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Hits On The Horizon: One Republic, Ernest, and Mariah Carey

Jim Ryan
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Hits On The Horizon: One Republic, Ernest, and Mariah Carey

August has arrived! The dog days of summer where much of the company has been baking in real hot temps. Thankfully, some relief has started, and just as nice, here is a list of ear candy you should hear for sure and consider playing on your station, depending on your format!

Top 40 / Hot AC

Let’s start where I usually do in the Top40/HOT AC world. One Republic / “Beautiful Colors” sounds to me like a song Adult Pop programmers should be paying attention to! Ryan Tedder always writes hooky songs, and this is no exception.

Alex Warren /”Eternity” will be a crowd pleaser at Lollapalooza in Chicago this weekend and is my favorite behind “Ordinary” on his album. Plus, 15 million streams this weekend is more than solid!

One more pick this week. Coffee Anderson is a Country artist with a very cool Pop song on his hands. Get your ears on “Blue Jean Queen,” which samples lyrics from Blink-182’s / “All The Small Things.”  It’s catchy, fun, and worth listening to!

Rock

Next up, the Rock world this week. A very interesting song getting some love at Alt and AAA, The Last Dinner Party / “This Is The Killer Speaking.” It’s quirky but a really cool listen!

Another one that is catching my ears and I heard on Sirius XM’s Octane channel is Autumn Kings / “Hellbound.” You should certainly give this a listen or two!

Country

Let’s go to the Country world for this week, first up Old Dominion / “ Making Good Time.” This band is a hit machine, and with just shy of a million streams this week, which is not huge in the Country world, but this is a song your ears should hear.

Koe Wetzel / “Surrounded” is another strong song from him with 103.7 KSON in San Diego leading the way.

One other choice for your ears this week should be Ernest / “Did It Anyway.” A catchy song getting early love at 93Q Country in Houston and 103.3 WKDF in Nashville! 

Rhythm/Pop

For the Rhythm side of the coin this week, a lot of early believers for Tyler, The Creator / “Ring, Ring, Ring.” It’s a really cool song that gets stuck in your head.

Mariah Carey ft. Shenseea / “Sugar Sweet” is a cool vibe, and Mariah’s vocals hardly ever disappoint!

One final choice for the week goes to The Hotel Lobby /”Don’t Quit On Me.” It builds slowly, but has a great groove once it kicks in.

So, there you go, some good ear candy for your weekend listening pleasure. Enjoy!

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.

Inside Hilary Doneux’s Vision for 91X San Diego

Charese Fruge
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Inside Hilary Doneux’s Vision for 91X San Diego

From humble beginnings at the University of California, Irvine’s 88.9 KUCI and 105.5 KNAC to becoming the Program Director of Alternative 91X San Diego a little over a month ago, Hilary Doneux’s journey has been one of passion, hard work, and an unwavering commitment to live, local radio.

Her path into radio began during her college years at KUCI, where she caught the bug for broadcasting. Then interning at KNAC in Long Beach. That led to a part-time gig and hosting a punk rock specialty show.

But it was the opportunity to take over the overnight shift at 92X in Denver that really set her career in motion. After a few years, she moved to Southern California and joined 91X in 1997, where she served as Muckley’s Assistant Music Director and Afternoon Host until 2006.

A Return to Her Roots

From there, she moved across the street to Star 94.1 for a year. Then did a long stretch with Garett Michaels and Halloran at FM 94/9 before Michaels brought her back to 91X in 2016,

For Hilary, it’s more than just a job. “It feels incredibly exciting and humbling and surreal,” she says.

Her career has come full circle, with 91X being a place that feels like home. “91X helped raise me,” she reflects. “It’s such a big part of my life, and getting to be involved at this level is an unbelievable gift.”

The Unique Culture of San Diego Radio

The San Diego market is unlike any other. As a border town, 91X has a special connection with listeners in Mexico. The station’s studio originally was in Tijuana and its transmitter still located there.

“Our co-workers in TJ take over when storms hit and our satellite connection goes down,” Hilary shares, illustrating the deep community connection that spans both sides of the border.

But beyond the geography, San Diego’s laid-back culture makes the market special.

“Listeners tend to buy tickets on the day of the show, reggae music is huge here, and people are passionate about their craft beer, Comic-Con, the Padres, and excellent food,” Hilary says.

“Whether it’s surfing in the morning and snowboarding by afternoon or enjoying the city’s renowned sushi and Mexican food, San Diego offers a unique blend of outdoor and urban culture that resonates with the 91X audience.”

Radio That Serves the Community

One of the core values of 91X—and one Hilary is deeply passionate about—is “Serving humanity since 1983.” This philosophy goes beyond the airwaves. From daily surf reports to real-time wildfire updates. 91X has built a reputation for being live, local, and plugged into the community. Hilary takes this role seriously.

“We’re always ready to jump on the air with important news when it happens,” she says, proudly mentioning how she recently covered a wildfire update during her own show.

91X is also heavily involved in charitable efforts. From supporting local organizations like Shelter to Soldier, to the massive community-driven effort that is Marty’s SoX and Underwear, collecting essential items for the homeless. 91X ensures it is more than just a radio station. It’s a voice for positive change. Hilary herself is active in volunteering and speaks proudly of her station’s commitment to service. “I love that Local Media San Diego prioritizes giving back.”

A Legacy of Musical Discovery

91X has long been known for its diverse and bold musical programming. The station’s 40+ year legacy includes its iconic “Loudspeaker” show, which has been airing local music for over 35 years. Bands like Rocket From The Crypt, Pinback, Blink-182, POD, and Switchfoot have all benefited from the station’s unwavering dedication to supporting local music. And local bands on the horizon like Wavves, The Sines, and Agent 51 are all in regular rotation.

And Hilary is determined to keep that tradition alive.

“Our lane is playing the best music from our history, mixed with fresh new tunes that feel right for our audience,” she says.

But it’s not just about playing good music; it’s about making sure the station stays connected with the community. “When we play something new, our hearts are in it. Our listeners trust us to pick the right songs for them.”

Honoring the Past, Shaping the Future

As Hilary reflects on her tenure, she is quick to credit her predecessor, Garett Michaels, whose vision she now continues.

“I learned so much from him,” she says. “I want to build on the solid foundation he laid.”

But she’s also excited for the future, bringing new ideas to the table to evolve 91X as it continues to engage with its listeners in new and meaningful ways.

For Hilary, the journey is far from over. She’s eager to keep serving 91X’s loyal audience and ensure that the station remains a cornerstone of San Diego’s vibrant, diverse, and ever-changing radio landscape.

Staying Connected Online

91X is also embracing digital platforms to stay connected with its audience. Listeners can find the station on Instagram, Facebook, and Threads (@91XSanDiego), as well as Twitter/X (@91X). Hilary is also active on social media. Follow her on Instagram (@91Xhilary) and X (@hilahil) accounts, offering a behind-the-scenes look at her work and life.

A Mission That Continues

As Hilary reflects on her journey, it’s clear that her commitment to radio, community, and the 91X legacy is stronger than ever. “I just want to do right by 91X and its listeners,” she says. “I think I will.”

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.

Why ‘90s Country Still Matters to Country Radio Today

Jeff Lynn
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Why ‘90s Country Still Matters to Country Radio Today

‘90s Country isn’t just a retro novelty. It’s usable inventory. Country radio has always honored and respected tradition and its roots from Hank to George and Tammy and the trailblazing of Charley Pride.

I started in Country radio at a time when Alan Jackson, Shania Twain, Reba and Garth ruled the charts. My initial reaction to hearing this music again is that it reflected a time that was important to me. Both my career and personally.

However, it is that very premise that is driving its resurgence. It offers comfort and a throwback to a time when we were less divided, and while not as innocent as the 1960s were, it was a little simpler.

This isn’t a flashback for flashback’s sake. The revival is evident in the data, on-air content, and the sound of today’s rising stars. Country radio, in turn, is responding with a calculated embrace of an era that delivered both massive ratings and long-term artist loyalty.

Built on Foundations

The 1990s represented a commercial and cultural peak for Country radio. Country stars like George Strait weren’t just entertainers; they were global brands.

© Robert Deutsch / USA TODAY NETWORK via Imagn Images

Sonically, it was different. The traditionalists were screaming, “That’s not Country.” The decade brought a style that blended traditional instrumentation with arena-ready guitar hooks and updated lyrics that brought Country radio to the forefront and had everyone getting in line to dance.

Fast-forward to today, and that sonic identity has returned to the mainstream. Millennials and Gen Xers are reconnecting with songs that defined their youth, while younger audiences are discovering them for the first time.

Programmers should see an opportunity. A familiar, feel-good sound that drives time spent listening and emotional engagement, without requiring a break from the current chart.

Current Artists, Classic Influence

Artists like Zach Top are echoing the influence of the ’90s. Fiddle runs are no longer reserved for retro nods. Story songs, once relegated to the gold category, are now being written and released by a new generation who grew up on Deana Carter and Joe Diffie.

This evolution allows programmers to blend eras in a way that feels intentional rather than forced. When a new single sounds like something that could’ve come from 1996 but still charts in 2025, the lines between eras start to blur and in a good way. For Country radio, that creates playlist flexibility and familiarity without sacrificing freshness.

Stations Lean In

Country stations are finding ways to incorporate more ‘90s content, not just on weekends or specialty shows, but as part of their weekday programming strategy. Some are expanding gold categories to include deeper cuts from the era. Others are launching hour-long midday features or themed weekend blocks.

Listener reactions are measurable. Callout scores for well-tested ‘90s tracks remain competitive with many newer songs, particularly in adult demos. That gives programmers the green light to dial back the clock without risking relevance.

I posed the question to Country Consultant Joel Raab.

Should you play ’90s on a mainstream station:  “I sound like a consultant when I say ‘it depends’ but it does; if I were to generalize, yes, in most cases the songs fit; but I like to follow the rule, ‘a little goes a long way.’  You can also do 90’s features like “Throwback Thursday” or “90’s at 9″ that make it sound like you’re playing a lot more than you actually are.”

Is It a Trend or a Reset?

The Country format has always been cyclical. Nostalgia has always been a valuable asset in a programmer’s toolbox. But this goes beyond a short-term mood.

The ‘90s Country revival resonates with broader listener desires. Authenticity and emotionally charged storytelling. These aren’t temporary cravings. They’re the core values of the Country audience.

The pendulum always swings. And in Country, that swing often returns to its steel-stringed roots. What makes this revival different is its integration into the present. It’s not just about honoring a past era; it’s about using that era to create a modern, strategic sound that builds format consistency across generations.

Opportunity

Again, to where we started. ‘90s Country isn’t just a retro novelty. It’s usable inventory. These songs still test. And still engage. They offer proven structure and emotional resonance. And when positioned correctly, they strengthen both the station’s brand and listener loyalty.

There’s also an opportunity on the marketing and promotional side. Whether it’s themed events, 90s artists still touring, or on-air contests. Thanks in part to casino showrooms, there is no shortage of the era’s artists still touring.

Country radio doesn’t need to live in the past to benefit from it. Smart programmers know the value of leaning into what works. And right now, the cowboy hats, power harmonies, and classic hooks of the ‘90s are working.

As the format continues to evolve, expect this era to remain a relevant piece of the puzzle.

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.

Ratings Roundup: CNN Sees 40% Year-Over-Year Decline in July

Garrett Searight
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Ratings Roundup: CNN Sees 40% Year-Over-Year Decline in July

The Lead

Both CNN and MSNBC have ridden the ratings roller coaster since President Donald Trump won the 2024 presidential election. That was on display in July, with both networks — along with Fox News — seeing double-digit declines compared to 2024.

At CNN, the network finished the month with an average of 497,000 total viewers in primetime. Of those nearly half a million viewers, 92,000 came from the Adults 25-54 demographic. That represents a month-over-month decrease of 23% in total viewers.

The news is worse in the year-over-year metrics. CNN declined by 42% in total viewers and 55% in-demo viewers compared to July 2024.

It is worth noting that the month of July last year was one of the most news-heavy months in recent memory. On Saturday, July 13th, Trump was shot by a would-be assassin at a rally in Butler, Pennsylvania. Furthermore, on Sunday, July 21st, President Joe Biden revealed he would no longer seek the Democratic Party’s nomination for President, instead turning the candidacy over to Vice President Kamala Harris.

CNN was not alone in seeing diminished audiences during the month of July. MSNBC averaged 865,000 total viewers in primetime, with 81,000 coming in the key demographic. Compared to July 2024, that figure represents a 27% decrease in total viewers and a 40% drop in demographic viewership in primetime.

Despite the drop, MSNBC still finished the month as the second-most viewed primetime cable network, trailing only Fox News.

Fox News averaged 2.4 million total viewers in primetime during July, with 257,000 coming from the Adults 25-54 demographic. That figure represents a decline month-over-month from June, down 14% in total viewers and 26% in the key demo during primetime.

The losses were steeper compared to July 2024. The network saw a 48% decrease in primetime viewership from the key demographic. Meanwhile, the total viewership figure in primetime saw a year-over-year decline of 30% during the month.

In addition to finishing as the top cable network in primetime, Fox News also finished as the top television channel overall during the month, besting broadcast networks like ABC, CBS, FOX, and NBC in the process. It was also the #1 channel in total viewership.

During July, 14 of the top 15 cable news broadcasts were from Fox News. The only non-Fox program cracking the top 15 was MSNBC’s The Rachel Maddow Show, which averaged 2 million viewers during the month. That was good for eighth.

NewsNation Remains Fastest-Growing Cable Network During July

During July, NewsNation remained the fastest-growing network in all of cable.

In total day viewership, NewsNation was up 6% in total viewers and rose 15% in the key demographic.

During the month, the primetime program hosted by Chris Cuomo was the most-watched program on the network. Meanwhile, On Balance with Leland Vittert — airing at 9 PM ET — averaged 101,000 total viewers during the month, representing a 28% increase in total viewers compared to when his program was seen at 7 PM ET.

NewsNation saw double-digit year-over-year growth in all of its dayside programming in both total viewers and in the Adults 25-54 demographic.

Morning in America was the biggest grower, jumping 64% in total viewership, while NewsNation Live with Marni Hughes (58%), NewsNation Now with Nichole Berlie (37%), and NewsNation Now with Connell McShane (31%) all saw more than 30% increases during the month in total viewers.

ABC News Sees Largest Lead Over NBC News in Nightly Newscast Ratings In More Than A Year

The week of July 21st was a big one for ABC World News Tonight with David Muir, as the broadcast featured its largest lead over NBC Nightly News since the week of July 1st, 2024.

During the week, ABC News averaged 7.3 million viewers, with exactly one million viewers coming from Adults 25-54 demographic. The total viewership figure was the highest since the week of June 23rd.

NBC Nightly News with Tom Llamas averaged 5.5 million viewers for the week. That total was the network’s lowest since the week of June 2nd, when Llamas took over the program from longtime anchor Lester Holt.

NBC News averaged 775,000 viewers from the key demographic, a week-over-week drop of nearly 8%.

Meanwhile, CBS Evening News saw its second-smallest total viewership finish in 2025 during the week of July 21st. The program averaged 3.6 million viewers for the week, matching the total seen during the week of Memorial Day, which was also the final week of Holt’s tenure at NBC News.

CBS News averaged 495,000 viewers from the Adults 25-54 demographic during the week.

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.

Why The MeidasTouch Podcast Deserves Credit

Garrett Searight
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Why The MeidasTouch Podcast Deserves Credit

The MeidasTouch Podcast just pulled off a major milestone, finishing as the top podcast in the latest YouTube podcast rankings.

That’s not just a win for the show’s hosts — it’s a signal to the industry that the progressive political podcast is a powerhouse and deserves to be considered one of the most influential and important podcasts in the world.

In a media landscape dominated by long-established names and celebrity-driven shows, The MeidasTouch Podcast has built its audience the hard way.

It didn’t really rely on a massive corporate launch or a star-studded advertising blitz. It built trust, found its voice, and turned compelling, values-driven content into consistent viewership. That alone should earn it a spot in the upper tier of global podcasting.

For those unfamiliar, The MeidasTouch Podcast was born from the MeidasTouch brand — an unapologetically pro-democracy media company started by three brothers — Ben, Brett, and Jordan Meiselas — during the Trump presidency. Their goal was simple: fight disinformation and push back on authoritarian narratives.

Over time, the podcast grew from a companion piece to the brand into a high-powered show featuring major political figures, legal experts, and sharp commentary on current events.

Their recent climb up the YouTube podcast charts shows just how far they’ve come. YouTube is a uniquely tough platform to crack for political content. Podcasts must engage not only with tight arguments and credible sources but also present video that holds attention in a space flooded with comedy, lifestyle, and true crime content. The MeidasTouch Podcast has done just that, and it’s earning the kind of traction that should make the entire podcasting industry take notice.

Numbers matter. Rankings reflect relevance. And in an era where podcasting is no longer just about niche audiences, but a global content war for attention, landing high on YouTube’s charts means something. It means you’re not just popular—you’re shaping conversations. You’re part of the media bloodstream. You’re a destination.

While a show like The Joe Rogan Experience has dominated the mainstream podcast discussion, The MeidasTouch Podcast is quietly becoming just as essential for a different kind of audience—one hungry for accountability, legal analysis, and forward-looking politics.

Another thing that separates The MeidasTouch Podcast is its consistency. It doesn’t take months off between seasons. It doesn’t mail it in during slow news weeks. The show has a work ethic that mirrors old-school talk radio — always showing up, always producing, always engaging. In many ways, it brings the reliability of broadcast to the on-demand world.

Podcasting has been called “the Wild West” of media, with low barriers to entry and few rules. That makes it easy to start a show, but that also means it is that much harder to stand out. The MeidasTouch team has done more than just survive the chaos. They’ve emerged as one of the leaders. Their recent success on YouTube proves they’re not just reaching an echo chamber, but expanding their footprint and competing with the best.

Critics might scoff at the idea of placing a progressive political podcast in the same breath as multi-million-dollar network-backed shows. But doing so ignores the metrics, the momentum, and the movement behind The MeidasTouch Podcast. Audience loyalty isn’t bought—it’s earned. And MeidasTouch has earned it the old-fashioned way: showing up, making sense, and sticking to its principles.

In a time when misinformation travels at lightning speed and bad-faith actors often drown out facts, podcasts like The MeidasTouch Podcast provide something essential. Its hosts don’t pretend to be objective, but they also don’t really trade in conspiracy or chaos, either.

Podcasting is no longer just about Apple Podcasts or Spotify. YouTube is a juggernaut, and the show’s ability to crack into its top charts proves they’ve learned to leverage every platform available. That reach expands their brand, brings in new voices, and breaks the traditional mold of who gets to be “top-tier.”

When an independent podcast can outrank legacy media giants and celebrity hosts, it forces everyone to rethink what success looks like in this space. It’s not just about fame, money, or institutional backing. It’s about relevance, resonance, and impact. The MeidasTouch Podcast checks every one of those boxes.

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.

Jared Stillman Out At 102.5 The Game In Nashville, Station Announces New Lineup

BSM Staff
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Jared Stillman Out At 102.5 The Game In Nashville, Station Announces New Lineup

Jared Stillman is out at 102.5 The Game in Nashville. Stillman’s departure comes after ten years at the radio station hosting Stillman & Company in afternoons.

“Jared is an incredibly talented broadcaster who has played a major role in shaping our station over the past decade,” said Chase McCabe, Director of Operations & Sports Programming to Barrett Media. “We’re proud of what we’ve accomplished together and know he’ll continue to do great things in his next chapter.”

Stillman posted a statement via his Instagram.

“My contract has expired, and after a year-long negotiation, 102.5 The Game and I couldn’t come to terms on a new deal for the upcoming season,” said Stillman. “I’m incredibly proud of what we built. We changed the culture at the station. We made history by finishing 1st in the Men 25–54 demo—a goal I once thought only I believed in. And I got to work with some amazing people who became lifelong friends.”

Stillman’s exit now prompts the radio station to maneuver a new lineup.

As part of the reshuffle, the new lineup will consist of a brand-new unnamed program airing weekdays from 9 a.m. to 12 p.m., hosted by Jake Lyman, the voice of Vanderbilt Women’s Basketball.

Furthermore, moving to middays from 12 p.m. to 3 p.m. will be Chase & Big Joe, hosted by Chase McCabe and Joe Dubin.

In addition, 102.5 The Game is shifting DVD to afternoons. That show will be hosted by former Tennessee Titans wide receiver Derrick Mason, Nashville Predators TV personality Willy Daunic, and reporter Adam Vingan from 3 p.m. to 6 p.m.

“This new lineup reflects 102.5 The Game’s deep commitment to being the go-to destination for Nashville sports fans,” said McCabe. “We’re the place to get your news, celebrate wins, and vent about the losses. Your Sports Live Here!”

Stillman joined The Game in 2015 from Louisville, KY, where he spent two years hosting on the local ESPN Radio affiliate. Notably, as a Nashville native, Stillman turned down two other offers in different markets to join his hometown radio station at the time, according to The Tennessean.

Previously, Stillman co-hosted alongside former Tennessee Titans general manager Floyd Reese from 2016 to 2020. Reese resigned his position in December 2020 to take a step back from his duties.

Looking ahead, 102.5 The Game will continue to serve as the flagship of The Game Nashville Sports Network. The network also features ESPN Radio, The George Plaster Show on 94.9 The Fan, and the VSiN sports betting network on Sports Talk 830AM.

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.

Peter Schrager Says NFL Network Move to LA Started His Process of Looking Elsewhere

BSM Staff
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Peter Schrager Says NFL Network Move to LA Started His Process of Looking Elsewhere

Peter Schrager, the respected NFL insider and analyst, candidly discussed his decision to leave NFL Network’s popular morning show Good Morning Football for ESPN, offering insight into the professional and personal factors that shaped his move. In an exclusive conversation on the SI Media Podcast with Jimmy Traina, Schrager reflected on his final year with Good Morning Football, explaining that the show’s relocation to Los Angeles marked a turning point.

“Once they moved the show to LA, I had a year left on my contract and I started plotting my next step,” he said. “I don’t have anything left to give to that show. I love that show. I root for it. I still watch it in the mornings when I’m flipping around and I still laugh at what Kyle’s [Brandt] got to say.”

Despite his affection for the program and its team—including co-hosts Kyle Brandt, Manti Te’o, and Jamie Erdahl—Schrager acknowledged that creatively he felt the show had run its course for him.

“I couldn’t do another whiteboard Wednesday. I couldn’t do another remote segment interviewing the same whatever for another year. Creatively it was time, and my contract was up,” said Schrager. “Once they moved it to LA, it felt like the future was on the wall. They looked at this as a West Coast operation, and I’m East Coast based. I don’t like being the man in the box.”

Schrager also pointed to the personal challenges involved with the relocation. “I hated doing Zoom TV during COVID. I like being in the studio. I like having juice. I tried getting there as often as possible, doing a week of shows every month out West, but it was waking up at 2 a.m. It just wasn’t sensible, and I wasn’t moving my family out there.”

The transition to ESPN, he said, came at the right time. “Fortunately, ESPN was also interested in bringing me along. We had a conversation, and I started the ground running at the draft. I’m so happy and excited. I already feel creatively energized to work with new people and get new perspectives. It’s been really cool.”

Schrager praised the opportunities he’s had at ESPN, highlighting his recent hosting stints on Get Up and First Take. “At NFL Network, they had their own vision like this is how it’s going to be,” said Schrager. “I’m getting to do new things. I’m meeting different people, and I am beyond thrilled and energized.”

Addressing any speculation about hard feelings over his departure, Schrager was clear. “It was easy to leave but difficult to leave the people. I love that show and it was some of the best work I’ll ever do was on that show,” said Schrager. “Kyle and I were sitting in remote boxes doing a show remotely for a year about football, and that wasn’t what I signed up for.”

On the challenge of establishing himself at ESPN, Schrager shared candidly about finding his footing among a seasoned team. “I can’t just show up and say, ‘Hey, I’m Peter Schrager. I didn’t play the game and I don’t have the news that Adam Schefter does, but I’m here too.’ I needed to establish myself, and I did.”

Schrager also addressed online criticism accusing him of being a sellout for joining ESPN and adopting a more formal appearance. “ESPN didn’t hire me to suddenly become a hot take artist or a stiff,” said Schrager. “I bring the same personality stuff I do on TV at Good Morning Football. Maybe we’re not talking about Elton John’s greatest hits or Love Island anymore… I like wearing the shirt and tie for now. We’ll see how long that lasts.”

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.

Townsquare Media Sued Over Alleged Use of Storm Footage

BMM Staff
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Townsquare Media Sued Over Alleged Use of Storm Footage

Townsquare Media is facing a copyright infringement lawsuit filed by Global Weather Productions LLC, which alleges the company used storm footage without proper authorization. Emmy-winning cinematographer Michael Brandon Clement shot the footage in question.

According to a report by Inside Radio, the legal complaint, filed in the U.S. District Court for the Southern District of New York in White Plains, centers on two weather events. The 2021 EF4 tornado that struck Mayfield, Kentucky, and the 2022 blizzard that affected Buffalo, New York.

Global Weather Productions claims Townsquare posted unauthorized still images and video clips from both events on the websites of two radio stations. 107.7 The Rocker in Kalamazoo, Michigan, and “Q-105.7” in Albany, New York.

According to the filing, Townsquare used a still image from the tornado footage in an August 2024 article about tornado activity in Michigan. Additionally, the company allegedly embedded multiple stills and videos from the Buffalo blizzard in a December 2022 article covering the storm’s impact.

The plaintiff notes that both videos were registered with the U.S. Copyright Office and prominently featured watermarks and licensing terms, including a “Not For Broadcast” label. The footage was reportedly sourced from YouTube and X (formerly Twitter) accounts with clear licensing instructions, which the complaint says Townsquare ignored.

The lawsuit charges Townsquare with “volitional copying.” Claiming it gains financially from the increased traffic driven by these materials. It further highlights that this case is part of a broader trend. With over 50 similar suits filed against Townsquare. Eighteen of them are in the same federal court district during 2024.

Global Weather Productions is seeking monetary damages, reimbursement of legal costs, and an injunction to stop further unauthorized use. The plaintiff has requested a jury trial.

Townsquare Media has yet to issue a public response to the lawsuit.

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.

SiriusXM Reports 2% Revenue Decline During 2025’s 2nd Quarter

BNM Staff
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SiriusXM Reports 2% Revenue Decline During 2025’s 2nd Quarter

SiriusXM has unveiled its second-quarter financial results, and the company reported a slight downturn in overall revenue.

During April, May, and June, the company secured $2.14 billion in revenue, a 2% decrease compared to the same time frame in 2024.

Net income for the quarter was $205 million. Earnings per diluted common share were 57 cents, compared to 74 cents in 2024’s second quarter.

The company finished the quarter with an EBITDA of $668 million, with the adjusted EBITDA margin for the quarter resting at 31%. Overall, the company had free cash flow of $402 million during the quarter.

“Our renewed strategic focus continued to deliver this quarter,” said SiriusXM CEO Jennifer Witz. “We achieved meaningful year-over-year subscriber improvements, signed exciting new content agreements,
accelerated momentum in podcasting, and unlocked significant cost efficiencies.

“We’re seeing deeper engagement from our most loyal listeners, early traction from sustained strength across key performance metrics and operational improvements,” Witz continued. “We’re becoming a more focused, more flexible company—centered on delivering real and increasing value to our listeners and driving long-term growth for our business.”

SiriusXM pointed to “disciplined cost management” as the biggest reason why the revenue declines were partially offset.

“Our second-quarter results demonstrate the balance we’re achieving between disciplined cost control and strategic investment,” said Chief Financial Officer Tom Barry, Chief Financial Officer. “We maintained a healthy EBITDA margin, generated strong free cash flow, and delivered significant cost savings—all while reallocating capital to areas with the greatest potential impact.

“These efforts are already contributing to improved subscriber trends, enhancing our performance and reinforcing our ability to navigate external headwinds. In addition, we returned $137 million to shareholders during the quarter, including $92 million in dividends and $45 million in share repurchases,” Barry added. “As we look ahead, we remain confident in our strategy and are on track to meet our full-year guidance.”

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Dave Portnoy Reveals Why He Didn’t Sign Sophie Cunningham Podcast to Barstool Sports

BSM Staff
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Dave Portnoy Reveals Why He Didn’t Sign Sophie Cunningham Podcast to Barstool Sports

Barstool Sports founder Dave Portnoy revealed that he passed on the opportunity to sign Indiana Fever guard Sophie Cunningham and Summer House personality West Wilson to a podcast deal — a show that ultimately found a home at Colin Cowherd’s The Volume. On a recent episode of The Unnamed Show, Portnoy explained that while the idea initially had promise, the deal unraveled after concerns over commitment, marketing weight, and agent involvement surfaced.

“They did a test podcast, these two, in our New York office,” Portnoy said. “It wasn’t so much about her. Anytime I have to deal with agents, it’s hard. I really thought we would be carrying so much of the weight with marketing and all this s**t. Her focus wasn’t going to be the podcast.”

According to Portnoy, the sticking point was the level of focus Cunningham, a standout for the Indiana Fever, could realistically dedicate to the show. With multiple off-court ventures already in motion — including branded content, on-camera appearances, and playing in the WNBA — Portnoy worried the podcast would not be her primary focus.

“It felt like we were getting screwed. We were ready to sign it, but at the end I’m not interested anymore,” explained Portnoy.

Portnoy also voiced hesitation about giving Cunningham a financial guarantee without a firm commitment that the show would be exclusive to Barstool.

“She was gonna do the podcast with us. Then she could start another podcast talking about something else, with ads being sold by other people,” Portnoy said. “We were gonna give her a guarantee. The thing that I always get uneasy, the amount of value get from our marketing machine is kind of like priceless.”

While Barstool had a full promotional infrastructure in place — including social support and dedicated personnel — Portnoy said it didn’t make sense to invest that effort in a talent who didn’t view the opportunity as a top priority.

“If I don’t feel that podcaster is focused — because you have to be all-in on making the thing huge — it’s not worth it,” said Portnoy. “I’d rather spend all that time energy on somebody’s like, this is my dream spot where I want to be.”

Cunningham and Wilson, lifelong friends from Columbia, Missouri, officially launched Show Me Something this week through The Volume. The show aims to blend sports, pop culture, and personal storytelling — a format that has seen success across the platform’s growing talent roster.

Despite wishing them well, Portnoy admitted with a grin, “I like her, but I’m kind of rooting against it.”

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