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Marshall Adams, Longtime News/Talk Radio Programmer/Consultant, Dies

BNM Staff
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Marshall Adams, Longtime News/Talk Radio Programmer/Consultant, Dies

Marshall Adams, the longtime news/talk radio anchor, reporter, programmer, and consultant, has died.

Adams worked at some of the largest and most influential news/talk stations in the country during his career. He spent time as the Program Director of KDKA in Pittsburgh, in addition to working as a news anchor at 740 KTRH in Houston, 1410 KQV in Pittsburgh, and as news director at WBT in Charlotte.

After a brief stint working for Cumulus Media, helping launch All News 106.7 in Atlanta, he launched Marshall Adams Media, a consulting firm specializing in all-news and news/talk radio.

As part of his role as an independent consultant, he produced programming for the Fisher House Foundation, a charity that provides complimentary quality-of-life services for active military members, veterans, and their families.

He is survived by his three children, Jordan, William, and Charlotte, his parents, Linda and Alan, and a brother, Brian.

Funeral services will be held on Saturday, November 15th at 3 PM at the James W. Shirley Funeral Home in North Huntingdon, Pennsylvania. Friends and family will be received from 1-3 PM in advance of the ceremony.

Marshall Adams was only 51.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

PickleJar, Local Radio Networks Form Partnership To Expand ‘Up All Night’ Syndication

BMM Staff
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PickleJar, Local Radio Networks Form Partnership To Expand ‘Up All Night’ Syndication

PickleJar Entertainment Group is expanding its national radio footprint through a new broadcast partnership with Local Radio Networks, naming the Michigan-based syndicator its national distribution partner for the overnight country show PickleJar Up All Night.

The deal marks a major step in PickleJar’s strategy. To grow its national presence and strengthen engagement between artists, fans, and stations through technology and storytelling. Under the agreement, LRN will oversee affiliate relations and distribution. Working directly with local and regional broadcasters across the U.S. to expand the show’s reach.

Originating from Nashville, PickleJar Up All Night airs weeknights and features hosts Katie Cook and Scott Gaines. The show blends artist interviews, live performances, and fan-driven interaction through the PickleJar Live App. A digital platform that integrates listener engagement tools, live event content, and social interaction for country fans.

Kristian Barowsky, President and Co-Founder of PickleJar Entertainment Group. She said the collaboration strengthens both the program’s distribution and its mission to connect audiences more closely with artists.

“We’re thrilled to partner with Local Radio Networks to take PickleJar Up All Night to stations across the country,” Barowsky said. “LRN’s infrastructure and broadcast expertise make them the ideal partner to help us deliver our vision of connecting artists, fans, and radio in new and meaningful ways.”

For LRN, the partnership represents a chance to enhance its slate of syndicated programming with a show designed for modern country radio audiences that crave authenticity and interactive content.

“Local Radio Networks is excited to work with PickleJar to syndicate Up All Night nationwide,” said Steve Swick, CEO of Local Radio Networks. “Together, we’ll create a new model for our Country music format affiliates. One that combines PickleJar’s innovative platform with LRN’s proven ability to deliver high-quality 24/7 programming to local broadcasters.”

The collaboration also opens the door for new joint projects. Both companies plan to co-develop additional country music programming and digital experiences. Ones that reflect the genre’s evolving landscape and the changing expectations of fans.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How 3 News/Talk Radio PD’s Would Handle the Curtis Sliwa vs 77 WABC Situation

Garrett Searight
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How 3 News/Talk Radio PD’s Would Handle the Curtis Sliwa vs 77 WABC Situation

The Curtis Sliwa vs 77 WABC saga continued this week, with both Sliwa and station owner John Catsimatidis commenting on the situation.

For the uninitiated, Sliwa is angry with the way Catsimatidis, 77 WABC, and hosts on the station talked about and covered his unsuccessful bid in the New York mayoral election.

Curtis Sliwa has said he’d never return to the brand, while Catsimatidis has stated that he’d welcome the longtime host back, noting that it’s his belief that the host likely said things from a place of anger after losing the election.

In an event, the topic has garnered plenty of attention in the news/talk radio space. Whether that has been good or bad attention is open to interpretation.

But a question arises from that attention: how would — or perhaps, should — news/talk radio leaders advise their brands, hosts, and employees to operate when a former employee is openly criticizing those associated with the station?

Barrett Media spoke to three well-respected Program Directors to understand how those leaders believe their brands and employees should operate in a similar situation. We granted the Program Directors anonymity to speak more freely on the subject.

Program Director 1

Program Director 1 leads a station in a major market.

This Program Director said they would encourage their hosts to talk about the situation, as long as the audience was still engaged.

“If the topic is compelling, I can’t tell my hosts not to talk about it,” they argued. “Especially if it has the chance to turn into great content that the audience is engaging with.”

They argued that the reason they would find that talk acceptable is because of the trust built between Program Director and talent.

“I — intricately — trust my talent to do the right thing, to handle a delicate situation properly, and to know when to pull the plug,” Program Director 1 said. “If you don’t, you should question why you have that person in the power chair in your studio to begin with. It isn’t ideal for a former employee to be so negative to us so publicly, but if that’s what the audience is talking about, we should be talking about it.”

When asked what their message would be to the former host talking negatively about the station, Program Director 1 said they’d operate out of genuine concern for their former employee.

“I would tell them that they need to think about what they’re doing to their own reputation,” this brand leader said. “Every company and every manager is different. Some might like that you’d be willing to say anything at any time. Others who might not be as familiar with you are going to write you off as someone they would never hire because of it.

Program Director 2

Program Director 2, like Program Director 1, leads a station in a major market.

Their sentiments, however, were different.

“We’re not talking about the inner workings of the station, what goes on behind the scenes, personnel decisions, or anything like that on (our station),” Program Director 2 said. “Nothing good comes from it.

“If we had a similar situation (to that of 77 WABC vs Curtis Sliwa), I would tell our guys, ‘Your feelings will get hurt, the old host’s feelings will get hurt, and we all look bad.’ That’s not smart, no matter how you slice it.”

This brand leader noted that they understand how difficult it would be to sit by while someone publicly lambasted the hosts and the station, but said that sometimes rising above the criticism is an important skill to master.

“When we have an angry text, email, call, or — sometimes we still get them — letters, I wouldn’t expect our hosts to be concerned about them. So why would you put stock in to what a disgruntled former employee is saying? You shouldn’t. Leave it alone.”

Program Director 3

Program Director 3 leads multiple stations.

That brand leader shared that they would advise their talent to stay away from the topic altogether.

“In my opinion, no,” the PD said when asked if they would suggest their hosts discuss a former host talking negatively about them. “I would just say persona non grata. He only got 5%, 7% of vote, or whatever he got. The most important thing for Curtis is to hear people say his name. Once you stop saying his name, that’s when he becomes not as important.”

Program Director 3 also added that they would advise Sliwa to stop speaking negatively about his past employer and colleagues.

“My belief is you never take a pee in the pool you’ve been swimming in,” they shared. “No personality is bigger than the brand. That has been proven over and over again by personalities moving from one station where they are usually popular to another station, ‘I want to stick it to the previous employer.’ It very rarely works, almost never.”

They added that when an exiting host attempts to burn bridges, they might not understand the other structures they set ablaze.

“I have had employees who have left my employ over time in ways that may have not been the most comfortable way to leave a station,” Program Director 3 said. “I’ve had them leave with total class, and I’ve had them burn everything down. The person who leaves with total class is the guy or gal who will always get a good word from me.” 

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Where Stephen A. Smith Missed His Shots Aimed at Michelle Beadle, Cari Champion

John Mamola
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Where Stephen A. Smith Missed His Shots Aimed at Michelle Beadle, Cari Champion

Stephen A. Smith just proved some of his critics right without even knowing it. On Monday night, the ESPN First Take executive producer and lead talent spent over an hour taking shots like the “straight shooter” he claims to be. An hour filled with research, hints of sabotage, and a me-versus-you cavalier approach toward former colleagues’ words about his persona.

It’s impossible to play victim and yet have a God complex. That was the essence of Smith’s Monday night performance.

What he showed was not just expected—it was disappointing. I’d like to expect different, but unfortunately it’s impossible. For someone who stands by his record and the salary it commands, why worry about punching down when everyone else is punching up?

Reaching Smith’s level of success isn’t easy. He’s the face of an all-sports network without ever playing professional ball. He’s a writer, columnist, pundit, producer, author, host, and, occasionally, an actor. He has consistently taken on every role or opportunity presented—and kept asking for more.

His resume speaks for itself, and his checking account proves it.

Climbing to the top is hard. Staying there is harder. You become a target for contemporaries, critics, and fans alike, amplified by social media. Being a public figure is challenging, yet desirable. Achieving Smith’s success as a public figure is rare.

Smith slipped up during his hour-plus commentary, responding to recent remarks by former ESPN commentators Michelle Beadle and Cari Champion.

Bashing Beadle

Regarding Beadle, who last week said she is “praying” for Smith’s downfall after Smith’s latest “ambassadorship” with Papaya Gaming—a mobile gaming company that’s currently embroiled in a federal lawsuit accusing it of falsely marketing “games of skill” that were using unbeatable bots.

This wasn’t the first time Beadle shared her criticisms of Smith. She was critical in 2014 following Smith’s controversial commentary on domestic violence in the wake of Ray Rice’s assault of his now-wife, saying “I’ll never feel clean again” and “I’m now aware that I can provoke my own beating” following Smith’s comments.

For the record, Smith apologized for his remarks and served a one-week suspension for his comments on ESPN. Beadle told Front Office Sports that her feelings toward Smith date back to those comments, and she’s never forgotten them.

Since those comments, Smith’s star has risen at ESPN while Beadle took a buyout in 2019 from the network. She’s bounced from ESPN to several other networks to her most recent stop at SiriusXM Mad Dog Radio, where she was let go from the network after news surfaced her daypart would be replaced by… you guessed it. Stephen A. Smith.

Is it fair for Beadle to have those feelings toward Smith? Sure. We all have feelings toward people in our own lives for one reason or another. Beadle has just been more public than many others in sharing her thoughts. People are allowed to have opinions shaped by how they feel about another’s actions. That’s life.

Straight Shootin’

That’s where Smith errored in his commentary. At first, stating that he doesn’t know Beadle and has no personal or professional relationship with her at all, Smith said that Beadle is trifling, meaning unimportant.

If that’s the case, and using logic, any random podcaster could have said what Beadle said and would have gotten the same response from Smith.

The flex of Smith comparing his resume to Beadle’s doesn’t make Smith look any better either, stating he knows why Beadle is no longer with ESPN and knows why she hasn’t returned to ESPN or any other network since. He claimed ignorance in not knowing his time slot at SiriusXM would be taking over hers and then proclaimed her attitude on air at SiriusXM led to her firing from the company.

Smith is no executive. He has never hired or fired Beadle. Publicly claiming he “knows” put him—and his superiors—in a bad spot.

Is this the image ESPN wants from its top talent? A straight shooter who can’t keep the gun in the holster?

You can’t attempt to play victim by defending your work ethic and standing, then showcasing your God complex by peacocking your resume as a belief in your own superiority over someone else.

It didn’t stop with Beadle. The next twenty minutes of Smith’s tirade were dedicated to his former First Take teammate Cari Champion. The former ESPN host called out Smith for “not having the same smoke” for Michelle Beadle that she felt he showed toward herself and other women such as Michelle Obama or Jemele Hill.

Smith didn’t understand where Champion’s commentary was rooted but went on to take credit for her hire at ESPN from the Tennis Channel. Claiming he “stopped” Skip Bayless or “someone else” from interfering. What could have been a private conversation sounded like a king chastising a servant. Smith expects loyalty when he feels it’s deserved, asserting he was responsible for Champion’s success—not her. His comments stated as much.

Again, is this what ESPN wants from its top talent? Someone who can’t gauge when to hold back?

Stephen A. Smith didn’t just misstep on Monday night—he reminded everyone exactly why criticism follows him wherever he goes. Talent and success don’t exempt anyone (including Smith) from criticism, and no resume, salary, or airtime can shield you from looking small when ego overshadows judgment.

Smith acted when bigger men walk away and continue their mission towards success.

In the court of public opinion, the higher you climb, the harder the fall—and Monday night proved even a giant can stumble when pride takes the mic.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

How Dawn Davenport Remains a Trailblazer at 104.5 The Zone in Nashville

John Mamola
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How Dawn Davenport Remains a Trailblazer at 104.5 The Zone in Nashville

It’s been nearly two decades for Dawn Davenport working in the city of Nashville. A city that, in those two decades, has seen growth in community leading to growth and interest in sports. For the past eight years, Davenport has been a trend-setting voice as a co-host of 3HL on Nashville’s top sports radio outlet, 104.5 The Zone.

“I never thought that I would be doing [sports] radio,” said Davenport. “I was interested in it and had no idea what it would turn into—if I would be good at it or even like it. Here we are, and I love it.”

Davenport was no stranger to Nashville sports fans when she arrived through the doors of 104.5 The Zone. She began her career as part of the morning show on local television affiliate WKRN as a sports and news anchor. While working behind the desk in Nashville, she also dabbled in sideline reporting for college football games on ESPN beginning in 2013.

She admitted the challenge of working a morning show was difficult in balancing work and personal life. When she got a call from former 104.5 The Zone programmer Brad Willis about joining a shifting weekday lineup, Davenport leaped at the opportunity.

“I had gone on the station often talking about college football or the Titans. So I thought, you know what—yeah, I think I might be interested in the opportunity,” recalled Davenport. “I might want a change.”

Growing With 3HL

Now entering her ninth year as co-host of 3HL alongside Brent Dougherty and Ron Slay with a freshly signed multi-year contract, Davenport couldn’t imagine going anywhere else.

“It’s the best chemistry I’ve ever had,” noted Davenport. “This has by far been the absolute best team I’ve ever gotten to work with. The personalities mesh, and all three of us bring something different.”

With the arrival of every football season, Davenport’s schedule becomes extremely busy. Causing stress as she balances multiple roles on television and radio along with her personal life. Now also halfway through her thirteenth season on the sidelines for ESPN’s coverage of the Big 12 Conference. Davenport explained that the chemistry she described, she leans on heavily during the football season.

“Having a three-person show and having men that are so supportive of me as a mom and as a professional helps so much,” said Davenport. “The balance is not easy. There are times where I feel like I’m a crappy radio teammate, college football teammate, mom, and wife. I don’t feel like I’m doing all of it well at the same time, but I think that’s normal.”

Work-life balance is just another struggle Davenport has had to overcome in her time working in both radio and television. She recalled that when she first began hosting programs on 104.5 The Zone, it took her some time to become comfortable sharing her opinion on air—something she hesitated to do while working in local television.

“My biggest challenge was feeling comfortable enough with giving my opinion. Backing it up while standing on it,” explained Davenport. “I had worked in jobs where your job was to be professional and unbiased. I don’t think I was very good at it in the beginning, so I was very careful with what I said and how I said it. And I was worried that I would piss too many people off. It took me about two years to be comfortable with saying what I thought.”

Female Presence in Sports Radio

At the time Davenport joined 104.5 The Zone, she was the first female full-time sports radio host in Music City—something she still considers an honor after other notable groundbreaking women made their mark on Nashville, from Good Morning America anchor Robin Roberts to NFL Network host Sara Walsh.

However, since her arrival more than eight years ago, while there have been other full-time female additions, there have also been subtractions in the market—leaving Davenport still as the lone full-time female sports radio host remaining.

“I do love the fact that there have been others. It hasn’t been just me for the last nine years,” said Davenport. “This market has embraced females in the sports world. Like me, I never imagined that I could do radio. I don’t think a lot of females look at it [radio] as a viable career option in sports. It’s getting better, but I don’t think this market is against it at all.”

Davenport notes that there is still plenty of room in the industry to improve female representation in sports radio. While sharing that thought, she also understands that radio needs to market itself more as a trusted destination for women interested in entering sports media.

“Sometimes it’s finding that voice that wants to do it—that’s credible enough to step into that role,” explained Davenport. “This market is amazing in accepting a female voice in sports, but I was just reminded, seeing comments on social media about getting back in the kitchen. I deal with different things than Brent or Slay would deal with being a female voice in sports. You also have to be a female that’s okay with handling that.”

The Nashville Sports Fan

Since finding comfort in sharing her opinions on sports, Davenport has not been shy about using her platform. She’s a guiding voice for college and professional sports on 3HL, which broadcasts on the radio home of the Tennessee Titans—a team that has been through some lean years recently, but not one to control any narrative on 3HL from Davenport.

“I’m still in on Cam Ward. Why are we panicking? I’ve also been very vocal about firing Chad Brinker (Tennessee Titans President of Football Operations). Nobody has ever said what I can or cannot say on our show,” said Davenport. “I’ve never felt pressured to toe the Titans line, and that’s the beauty of our management team at 104.5 The Zone. They allow us to do what we do because we’re successful and people trust us.”

She admits that while she personally has not felt any pressure, Davenport cannot say that about everyone at the radio station. One thing that helps, she says, is her presence at Titans practices and games. While she’s the one firing on 3HL, she says it’s part of the job to own it in person at team facilities.

Davenport understands the role she’s serving in a growing market with no national presence in sports television or radio. Although the Titans and Predators dominate professional discussions, there is also a large contingent for collegiate conversation that isn’t served to local audiences through national platforms.

“This city is monstrous when it comes to sports fandom. This city deserves two FM sports radio stations, and there’s plenty of an audience,” said Davenport. “If you want to hear about your team, you must listen locally. If you want any coverage of your teams, then it has to be locally here in town.”

Aspirations for more are something Davenport admits she doesn’t have. Despite the challenges of finding balance during the football season and discovering new ways to grow in the offseason, she couldn’t imagine being anywhere other than Nashville, doing exactly what she’s been doing with the family of people who surround her.

“You always have aspirations to do more or move up, but I love my balance right now. I love my radio team, and I don’t want to go anywhere. There’s a love this city and the people here,” said Davenport. “I love that local family feel, and like the balance of football and radio. Pretty happy where I’m at.”

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

If Nike Can Reboot Its Slogan, Radio Should Too

Phil Becker
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If Nike Can Reboot Its Slogan, Radio Should Too

I live near Nike’s headquarters, a swoosh-shaped temple in Beaverton where creativity is currency.

Every few months, I plot ways to sneak into the Nike Employee Store, that mythical paradise of half-price sneakers and zero sales tax. It’s not about the discount; it’s about the feeling. The limited access. The belonging. (But it’s also about the discount.)

And that’s the real story here: belonging. What radio can learn from a brand bold enough to remix one of the most famous taglines ever written.

(Props where they’re due. Wieden+Kennedy, the best ad agency on the planet and, like Nike, proudly Portland based, dreamed up Just Do It.)

From “Just Do It” to “Why Do It?”

Since 1988, Just Do It has been Nike’s signature, three words that turned sneakers into symbols and ads into action. (It was also my dad’s answer to 90% of my childhood complaints. The other 10% got “because I said so.”)

But now, Nike flipped the script with a new global campaign: Why Do It?

The launch film, narrated by Tyler, The Creator, opens with a string of important questions:

“Why do it? Why make it harder on yourself? Why chance it? Why put it all on the line?”

In a perfectly designed press release, Nike says the pivot is designed to meet a new generation where they are: a world of pressure, distraction, and constant noise. Why Do It? doesn’t abandon action; it reframes it around purpose.

It’s not “just because.” It’s “justified because.”

Legacy Slogans. Legacy Audience. Legacy Results.

Let’s be honest: most radio stations are running on rhetorical “well-tested” fumes. They sound safe. Familiar. Low risk. “#1 Hit Music Station.” “The Best Mix.” “Stay Connected.” “City name, music type, laser noise.” They sound safe. Familiar. Low risk. But here’s the problem: everybody says them.

When a hundred stations claim “#1,” it stops differentiating and starts diluting. It’s background noise with better compression. Worse, most of these taglines aren’t connected to any strategy. There’s no proof point, no execution, no listener benefit. The imaging says one thing, the brand does another, and the audience feels nothing.

Meanwhile, Nike, a global household name with billions in equity, looked at their tagline and said, “It’s time to evolve.” So if they’re refreshing that, what makes you think that artist drop is so untouchable? Here are five lessons for radio from Nike.

Lesson 1: Re-examine Your Rallying Cry

Nike didn’t change Just Do It because it stopped working. They changed it because it risked becoming words. Even that kind of marketing brilliance can fade into the background of its own success.

When a message gets too familiar, people stop hearing it.

Ask yourself:

  • Does our slogan reflect who we are now?
  • Does it communicate what listeners value, not what we value?
  • Could it apply to any station anywhere?

If the answer is yes, then you don’t have a slogan. You have a safety blanket wrapped in a jingle.

Lesson 2: Create the Employee-Store Effect

My Nike Employee Store obsession isn’t about sneakers. It’s about limited access. (But it’s also about a sneaker obsession.) The moment someone hands you that golden guest pass, you’re part of something other people want in on. Build, not through volume, but through value.

  • Offer truly exclusive content. Keep it off the air (I know, blasphemy) and use it to create new fans.
  • Build a listener “platinum” tier with actual perks, not prizes that didn’t get picked up in the last 30 days.
  • Turn your current fans into part of your process: polls, programming input, playlist curation.

Give me 25 people who love my brand over one out-of-demo PD complaining about his shrinking promo budget and stewing in a “reply all” email loop.

Lesson 3: Back That Thang Up

Nike’s new campaign isn’t a tagline swap. It’s live activations, social storytelling, athlete partnerships, emotional context. Every touchpoint reinforces the same idea: know your why. (Somewhere, Simon Sinek is smiling.)

Now contrast that with radio, where the “#1 Hit Music Station” runs 20 promos a day begging for app downloads and Facebook follows, but can’t explain why it’s #1.

Your brand promise needs receipts:

  • If you say “#1,” show the data or listener proof.
  • If you say “Stay Connected,” demonstrate it through social integration, live updates, or real-time engagement.
  • If you say “The Best Mix,” show how your curation, hosts, or audience involvement makes it the best.

Words only work when your actions echo them. (Pretty sure I first heard that from someone I was dating.)

Action Items for Programmers

Audit your slogan. Would a listener repeat it back if you weren’t on-air? If not, start over.

Find your “Why.” What purpose do you serve beyond playing songs or reading headlines? What emotion do you own?

Activate the message. Build a campaign or promotion that proves the slogan in action—not just in copy or AI listener drops. (Yeah, I said it.)

Reward belonging. Create your own “employee store” moment: loyalty tiers, private events, exclusive audio, video, and merch drops. Make listeners feel in.

Align your talent. Every host should live, breathe, and believe the slogan. It’s not a liner; it’s a lifestyle.

Measure impact. Track recall, brand perception, and emotional connection. If it’s not moving listeners closer, it’s just a commercial about yourself that nobody wants to hear.

The Final Lap

Nike could’ve kept printing T-shirts and cashing checks. Instead, they asked a bigger question: why? Because staying iconic means staying curious. Listeners don’t need another “Best Mix.” They need a brand that stands for something, a place that makes them feel seen, inspired, or included.

So maybe it’s time to retire the safe line and start your own campaign. Go from Just Do It to Do It Better.

With passion, purpose, proof.

PS: To my friends over at W+K and Nike, if you ever need someone to help build the next great story between a brand and its believers, I live five minutes away and can be bribed with a guest pass to the Employee Store. Besides, your founder was a Phil too, so clearly you’ve got a good track record with us.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

The Grammys Agree That Rock Is Back, With Work Left To Be Done

Mike Gunz
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The Grammys Agree That Rock Is Back, With Work Left To Be Done

Make no mistake about it, the current “Rock Resurgence” isn’t just a moment. It is a turning point. The Recording Academy’s latest Grammys nominations agree.

For the first time in the modern music streaming era, fans of rock, pop rock and alternative music, were head over heels about the fact that this year’s Grammys nominations included the most “newer” artists and bands for the genre’s most popular awards.

The Perfect Mix

For years the Grammys Rock categories have been filled with some of rock’s biggest names.

You all know them: Foo Fighters, Pearl Jam, The Rolling Stones, etc.. They’d have an occasional nod to a newer artist, (Greta Van Fleet) but it was few and far between.

To be fair, this year did follow that to an extent.

The Best Rock Album, Best Rock Song and Best Alternative Music Album categories included the likes of artists such as Deftones, Linkin Park, Nine Inch Nails, The Cure and more greats. Congratulations to them. They all deserved their nominations.

What was different this year however, was that the Grammys adapted with the times. They understood the modern day Rock & Alternative music resurgence that’s happening.

Bands like Turnstile, Yungblud, Sleep Token are some of the most popular next generation rock artists in the world right now. Each were handsomely rewarded with multiple nominations each.

Dave Rath of Blue Grape Music and the Exclusive Independent A&R for Turnstile says that the Grammys are realizing what rock fans and the rock industry have been screaming for years.

“I think it was only a matter of time before the Grammy voters paid closer attention to what is going on in the rock word,” said Rath.

“The energy was too strong to be ignored. The energy around rock has been bubbling under for the last decade. There is seemingly a new genre bending, boundary pushing album being released every week these works,” he continued.

“I am obviously thrilled with the recent Turnstile recognition, especially that the album has spanned multiple genre nominations. We need to see some of these new trail blazing bands come home with trophies though. It’s time for this era of rock music to take center stage!”

In Turnstile’s case, they were the first band ever to be nominated in the Rock, Alternative, and Metal categories in a single year!

Three genres… in this day and age?!

2026 may well be remembered as the year the Grammy Awards finally took notice of not only the current, but the future of rock and alternative music and set a new standard and definition of what “Rock” music actually is.

So What Changed?

Make no mistake about it, the Recording Academy has set a new standard for what “Rock” music should be and radio and other music platforms should pay attention.

The Academy’s willingness to go up and beyond legacy acts by nominating multiple newer bands for the first time should signal to the rock media and and industry that the stereotypical “Rock” isn’t the same for the younger generation.

It’s multi-genre.

The Academy has accepted that.

There’s a reason why Turnstile is nominated in three different genres for their Never Enough album. They transcend stereotypical music boundaries with this new wave of music listeners.

The Grammys shockingly recognized that.

The New Standard

I’m not talking about getting rid of the old for the newer bands, obviously.

In fact, quite the opposite.

“I think the rock movement has also been sparked by the death of Ozzy Osbourne, and as the classic saying goes, you don’t know what you got until it’s gone, and artists are ready to pay that tribute to a pioneer of a genre, look at Yungblud,” longtime band manager Thomas Gutches explained. Gutches has managed rock bands such as Beartooth for over a decade now.

He has a point.

Yungblud has been one of the biggest rising stars within the rock-adjacent world in recent years thanks to not only his constant touring, but his ability to bring his role model (and friend), Ozzy Osbourne’s inspired music to his younger fans, many of whom have never heard anything like that before.

Guess what? It’s worked. The 28-year-old has two Grammy nominations this year to prove it including Best Rock Song.

Modern Rock Didn’t Fit The Label

The Recording Academy might not have even realized just how significant their actions were to the broader alternative rock world this past week.

They did what many others within the rock world should have.

They’ve made the Grammys relevant for a new generation of rock fans by adapting instead of gatekeeping.

Something many others could learn from!

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How TV News Stories About SNAP Won the Ratings War and Ended the Government Shutdown

Lauren Ashburn
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How TV News Stories About SNAP Won the Ratings War and Ended the Government Shutdown

The government shutdown is on the verge of being over, and the media’s focus on those who are suffering, without the use of the SNAP program, played no small role. 

Almost 42 million Americans are without payments from the SNAP program providing food aid to low-income people. President Trump is calling it a government shutdown issue. Democrats are calling it such things as “dumbfoundedness of cruelty,” and a “devastating” loss for the country. 

As stories go, this one is a doozy of a “right versus wrong” fight playing out nonstop on the airwaves. As expected, most media coverage vigorously frames SNAP funding as a human crisis, not a budget fight, as the administration claims. 

“Largely, when you talk about SNAP, you’re talking about largely Democrats. But I’m President, I want to help everybody. I want to help Democrats and Republicans.” He added, “All the Democrats have to say is let’s go…all they have to do is say the government is open. They’ve become a radical left party…they’ve lost their minds.” 

The showdown will come to an end more quickly than anyone imagined. In a stunning development, seven Democrats broke with their party, along with independent Angus King of Maine, in a vote to reopen the government, including three bills to fund SNAP benefits. The House is very likely to go along.

The cynic in me believes halting food stamps – when there are contingency funds to pay for at least half of the benefits – is a tactic used to gain power in a negotiation. And if so, it’s illegitimate and cruel. But it doesn’t mean the administration’s side should be ignored or disparaged on mainstream news networks. 

CNN anchor Erica Hill, filling in on The Source with Kaitlan Collins, chided Trump for “jetting off to Florida” for the weekend as millions of Americans couldn’t get money to pay for food, because of the shutdown. 

MSNBC’s Jen Psaki said the decision to cut the program immediately impacted tens of millions of Americans. She interviewed Skye Perryman, the president and CEO of Democracy Forward, which calls itself a nonpartisan, national legal organization that promotes democracy.

“This administration must make these payments and the administration is fighting tooth and nail to deprive 40 million Americans of their food.” She cited cyclical employment and low wages as reasons people can’t make ends meet.

On CBS’ Face the Nation, when they reported the Trump administration told states that they must “immediately undo any steps” to release SNAP money, Democratic Maryland Governor Wes Moore pushed back hard. 

“There is a chaos and it is an intentional chaos that we are seeing from this administration and where they have money for everything.” He added, “They got money to fight wars. They got money for ballrooms. They got money for everything, but when it’s to supporting the people, that’s now when they are crying, well, we are broke and that’s not what the law requires us to do.”

His argument points out that threatening financial penalties against the states, at least nine of them that want to use their own money to provide food stamps, makes it appear that his goal is to stop SNAP at all costs. The justifiable coverage of this move points out that the president is using this tactic to force the Democrats to cave.

In a show of balanced reporting, later in the program, Republican Governor Patrick Morrisey of West Virginia praised the Trump administration. “We have to make sure we’re protecting our people…we have 270,000-plus people on SNAP, but once again, there’s one reason why — they’re not getting the resources. It’s because people are insisting on adding all these new pieces on top of just a bill to keep the government open.”

The irony of this argument is that Morrisey allocated state funds to food banks to help meet demand during the SNAP disruption. And, he said he is prepared to call the Legislature into a special session to appropriate additional funds to ensure West Virginians do not go hungry.

On Fox News, Agriculture Secretary Brooke Rollins was brought on to talk about the crisis and said when she posted a previous interview on the network about the same issue, 40 million people watched. She talked about the level of fraud in the program being “astounding,” and said data show illegal aliens are receiving SNAP.  The USDA had initially said that there were contingency funds available for SNAP in the event of a shutdown but later declined to use them.

In a punishing lack of human empathy, and an example of one-sided journalism, Newsmax anchor Rob Schmitt called food insecurity an illusion. “Why is it that we are subsidizing food for people that weigh 300 pounds? I mean, my Twitter feed is full of some of the heaviest people I have ever seen screaming about SNAP benefits.” 

Nowhere was the human toll angle reported more clearly than in local news. Media Matters, a left-wing media watchdog group, rounded up interviews from the states where as many as one in five people rely on SNAP. 

On WLEX in Lexington, Kentucky, a mother said, “How many bills can you neglect paying to buy food?”

On a rival Kentucky station, another mother lamented, “My babies, they get fed at school, but they come home and they rely on meals to fill their bellies at home. So, it’s stressful.”

It’s these kinds of stories that show the value of local news in covering national tragedies. Reporters hammer home how devastating a halt in SNAP benefits is for Americans who rely on the program for food. It’s a needed service to bring to light the inexorable pain felt by lower-income people. And it shows why local news, especially in rural areas, needs to be funded. 

Polls have also fallen along party lines. One conducted by a left-wing think tank shows that voters are highly in support of SNAP and want Trump to continue providing benefits. Some 78% of those polled hold a “favorable” opinion. No surprise there from a group that “supports a new generation of progressives.”

A poll by Feeding America, a group seeking donations to help hungry families, found the majority believe the lack of funding will increase hunger, drive people to food banks, and force families to skip meals. Also, no surprise.

What the coverage makes crystal clear is that Trump won, getting what he wanted, which is an end to the shutdown that he can blame on the Democrats. While the stories understandably focus on hungry families, many of whom live paycheck to paycheck, the president achieved his goal, whether the press likes it or not.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Can News/Talk Radio Create Its Own Version of the All Christmas Music Format Flip?

Garrett Searight
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Can News/Talk Radio Create Its Own Version of the All Christmas Music Format Flip?

News/talk radio has long relied on personality, immediacy, and authority to draw in listeners. Yet in an era where attention is fragmented across podcasts, streaming music, and social media, I can’t help but wonder if our format could benefit from something more overt — something that gets people talking, tuning in, and, frankly, leaning into the station.

Think of it like the All Christmas format in music radio: polarizing, yes, but undeniably effective at building excitement, community, and ritual.

Millions of listeners eagerly await the moment the first jingle hits. Others actively avoid it for weeks. Either way, the conversation happens. The question is: can news/talk radio create its own version of that “event,” its own gimmick?

The idea of a gimmick can feel uncomfortable for a format that prides itself on seriousness and credibility. News/talk radio isn’t supposed to chase trends. It’s supposed to inform, debate, and engage.

But let’s not confuse gimmick with fluff. What we’re really talking about is an attention-getting, tribe-building element — something that turns listeners into a community. Maybe it’s a limited-time phone call marathon in November and December. Maybe it’s a rotating guest roster that dares to break the mold, or a week where only certain types of voices — or maybe all voices — are allowed on the air. There are countless ways to experiment without compromising integrity.

One of the reasons All Christmas works is because it’s predictable yet exciting. It signals to listeners: this is happening now, and you want to be part of it. Could news/talk radio create a similar rhythm? Could we give listeners something to mark on their calendars, something that interrupts the monotony of our daily schedules in a meaningful, memorable way?

Right now, many stations differentiate only by host style, local coverage, or commentary tone. That’s effective, but it’s incremental. A real gimmick — a real ritual — could be transformative.

Of course, there’s risk. Some listeners will hate the idea. Some will tune out. But some will embrace it fiercely. The same polarization that makes All Christmas polarizing could work in our favor. It sparks conversation, debate, and buzz — the lifeblood of a format that thrives on being in the public discourse. It’s not about gimmicky stunts for their own sake as much as it’s about creating a reason for people to choose news/talk radio over everything else. To turn casual listeners into loyal fans who spend more time listening and maybe even bring friends along.

I don’t have the answer yet. Perhaps there isn’t a single gimmick that works universally for news/talk radio. Maybe every station has to find its own approach. But I do think the question is worth asking — and worth experimenting with. What can we do that separates us not only from other stations, but from other formats entirely? What can we offer that becomes a cultural moment, a must-hear event, or even a beloved ritual in the way All Christmas is for music radio?

If we ignore this question, we risk becoming background noise. If we lean into it thoughtfully, creatively, and authentically, we might just discover a new layer of engagement. News/talk radio doesn’t need to chase gimmicks blindly, but it shouldn’t shy away from innovation either. The stakes are too high to play it safe —and the potential rewards, if we get it right, are enormous.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

Stingray To Acquire TuneIn in $175 Million Deal, Expanding Global Digital Audio Reach

BSM Staff
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Stingray To Acquire TuneIn in $175 Million Deal, Expanding Global Digital Audio Reach

Stingray Group Inc. have announced it has entered into a definitive agreement to acquire live audio streaming pioneer TuneIn Holdings, Inc., in a transaction valued at up to $175 million. The deal underscores Stingray’s push to expand its digital audio footprint and strengthen its advertising offerings.

Under the agreement, Stingray will pay $150 million at closing. Plus an additional $25 million 12 months after closing, contingent on performance. The acquisition will be financed in part by a $150 million term loan under Stingray’s renewed credit facility.

The transaction is subject to TuneIn shareholder approval, regulatory clearance, and customary closing conditions, with completion expected by year-end 2025.

The acquisition is poised to combine Stingray’s extensive music and video distribution infrastructure with TuneIn’s robust platform. Which reaches more than 75 million active listeners monthly. TuneIn offers access to over 100,000 radio stations, podcasts, music channels, news, sports, and audiobooks across more than 200 platforms and connected devices. Including more than 50 in-car audio systems in over 100 countries.

“This acquisition marks a pivotal moment in Stingray’s journey to further strengthen its position as a global leader in audio entertainment and digital advertising sales,” said Eric Boyko, Stingray’s president, co-founder, and CEO. “We are crafting an unmatched audio ecosystem by merging Stingray’s technology and content distribution capabilities with TuneIn’s expertise in monetization, advertising technology, and diverse content offerings.”

Boyko highlighted the deal’s potential in the automotive sector, where both companies have strong existing integrations.

“This aligns perfectly with our strategy to meet listeners wherever they are — at home, in the car, or at retail locations,” he said. “Together, we are poised to redefine audio for a connected world, delivering extraordinary value to our listeners, content partners, and advertisers.”

The transaction will provide advertisers access to a highly engaged global audience while broadening Stingray’s digital audio advertising platform. Analysts expect the combined entity to surpass $400 million in pro forma revenue. Solidifying Stingray’s role as a key player in the growing digital audio advertising market.

Richard Stern, co-chairman and CEO of TuneIn, said the partnership will accelerate the company’s growth. “Stingray is the ideal partner to propel TuneIn’s next chapter,” Stern said. “Our global reach and advanced advertising capabilities, combined with Stingray’s audio and video distribution, create a significant growth opportunity. Joining forces allows us to deliver the world’s best audio content to listeners everywhere while providing new avenues for advertisers.”

Following the acquisition, TuneIn will continue to operate under its existing brand. Maintaining its presence as a leading platform for live and on-demand audio.

Barrett Media produces daily content on the music, news, and sports media industries. To stay updated, sign up for our newsletters and get the latest information delivered straight to your inbox.

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