Felt the Ceiling Until She Broke Through It

As Women’s History Month concludes, Barrett Media is sitting down for conversations with some of the highest-ranking female executives in the media space. In this installment, we sit down with Bonneville International President and CEO Tanya Vea.

Tanya Vea joined Bonneville International in 2010 as the Executive Vice President of Cross-platform Development. Under her leadership, the organization formed a combined news division. It brought the TV, radio, web, and newspaper divisions under one leadership umbrella.

She later rose to the role of President and COO for Bonneville International and Salt Lake City Market Manager for the company in June 2023.

She spent 14 years in the local television world, including 12 years with the CBS-owned-and-operated station group, before working at the Kim Brown & Associates advertising agency.

In this Q&A, Tanya Vea shares her perspective on whether or not she thought there were restraints placed on her because she was a woman, how she broke through to her leadership role, and why she hopes that those working their way into leadership roles today never feel like they can’t push through to where they’d like to be professionally.

*Editor’s Note: Some responses have been edited for clarity and brevity.

Launching Her Career

Garrett Searight: When did you know that you wanted to be in the radio, the media business? When is the first time you can remember saying this is something that I want to do?

Tanya Vea: In high school, I started out really very focused on wanting to do journalism, and I knew that from a pretty young age, I would say. So that’s what I pursued a degree in and started in TV news.

GS: What was it about the media business that interested you?

TV: Connecting with people and really figuring out: How do you find information and provide information in a community that benefits the greater good? That was very interesting to me.

GS: When you look back at your career and how you’ve grown and evolved, who have been some of the people who have been really influential in your growth during your career?

TV: I’ve been really lucky to have phenomenal mentors and bosses along the way. From the very beginning of my career, people included me in rooms that were well beyond the title and the position that I held. But it gave me the ability to learn the business and grow. And see things in a broader way, not just from the positions that I had.

I can’t overstate the importance of the mentors and, frankly, the really phenomenal bosses that I’ve had along the way. That’s not something that people normally highlight. Great bosses are not always words you hear together. I’ve had (bad bosses) too, but I tend to over-index on the good ones.

GS: When you first started, did you feel like there was a pathway to be an executive for women in the business?

TV: I wasn’t interested in that. That’s a hard question for me to answer because I was very focused and thought that my path would be journalism. It was after I left the business — I did a lot of crossover between radio and TV, built actually a strong partnership with radio partners and TV partners in the station that I was working in. I had a lot of access across different media entities, also with a newspaper. But I was much, much more interested in the content development side and never really saw myself sitting on the business side.

Now, obviously, with music stations and others in our portfolio, that’s the more fun side of our business. None of that thrives if the business isn’t thriving. And so for me, that became really the motivation. I guess I didn’t necessarily feel a ceiling because I’ve worked with really great people.

But I was shocked when I broke one because I couldn’t believe “How is it possible that I’m the first woman coming into a position or leading an organization at this time in our careers? At this time in life?” I think that was surprising to me. And now I’m much more conscious of making sure that people have opportunity and I’m trying to provide the exact same opportunities for people who are coming up in the business.

Breaking Through

GS: What goes through your mind when you accomplish something that had never been done before?

TV: It was really interesting. There’s an element of pride in it because you know how hard you’ve personally worked to get into a position of leadership. And I do think in some ways, women do have to work harder in to get into those positions because you’re not always the first person that they’re looking at — clearly, otherwise there would have been more women in leadership before this.

So it’s pride, but it was also — I don’t know, I’m trying to think of the right word — frustration. There’s nothing special about me. And I don’t mean that in — I believe I’m good at my job. I know I’m strong in those positions. But there are other women who have been before me, who would have been qualified, should have been potentially in those positions. I don’t feel like I’m special in any sort of way other than the timing worked out for me.

GS: There are a lot of people who view media still as a really male-dominated space. But if you look around the radio industry, many of the CEOs are women. Why do you think there has been a shift where we’ve seen so many executives of brands and companies who are now women?

TV: I think that women have been working their way up. And when you earn your way into a spot, I’m hoping that more and more organizations are just choosing based on who’s best for the role, not limiting your opportunity because of your gender. So I think that’s likely happening more. There are also more female owners. If you’re looking at, say, Ginny Hubbard or Caroline Beasley, people like that who are the heads of their companies, I think that makes a difference.

I would also frame it less as “why now?” and more as “why not sooner?” The talent has always been there. What’s changing is access and how organizations evaluate leadership. While there are more women at senior levels now, there is still work to do for more equitable access to opportunity. The organizations making the most progress are not doing it for optics. They are evaluating on performance and see an organizational advantage in better reflecting the markets they serve. I believe that is what is accelerating change.

Today’s Landscape

GS: How important is it to you to be a mentor to other future leaders, other women in the company — or outside the company — that want to grow to be an executive someday?

TV: What’s really important to me is that people in our organization don’t feel like they’re held back because of qualities other than their performance, other than their work ability, other than the talent that they’re bringing into the organization. So that would be true for any of our employees.

And I don’t want to be — and I think most women don’t want to be — in a position because you’re a woman. You don’t want to get a position because they say, “Oh, we need a woman in this position.” You want to be in your position because you’re qualified and you’re good. So I want everybody who’s coming up in the organization to really feel like they have the same chance at a promotion or at a position. That you’re not going to be included or excluded because of your gender, your race, or other qualities.

GS: When you sit down and reflect on your role and your position, what’s the best part of your job?

TV: Hands down, the people. Working with the people, both that work with and for us in the organization, and the people that we serve. Being able to serve in local communities is the reason I got into the business in the beginning. And I still feel that’s foundational for me. I think we’re a service industry, and we need to act like that.

It’s not really just about the business metrics and the numbers. It’s about what we are doing. What impact we are making in the communities that we are in. How we are having positive influence and impact. How we are having fun every day. And how are we doing things where our employees want to come to work. That we’re a good place to work. We’re very fortunate. We have incredible people within Bonneville.

So I love to come to work every day because I’m surrounded by really, really great people. And those people are making a big impact in their communities.

The Future

GS: What are the things that you would say to aspiring female leaders in the media space?

TV: Just get after it. I never had a “I can’t do this because” mindset. It just never occurred to me. So I think you can limit yourself in having beliefs that — and there are limitations. Those are true. There are real limitations in the world and in the workforce that will get in your way. And some treatments happen in organizations that shouldn’t. Those are real things. I don’t mean to minimize any of that, but the more that you just believe in yourself and believe in your ability to get to where your goal is and what your dream is — that can overcome a lot.

GS: That’s good stuff, Tanya. Is there anything that I didn’t ask you or anything you want to share or include?

TV: I feel like I’m a reluctant spokesperson on behalf of our gender. Just because I try really hard not to see the world through that lens. And again, I recognize that there are realities there. So I don’t mean to minimize that. But that’s not how we promote at Bonneville. It’s not how we look at things. It’s not how I operate personally. I don’t say, “Oh, you’re a woman, so therefore I’m going to give you an advantage over somebody else,” because I would never want that.

So it’s really about making sure the opportunities, the visibility, people in the room, how they’re being talked about — that that’s equitable. So you’re not being judged on those other factors. It can lead to people believing that you’re in that role because you’re a woman. As opposed to because you’re good. Or because you deserve to get promoted. Or in the same way anybody gets promoted — maybe you didn’t deserve it, but you landed there anyway because of what other factors came into play.

But that’s true for men and women. In the same way that women were clearly held back because they weren’t in those positions at all. You don’t want it to be that way. But you also don’t want to be told, “Well, you were given this because of this other factor.”

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.

Vice Studios Bolsters Leadership With Slate of New Hires and Promotions

BNM Staff
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Vice Studios Bolsters Leadership With Slate of New Hires and Promotions

Vice Studios is making moves. The global production division of Vice Media announced a wave of executive appointments Thursday.

Adam Kassan was named as EVP of Scripted Film and Television. Cat Lawson is also taking the role of EVP of Unscripted. Claire Marshall moves up to Head of International Scripted, while Paul Randle earns a dual promotion to Managing Director of Vice Studios UK and Global Head of Business Affairs. All four report to Vice Studios President Amy Powell.

“We now have exceptional IP, an incredible team of creative and production executives, and people across the company who genuinely care about the work. I feel lucky to be building Vice Studios alongside each of them,” said Powell. “It’s especially meaningful to welcome Adam and Cat as they join our team, and to recognize Claire and Paul, who’ve been such an important part of building this team to date.”

Kassan will lead the studio’s global scripted strategy out of Los Angeles, focusing on premium, culturally specific stories with broad appeal. He brings decades of experience from top roles including President of Film & TV at Khalabo Ink Society, EVP at 6th & Idaho, and positions at Paramount Pictures, Plan B Entertainment, and Miramax. His credits include End of Watch, Black Mass, Tales from the Loop, Away, and Mother/Android.

“Vice Studios thrives at the intersection of culture and creativity,” said Kassan. “This team brings a wealth of experience and a fearless approach to storytelling. Our mission is to deliver projects that push cultural boundaries and resonate globally while staying unapologetically authentic.”

Based in the UK, Lawson oversees the studio’s global unscripted team. She joins from Remarkable Entertainment — part of Banijay UK — where she served as Joint Managing Director. Her credits include co-creating Netflix’s Building the Band and serving as showrunner on ITV’s Starstruck. She also has credits on Love Island, The X Factor, and Who Wants to Be a Millionaire.

Marshall’s promotion keeps her focused on the studio’s international scripted portfolio. She’s currently executive producing season four of Gangs of London and previously ran the TV arm of Benedict Cumberbatch’s SunnyMarch, where she executive produced Patrick Melrose.

On the unscripted side, Joe Ingham moves up to Creative Director, Unscripted in the UK. His recent credits include Ross Kemp: Lost Boys and EastEnders: 40 Years on the Square for BBC One.

Meanwhile, the U.S. scripted team is anchored by newly appointed Vice Presidents Eben Davidson in Los Angeles and Dakota DeBellis in New York. Davidson previously worked at Blumhouse Television and spent more than 15 years at Paramount. DeBellis brings experience from WME, CAA, and Brillstein Entertainment Partners.

The moves come as Vice Studios continues to scale aggressively. Backed by a $75 million production facility financed through Western Alliance Bank and Fortress Investment Group, the studio plans to invest up to $500 million in original content over the next three to five years.

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.

Apple TV Reporter Tricia Whitaker Defends Netflix MLB Opening Night Broadcast From Critics

BSM Staff
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Apple TV Reporter Tricia Whitaker Defends Netflix MLB Opening Night Broadcast From Critics

Apple TV MLB reporter Tricia Whitaker is pushing back on what she calls an overreaction to Netflix’s presentation of Major League Baseball’s Opening Night, urging fans and media members to reconsider how they evaluate new broadcasts. The Apple TV MLB reporter addressed criticism of the game between the New York Yankees and San Francisco Giants in a series of social media posts following the telecast.

While some viewers labeled the production a “failure” or a “disaster,” Whitaker argued that such reactions miss the broader purpose of the effort.

“New broadcasts always require tweaks and adjustments,” Whitaker wrote. “Calling it a ‘disaster’ isn’t analysis, it’s exaggeration. We have got to stop making extreme negative takes the “cool,” viral, clickbait thing to default to. It’s lazy.”

Her comments arrive as streaming platforms continue to experiment with how live sports are presented. Netflix, in particular, leaned into a more entertainment-driven style for its MLB debut, which drew mixed reactions from traditional fans.

The broadcast last night kicked off a media rights agreement that Netflix and MLB signed last year. That partnership brings Opening Night to the streaming platform with more than 90 million subscribers in the U.S. and Canada and over 300 million globally.

Whitaker took issue less with the critiques themselves and more with their tone. She said the rise of social media has created an environment where harsh, attention-grabbing opinions often take priority over thoughtful analysis.

“I’m tired of the lazy negative takes on a regular basis on social media just because negativity and negative buzz words get clicks,” Whitaker wrote. “It’s as if we have decided that tearing everyone down on a regular basis is worth the views. Then we want to say we care about people’s mental health in the industry/sports? While we blast them and drag them through the mud for minuscule mistakes about something like a sports broadcast?.”

At the center of her argument is a key point about audience strategy. Whitaker emphasized that Netflix’s broadcast was not designed primarily for diehard baseball fans, who already consume games through regional sports networks and other established platforms.

Instead, she said, the goal is growth.

“The point of Netflix airing a MLB game in the first place is not necessarily to appeal to the diehard baseball fan. As much as diehards don’t want to hear that,” Whitaker wrote. “Baseball already has you. You watch your RSN broadcasts already and you watch whatever service your team’s game airs on. Incorporating Netflix is to appeal to a bigger audience and grow the game and the viewership.”

That perspective aligns with MLB’s ongoing push to expand its reach through streaming partnerships. By placing games on globally recognized platforms, the league hopes to attract new viewers who may not typically seek out baseball content.

“Diehard baseball fans need to relax,” she wrote. “You want new fans? This is how you get them.”

Whitaker also urged longtime fans to embrace those efforts rather than resist them. She suggested that exposure on major streaming services can help introduce new audiences to players and the sport itself.

“You’re upset because one broadcast out of 162 didn’t cater to you? Be happy baseball is on a massive stage. Be happy it’s on Netflix and Apple and all the streaming with global reach. Nitpicking it to death only makes the sport feel smaller and it makes baseball fans look less appealing to the casual viewer,” she wrote.

While criticism of new broadcasts is inevitable, Whitaker believes the conversation should remain constructive. Ultimately, she framed the Netflix experiment as an opportunity rather than a problem. For Whitaker, the presence of MLB on major streaming platforms represents progress, even if the execution is still evolving.

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.

Bill O’Reilly to Host NewsNation Special on ‘The Decline and Fall of San Francisco’

BNM Staff
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Bill O’Reilly to Host NewsNation Special on ‘The Decline and Fall of San Francisco’

NewsNation is set to present a special called The Decline and Fall of San Francisco. Bill O’Reilly will anchor the event.

In the special, O’Reilly will speak with former Mayor Willie Brown about the challenges facing the city in recent years.

“I full time, and I still am, without the power and authority, and believe me, the collection of people from, I think from the social workers world, mean well but don’t understand the mentality of some individuals,” Brown said of his relationship with today’s Democratic Party. “There were people who, really, I think meant well, but they did not understand.”

He will also speak with Michael Shellenberger, the author of San Fransicko: Why Progressives Ruin Cities, to discuss the homelessness, drug, and crime issues in the area.

The special NewsNation broadcast helmed by Bill O’Reilly will air on Thursday at 9 PM ET. It will pre-empt On Balance with Leland Vittert.

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.

Miami Marlins Sign Multi-Year Partnership With 104.3 WQAM

BSM Staff
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Miami Marlins Sign Multi-Year Partnership With 104.3 WQAM

The Miami Marlins are returning to familiar airwaves. The club announced a new multi-year partnership with Audacy that makes 104.3 WQAM the flagship home for Marlins baseball across South Florida. The agreement restores a historic relationship while expanding the team’s reach on both radio and digital platforms.

Under the deal, WQAM will air every regular-season game. Coverage includes full play-by-play, along with pregame and postgame shows. Fans can also stream broadcasts through the Audacy app, giving the team a broader digital footprint.

Opening Day coverage will air on 560 AM, marking the official start of the new partnership.

The move reconnects the Marlins with WQAM, which served as the franchise’s first flagship station in 1993. That shared history played a key role in bringing the two sides back together.

“Marlins baseball has a deep connection with fans across South Florida, and it is especially meaningful to reunite with WQAM,” said Caroline O’Connor, the team’s president of business operations. “Audacy’s platforms will help us reach fans wherever they are while continuing to grow the Marlins brand.”

Audacy sees the deal as both a nod to tradition and a step forward.

“Bringing Marlins baseball back to WQAM is a powerful homecoming,” said Claudia Menegus, Audacy’s regional president. “By leveraging the reach of 104.3 FM and 560 AM, we are creating a strong destination for fans across the region.”

In addition to game coverage, the partnership includes expanded team programming. WQAM will feature interviews with manager Clayton McCullough, players and team executives. The station will also carry offseason content and regular updates designed to keep fans engaged year-round.

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Tara Servatius to Make National Debut Guest Hosting The Mike Gallagher Show

BNM Staff
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Tara Servatius to Make National Debut Guest Hosting The Mike Gallagher Show

Tara Servatius is going national. At least for one day, as she’ll guest host The Mike Gallagher Show on Friday.

The 98.9 WORD morning host will helm the Salem Radio Network nationally syndicated show on Friday morning in Gallagher’s stead. It will mark her first appearance on a national program, Gallagher said.

“You’re in for a real treat,” Gallagher said to his audience in announcing that Tara Servatius will guest-host his show. “Joey Hudson, of course, is my go-to guest host. But I also wanted you to get a little bit of a sampling of a local host at a great radio station. 98.9 WORD, the voice of the Carolinas, they are a powerhouse talk station. They’re truly, I would guess, one of the biggest by listenership and percentages in the market, one of the biggest talk stations in America.

“They’re just a great radio station. It’s the station where I started my career decades and decades ago,” Gallagher added. “So it feels good to be back home again and good to be on their lineup. I come on right after Tara, and Tara is going to join us tomorrow as your guest host.”

Mike Gallagher added that Tara Servatius hosts a different style of program than he does, but is happy to provide a platform for her to speak to a wider audience.

“She’s very unique, very different. She’s not as caller-driven as I am, but is smart as a whip,” Gallagher said. “She comes from sort of an investigative journalist newspaper background. But she has become enormously successful and popular, and I think you’re going to appreciate Tara on tomorrow’s Mike Gallagher Show.”

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ESPN Announces Multi-Year Agreement With World Series of Poker for Return of Main Event Final Table

BSM Staff
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ESPN Announces Multi-Year Agreement With World Series of Poker for Return of Main Event Final Table

ESPN is bringing one of poker’s most recognizable events back to its platforms. The network has reached a multi-year agreement with the World Series of Poker to air extensive coverage of the WSOP Main Event, including a live, prime-time finale on linear television.

The agreement marks a renewed partnership between the two brands, which played a major role in popularizing poker on television.

As part of the deal, ESPN will present more than 100 hours of coverage across its platforms. Action begins July 2 with streaming coverage of Day 1A of the $10,000 No-Limit Hold’em World Championship on the ESPN App. The company will also produce edited episodes for its linear networks, focusing on storytelling and key moments from the tournament.

The highlight of the package comes in early August. ESPN will air the Main Event Final Table live over three consecutive nights from August 3-5. Each broadcast will run from 9 p.m. to midnight ET, giving the tournament a national, prime-time stage.

Ashley O’Connor, ESPN’s vice president of programming and acquisitions, said the return of the WSOP represents an important moment for both the network and its audience.

“We’re excited to showcase the intensity and unpredictability of this tournament across our platforms,” said O’Connor.

WSOP CEO Ty Stewart echoed that sentiment. He pointed to the long-standing relationship between the two brands and its impact on the game’s growth. Stewart added that the renewed partnership will help introduce poker to a new generation of fans through expanded coverage and modern distribution.

ESPN first aired the WSOP Main Event in 1987. Over the years, the network became closely associated with many of the tournament’s most memorable moments and champions. The coverage helped elevate poker’s popularity, particularly during the early 2000s boom.

Now, both sides are aiming to build on that legacy. By combining live broadcasts with digital streaming and edited storytelling, the new agreement reflects how audiences consume sports content today.

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