KOLA 99.9 afternoon host Vic Slick is set to retire after 31 years with the Inland Empire classic hits station.
Slick joined KOLA in the early 1990s and has remained a consistent presence in afternoons, hosting from 2-7 PM.
His departure marks the end of a run that began when he first arrived at the station after years of listening to Inland Empire radio and pursuing a career that started as a childhood goal.
“Ever since I was 8, I’ve wanted to be on the radio,” said Slick. “Growing up in the Inland Empire, I listened to KMEN, KFXM, KRLA, and KHJ. My heroes growing up were Wolfman Jack, Casey Kasem, and the Real Don Steele. Working on the radio where I grew up? Totally a dream come true. And, combining my radio career with my love of classic car shows? Can’t get any better than that. The Inland Empire has been amazing to me, and I’m so thankful.”
Station leadership reflected on the career of Vic Slick and his tenure at KOLA.
“It has been an absolute pleasure and an honor to have worked side-by-side with Vic for the past thirty-one years,” said KOLA GM Jeff Parke. “He was already a legend when we hired him, and he has remained a legend the whole time he’s been with us at KOLA. It will be very hard to lose Vic, not just as a diligent, loyal broadcasting professional, but also a dear friend who I’ll miss every day. I wish Vic all the best in his retirement.”
“Vic has spent thirty-one incredible years doing what he does best, connecting with listeners in the Inland Empire,” KOLA 99.9 Program Director Gary Springfield said. “He is the best of all of what KOLA represents to the community. His impact is immeasurable, and his presence will be deeply missed by our team and our listeners.”
His final day on the air will be Friday, December 12th.
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ABC News correspondent Matt Gutman is departing the network to join rival CBS News as a Chief Correspondent.
As part of his new role, Gutman will have what the network is calling a “significant presence” on CBS Mornings and CBS Evening News, while also serving as lead correspondent for 48 Hours and contributing to future seasons of 60 Minutes.
“I am thrilled to be joining CBS, a network with TV news’ most storied past, and most exciting future,” said Gutman. “With Bari and Tom at the helm, our mission is to tell the most important news stories and bring our audience along with us to places they wouldn’t otherwise be able to go, to give a voice to those who might otherwise not be heard, and to tell it straight.”
Gutman has worked at ABC News since 2008. While originally working as a Miami-based correspondent, he was later elevated to the role of Chief National Correspondent in January 2018.
“Matt Gutman goes there,” said CBS News Editor-in-Chief Bari Weiss. “He brings the audience along with him to whatever story he is covering, and he approaches his work with the qualities we look for in all our journalists: fearlessness, energy and relentlessness. I cannot wait for him to get started.”
“I have worked with Matt for decades and I have seen his innate ability to take viewers into a story,” added CBS News President Tom Cibrowski. “Whether he’s on the frontlines of a conflict or the scene of a rescue mission, he has the power to connect with people in a way that informs and engages. He has a sharp news sense, an acute ability to deliver immersive storytelling and a deep appreciation of history that will be an asset to all of us.”
Matt Gutman will begin his new role on Monday, January 5th. He’ll be based in Los Angeles.
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Glenn Beck has not been shy about the fact that he’s going to be utilizing AI going forward. That includes a conversation with the first President of the United States.
Beck shared that his AI technology has evolved enough to showcase an interview with President George Washington.
In a video published to YouTube, Glenn Beck shared a preview of his conversation with Washington and how advanced the technology has become.
Beck began the conversation by asking what the AI version of America’s first president viewed as the largest problem facing the nation today.
“If I may speak plainly,” what Beck calls “George AI” began, “My countrymen, the greatest danger to our republic lies not in foreign arms or political faction, but in–” before Beck interrupted the software by telling it to “dumb it down.”
After telling the AI bot to “speak in today’s language”, George AI continued again.
“Let me speak to Americans,” the AI said. “If I’m honest, America’s biggest problem isn’t political or economic. It’s all moral. You’ve drifted from the virtues that make liberty possible in the first place. Freedom. To be free, you have to have discipline; you have to have faith; you have to have character; and if you don’t have any of those things, laws can’t stop anything and they mean little. Government turns either weak or oppressive.”
Glenn Beck added that there will be a series of interviews with Washington about modern-day topics shared on his new educational endeavor — The Torch — beginning on Monday, January 5th.
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It has been a tumultuous year for the CBS Evening News. The network hopes to change that in 2026, as CBS News has picked Tony Dokoupil to serve as the new anchor of the nightly newscast.
According to a report from Oliver Darcy of Status, the network has informed Dokoupil that it has selected him to lead the program going forward. He’ll begin anchoring the newscast at the start of the new year.
Dokoupil will succeed John Dickerson and Maurice DuBois, who are both set to exit CBS News in the coming days. Those two replaced longtime anchor Norah O’Donnell after her January exit. However, the newscast took a ratings tumble in the wake of O’Donnell’s departure, dropping from more than 5 million viewers per evening to struggling to reach an audience of 4 million per night under Dickerson and DuBois’ tenure.
Currently, Tony Dokoupil serves as a co-host of CBS Mornings. The 44-year-old works with Gayle King and Nate Burleson on the show. A report from the New York Post suggests that with the elevation to Evening News, Dokoupil won’t be the only anchor leaving the morning show. It shared that it is expected that King will leave the network when her contract concludes in May. Previously, CBS News denied that it was preparing to exile King.
The 44-year-old Dokoupil joined CBS News in 2016. His appointment to the newscast comes after CBS News reportedly made runs at both Bret Baier of Fox News and Anderson Cooper of CNN and 60 Minutes to helm the nightly newscast. Both options failed to come to fruition, as Baier is in the midst of a multi-year contract, and Cooper decided to re-up his deal with CNN.
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The contract extension for Benson comes after he shared that he would leave his role at Townhall.com. He worked as a columnist for 18 years and served as the Political Editor for the brand for the past 15 years before departing last month.
In addition to his work on Fox News, Guy Benson — who was recently diagnosed with cancer and underwent a procedure to remove it — hosts a daily news/talk radio show for Fox News Radio. The Guy Benson Show airs live from 3-6 PM ET.
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In the world of sports, few things are as universally gut-wrenching as a “bad beat.” A last-second turnover, a blown lead, a missed kick—moments that transform triumph into despair in the blink of an eye, all in the name of wagering on games. Sports media has long recognized the inherent drama in these collapses, and audiences have always gravitated toward the high-stakes tension they produce.
But in the age of social media and 24/7 content cycles, the culture of celebrating—or exploiting—bad beats has grown more intense, raising questions about whether this trend is healthy for the future of sports coverage.
The latest example came from Barstool Sports founder and FS1 Big Noon Kickoff contributor Dave Portnoy. When the Las Vegas Raiders kicked a field goal that reduced their loss to the Denver Broncos to seven points, despite entering the game as an 8.5-point favorite, Portnoy lost his mind on social media. While Barstool and Portnoy often straddle the line between reality and parody, these comments struck a nerve. If the last decade has shown anything, it’s that words on social media can and do lead to action.
Traditionally, bad beats were fodder for postgame commentary, often confined to respectful, measured analysis. Scott Van Pelt on SportsCenter has done a masterful job of keeping the moment more playful than hostile—presenting the collapse, explaining what led to it, and occasionally sprinkling in slow motion or humorous timing coincidences. It was entertainment, not banishment.
The discussion was limited to the select few who gambled legally. Today is a different time.
The rise of legalization and digital platforms has shifted the dynamic. Now every misstep, shocking loss, or heartbreak becomes an instant shareable clip, viral meme, or provocative tweet.
Social media personalities and sports content creators have capitalized on this phenomenon. Platforms like TikTok and Twitter/X reward virality above all else, and bad beats are inherently viral. This environment contributed to Portnoy’s latest tirade after what happened in Las Vegas.
Where Portnoy Went Too Far
“That’s the worst beat of all time!” Portnoy said. “You have to investigate the Raiders! Investigate the Raiders! What are they doing? What the f**k? That’s the worst beat of all time! That is cheating! What the f**k? I gotta rewind this. That’s the worst f**king beat of all time! This is the worst beat of all time! Pete Carroll should be in f**king prison! Prison for Pete Carroll.”
It didn’t end there.
“This is prison! There’s 16 seconds left in the game. By the way, the play before this, there was f**king 20 seconds. They threw it. Prison! The spread’s eight-and-a-half. They spiked the ball, by the way! They ran up and spiked it as a tempo — Prison Pete Carroll! Murder Pete Carroll! I want Pete Carroll murdered!”
PRISON FOR EVERYBODY!! THAT’S THE BIGGEST RIG JOB IVE EVER SEEN. INVESTIGATE THE NFL. INVESTIGATE PETE CARROLL. IVESTIGATE THE RAIDERS!!! pic.twitter.com/hpEr1JOiqm
Now, do I actually think Dave Portnoy wants Pete Carroll murdered? Of course not. But the way I interpret Portnoy’s words is different from how some others will interpret them. That’s the problem, and it’s something personalities like Portnoy—with his massive following—should recognize.
Words matter. The blurring of reality and fantasy is bleaker than ever because gambling has become more normalized. Whether Portnoy knows it or not, he made what could be considered a threat against an NFL head coach.
Again, words matter. For the record, Portnoy did apologize for his comments on Monday’s Wake Up Barstool.
When the culture of bad beats prioritizes clicks over context, it creates a feedback loop that rewards hyperbolic, sensationalistic reactions. Social media personalities are incentivized to amplify the drama. This includes sometimes mocking athletes, fans, or in this case, head coaches.
In extreme cases, this amplification sparks waves of toxic behavior online. Threats, harassment, and vitriolic commentary have become increasingly common after high-profile sporting disappointments. The bar for “viral” content is now so high that creators may unintentionally—or even knowingly—fuel hostility among followers, with the algorithm ensuring it spreads further.
Portnoy’s “threat” toward Carroll wasn’t the only one yesterday. A simple search for Pete Carroll on social media reveals more than a few people following Portnoy’s example.
A Growing Problem
The consequences of this trend are not theoretical. In recent years, coaches, players, and referees have received death threats and harassment after mistakes amplified by social media. Fans losing money as gambling becomes more legal and easier than ever contributes significantly to this behavior.
The culture of bad beats, when exploited for content, is no longer harmless entertainment—it can be a catalyst for real-world danger. Sports-betting-related abuse remains one of the most common forms of online harassment directed at college athletes, coaches, and officials. It touches everyone from the college ranks to professional athletes around the world.
This raises an important question for the future of sports media: How do outlets and personalities balance the natural drama of bad beats with responsible coverage? Creators and journalists must stay mindful of the power of their platforms. Words have weight, and amplification can transform disappointment into danger.
Content that entertains should not come at the expense of safety or civility.
It’s also worth considering the long-term effects on content creators themselves. Relying on bad beats to drive engagement is a short-term strategy with diminishing returns. Audiences may grow fatigued by constant schadenfreude, and creators who thrive on negativity risk alienating partners, sponsors, or networks. A more sustainable approach blends excitement with insight, drama with context, and celebration with empathy. In other words, good sports storytelling can—and should—entertain without endangering.
Bad beats are a natural and compelling part of sports, but the way they are covered in today’s media ecosystem carries inherent risks. The instant, viral nature of social media has magnified the drama, sometimes crossing the line into exploitation and even danger.
Sports media and social content creators must recognize their influence, tempering sensationalism with responsible analysis and empathy. Even if there’s a personal cost to the formula.
In the end, the problem isn’t that Dave Portnoy was angry about a bad beat. Anyone who has ever sweated a point spread understands the impulse. The larger issue is the megaphone he—and many creators like him—now wields, and how casually he unleashes it without considering the consequences.
When outrage becomes a content strategy and hyperbole becomes a personality trait, creators can unintentionally incite harassment, pile-ons, and even threats toward the people they target.
That’s not passion for sports; that’s reckless amplification.
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Luck is when preparation meets opportunity. The combination has created some of the greatest names in sports and entertainment. No matter how hard someone grinds toward a goal, being in the right place at the right time is often the most crucial factor. Mike Mulligan of 670 The Score humbly admits he has benefitted from that idea as he enters his 18th year hosting mornings on Chicago’s top sports radio station.
“My career has been a lot of good luck,” says Mulligan. “When I started working on the radio, it was ancillary income at first. Then as other things opened up, I was very fortunate…I don’t know how it all happened to be honest with you. Very much being in the right place at the right time.”
An English major at Loyola University, the Chicago native began his career covering sports for the Chicago Sun-Times. His work covering public league sports grew into a role following the Chicago Bulls during Michael Jordan’s run in the 1990s. After that dynasty, Mulligan moved to covering the Chicago Bears and then the NFL at large.
Of all the transitions Mulligan made in his career, the pivot to becoming a host was the most challenging.
“When I first started, I was still working at the paper [Chicago Sun-Times], because I had a difficult time making that transition and leaving my identity behind,” explained Mulligan. “I had worked so long at the paper and was locked in to being a sportswriter. It was difficult to shift gears, even though there’s very complimentary role whether it’s covering a team or talking about it.”
Mulligan was elevated to morning drive in 2008 after the station failed to reach a new contract with Score original Mike North. He began his morning run with fellow Sun-Times teammate Brian Hanley. Together, they took over a daypart that competed with ESPN Radio’s Mike & Mike.
The move received mixed reactions at the time from longtime Score listeners. However, Mulligan and Hanley’s years covering sports for the Sun-Times brought a strong sense of credibility to the show.
“The credibility factor is huge. People who do it professionally know what the rules are… You defend the content and information. You work hard and know people that you’ve used before to help you understand or give you some information about a story,” explained Mulligan, reflecting on how he applied the credibility he built at the Sun-Times to sports radio.
Rewarded By The Industry
A focused mindset and a reliance on that earned credibility have helped Mulligan lead one of the highest-rated morning shows in Chicago. That success was recognized last month when Mulligan and his team won the coveted “Best Morning Show Award” from the Illinois Association of Broadcasters.
Our @mullyhaugh crew: Mully, Brandon Fryer, Dustin Rhoades and me, who feel grateful for being recognized as “Best Morning Show" by the Illinois Broadcasters Association. Thanks to our boss, Mitch Rosen, and our audience for listening every day to @670TheScore. pic.twitter.com/iySJq1mAqP
“It was a stunner,” exclaimed Mulligan. “I really was blown away, and didn’t see it coming. It’s very difficult to get your mind wrapped around something like that. I’m very appreciative.”
That stunning moment may not have happened. On the morning of the awards show, Mulligan was still dealing with issues with his station email. He had no idea the morning show had even been nominated until he arrived at work.
“I was on the elevator that morning, and there was a woman that works for another radio station. We were just chatting, and she asked me if I was going to the awards tonight. I had no idea what she was talking about,” explained Mulligan. “She told me we were up for the best morning show, and I didn’t know that. I immediately went to Mitch Rosen [Vice President, 670 The Score and BetMGM Network] and asked what’s going on tonight… It was so dumb on my part.”
Once again, Mulligan found himself in the right place at the right time. A simple elevator ride with the right person led to his attending the event and receiving the award.
“I went from not knowing about it to winning it,” joked Mulligan.
Navigating Change
Although Mulligan says he never felt pressure when he took over mornings at 670 The Score, he understands the legacy he now represents. The path to success is rarely straight, yet Mulligan has been the constant in morning drive for 17 years on a station that has seen significant change.
A major change came in 2018 when 670 The Score chose not to renew the contract of Mulligan’s co-host of 13 years, Brian Hanley. A Score original for 25 years, Hanley’s departure was unexpected and difficult.
“That was really difficult, and that was hard. I had made a switch to radio and thought things were going fine, and then they made that call,” noted Mulligan. “I feel bad for the way things happened for Brian.”
As Mulligan navigated the loss of a teammate of two decades while keeping the show moving forward, 670 The Score moved quickly to add Chicago Tribune columnist David Haugh less than a month later.
“David [Haugh] and I were friends when we were covering the Chicago Bears. It’s been like strength to strength,” explained Mulligan. “Brian [Hanley] and I had a lot of fun together. David and I have a really good show going too. The show may have changed and become more content centric with a guy like David, but I always enjoyed working with Brian and always got a kick out of his personality.”
For the last seven years, Mully and Haugh have built on the foundation Mulligan and Hanley established. Appointment-driven features and an impressive guest list have elevated the program both traditionally and digitally. The morning show has led the way in transforming 670 The Score from a terrestrial sports radio giant into a modern content powerhouse. It stands as an example of reaching sports fans wherever they now consume content.
“Digital is as valuable as anything today,” said Mulligan. “I try to do whatever I can to be relevant and create good content to make sure our show is meeting all the coaching points… 670 The Score has a grip on Chicago from the first day of it… It’s amazing on a day like ‘football Monday.’ They [WMVP] got the team [Chicago Bears], we got the numbers. What does that tell you?”
Enriching The Legacy
Even as its main competitor no longer subscribes to traditional Nielsen ratings, 670 The Score’s legacy brand continues to thrive. The station’s longevity and credibility endures despite numerous lineup changes in nearly every daypart over the last decade.
“Your job is to play the hits. Talk about the Chicago sports teams, and approach it as the fans want to hear and understand it,” noted Mulligan. “It’s your responsibility, and I think everyone on 670 The Score understands this, to present information. To try and live up to the people who were there before you and are going to be there after you.”
Heading into 2026, Mulligan says he remains focused on improving in a role he never expected to have. With several years left on his agreement with 670 The Score, he is humbled by the continued opportunity.
“I am blessed to have been able to work in the Chicago media for as long as I have, and put my kids through college,” said Mulligan. “I don’t know if the business is going to hold up, or what have you. But I am a content individual, and love what I do.”
Without a clear endpoint and without the same ambition he had in his youth, Mulligan understands how rare his journey has been. It is a story built on hard work and plenty of luck.
“It is a blessing to do something you enjoy doing,” said Mulligan. “I’ll do this as long as they let me, and I’d probably do this volunteer-wise if had to.”
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.
Off-Mic is a special 5-part series, created by Corey Dylan for Barrett Media. This series examines how to adjust if faced with unexpected job loss. Corey becomes a radio free agent later this month and is exploring her new way forward. Interested groups are encouraged to reach out by email at Contact@CoreyDylan.com. To submit ideas to Barrett Media for future considerations, please contact Jason@BarrettMedia.com. We can’t promise we will publish what’s turned in but we do review all submissions.
When your name has been on a mic flag or show open for years, it’s hard to imagine who you are without it. The silence after a layoff can feel like loss. But it’s also the space where reinvention begins.
The Identity Shock
For many of us, our radio persona is inseparable from our real identity. Losing that can feel like losing part of yourself. But you’re more than a shift or call letters. As I mentioned, I’ve been in your shoes. A couple of times. But this time is different.
I see that Content Creation is a viable path forward, and a growing industry. I’m building a new chapter where all my skills and creativity can be applied. Of course, nobody built a successful business overnight so you have to commit to the long haul. Commitment and consistency are definitely required.
Translate Radio Skills Into the New Economy
Radio Role – Transferable Skills
On-Air Talent: Public speaking, content creation
Producer: Project management, technical editing, deadline discipline, social media management
Sales Talent: Client Relationship Management
PD/OM: Leadership, strategy, brand management
This is a short list of your transferable skills that are in demand across podcasting, streaming, digital marketing, public relations, public service, and event production. Seek out a professional resume writer. That’s what I’m doing because translating your skills from radio to a different industry entirely is best left to an expert in their field. Chase Murphy in Texas shared this pro with me and my award-winning resume is nearly finished. You can find Bridget Batson here.
Build Around Your Values
Instead of chasing job titles or paychecks, define the values you want your next role to reflect: creativity, autonomy, mentorship, innovation. Let those guide your direction. I took a test at TheValuesBridge.com that gave me an (incomplete) free assessment. It helped clarify some things for me. A trusted executive (and former boss) also recommended a book titled, Designing Your Life, which you may also find insightful and enlightening.
Update your online profiles to fit the “new” you: “Storyteller | Media Communicator | Voiceover & Brand Content Specialist.” That tells the world you’re not done – you’re evolving.
Takeaway
A radio layoff isn’t an erasure. It’s a translation. You already have the core skills that the global content economy thrives on; creativity, empathy, and communication. Nobody can take your knowledge or abilities or achievements away from you. The creator market’s explosive growth (projected $400 billion+ by 2027) proves there’s never been a better time to repackage your talent for new audiences and industries.
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.
Thank you for checking out ‘The Industry According To’. This series runs each Tuesday, and features radio and record industry executives, managers, programmers, talent, artists, and professionals from all areas of the business world. To be considered as a future guest, email me at keithblackboxgroup@gmail.com.
Today we hear from someone who has her hands in several cookie jars: labels, radio, artist management, author — Jackie Kajzer (aka “Full Metal Jackie”).
Jackie is like a Swiss army knife. She understands streaming, radio, promotion, labels, touring, and even the challenges that come with the day-to-day management one of the world’s biggest metal bands, Five Finger Death Punch.
Choose One
Keith: A new artist of yours can have:
#1 Radio airplay hit for the summer.
Most viewed TikTok video of the summer.
Opening slot for the genre’s biggest artist all summer.
Which do you choose, and why?
Jackie: I would say the opening slot on the biggest tour of the summer. Here’s why: A #1 is awesome. A viral TikTok moment is a great start, too, but nothing builds a real career like getting in front of thousands of actual fans, night after night, who didn’t necessarily show up for you but leave knowing who you are. When they’re out there every night, you aren’t just selling a song, you are selling identity, chemistry, charisma, and chops. You are giving people a reason to care about the NEXT single, the NEXT album, the NEXT headline run.
From a management and promo standpoint, a big tour slot creates a ripple effect. Radio sees momentum and gets more confident supporting the single. Social numbers climb organically because fans are posting clips on their own. Those clips convert better than anything paid. The band learns who they are when they are battling for attention in front of thousands of people who didn’t come to see them. That is priceless artist development.
A #1 hit is super cool. A viral moment is fine. But a summer long tour with the biggest artist in your lane? THAT is how you go from NEW BAND to CAREER BAND.
Today’s Artists
Keith: A new band walks into your office with great songs, and that’s it. What’s your development plan for them in 2026?
Jackie: Great songs are the foundation, but in 2026 that is just the beginning. First, we help them lock in identity. Who they are, what they stand for, and what lane they actually belong in. Then we get the live show dialed in. If you can’t crush a room, none of the other stuff matters. From there, it’s smart content that feels real, not trend-chasing, and a release plan that builds momentum instead of dumping everything at once. We then start warming up key relationships: radio, curators, agents (only when there is something worth showing). And finally, we target the right tour, not just any tour. The goal isn’t just noise — it’s conversion. Great songs get you in the building — a real plan turns you into a career.
Radio’s Relevance
Keith: Radio and MTV usedto be the ones breaking records. What’s radio’s real role in today’s new music ecosystem? Not ideally, but realistically.
Jackie: Radio is still one of the few places where a song can become part of people’s real lives. Discovery looks different now with social, streaming, algorithms. Radio’s role has just evolved.
Realistically, radio is what carries a song from a flash of attention into real staying power. A viral clip can create heat, but radio keeps the fire going. When radio steps in, it brings credibility, frequency and that emotional pull you can’t replicate online. Radio is community. Stations bring a local identity, and listeners who trust the voices they hear every day.
Radio reaches the listener who isn’t chasing trends. The commuters, the workers, the parents, the rock fans who want something curated for them instead of an algorithm guessing. Radio turns songs into memories. A summer hit on radio becomes tied to a specific moment in someone’s life. That’s the kind of connection that builds careers, not just metrics.
And here’s the other thing — radio is for a very particular type of listener. Even people without a lot of money have a phone, YouTube, and every streaming option in the world. They can pull up any song in seconds. But they choose to tune in to their local radio station and let a real human guide the experience. They want to hear what’s happening in their own market. They have a connection with their morning show. Radio rides with them on the drive to work and the drive home. There is still an audience that wants someone they trust to tell them what to listen to.
And that choice still matters. Radio is still one of the most important tools to get people in the room when bands tour. Streaming builds fans, radio gets them to a show.
In today’s ecosystem, radio isn’t the only discovery tool anymore but it’s still the heartbeat of how rock fans connect to music. It’s where songs go from “I heard this online once” to “this is MY song.” And that still matters.
Artist Participation
Keith: Artists used to jump at access to Radio — studio visits, meet-n-greets, interviews, promotions, etc.. Now some won’t even cut IDs. Why is that?
Jackie: I think a lot of it comes down to being overwhelmed, not a lack of respect for radio. Artists today are being pulled in ten different directions at once — content demands, touring schedules, label pressure, having a constant online presence. And somewhere along the way, the value of radio access got buried under the noise.
But here’s the truth most people don’t say out loud: When artists don’t do IDs or interviews, it’s usually because no one has explained why it matters anymore, or they’ve never experienced what great radio support actually feels like. That’s on the industry, not radio. Labels overload them with content tasks but might not prioritize radio as part of the strategy. Newer artists grew up consuming music online, not waiting by the stereo, so the magic of radio isn’t instinctive to them yet. Touring schedules are brutal, and artists are constantly exhausted. Studio visits used to be part of the plan; now they’re squeezed between 5 TikTok ideas and a 14 hour drive. Some don’t realize that IDs and interviews still move the needle — for stations, artists AND fans.
But the artists who DO lean into radio? They feel the impact and see crowds reacting to songs because they heard them on the radio. They hear callers freaking out, they see real humans, not algorithms. Most artists aren’t saying “radio doesn’t matter.” They’re really saying, “I’m drowning, and no one told me which things actually matter.”
Part of our jobs are re-educating them — showing them that radio isn’t a chore, it’s a relationship that amplifies everything else they are chasing. When they get that, they show up.
Which Platform
Keith: Out of Spotify, TikTok, YouTube, Instagram and others, which platform matters most for developing artists? Which do people undervalue?
Jackie: The most important platform depends on the artist, but if I had to pick one, YouTube is the quiet heavyweight.
TikTok can spark a moment. Instagram builds personality. Spotify gives you data and stability. But YouTube is where fans actually watch you become a band. It’s long-form, it’s global, it’s evergreen, and it turns casual listeners into real believers.
The platform people undervalue the most? Instagram – especially for rock & metal. It’s where fans build emotional connection. Stories, reels, behind-the-scenes, tour life — it’s where artists show who they are without chasing the algorithm of the week.
TikTok might introduce you. Spotify might track your growth. But YouTube builds a foundation and Instagram makes people care.
Labels vs. Management
Keith: What’s something artist managers understand that most label people don’t and vice versa?
Jackie: Managers understand the human side in a way most label people don’t. Managers live in the day-to-day. The stress, the burnout, the late-night panic texts. They see the artist as a whole person, not just the cycle. They’ll know when someone’s creatively tapped, when pushing harder will backfire, when a simple label ask actually derails the entire week. They feel every ripple.
Label folks understand the ecosystem side in a way most managers don’t. Labels see the bigger machine — the timelines, budgets, metrics, global strategy, how 10 different departments have to line up for one moment to work. They understand how one missed deadline can break a whole campaign, or how one fast decision on the management side can throw off multiple departments behind the scenes.
Data That Matters
Keith: You see all the data and view it through different lenses, from radio to labels and management. Is there data you just ignore? And is there a metric that tells you an artist is breaking before any chart can?
Jackie: I ignore any data that treats music like a math problem. Raw streams with no context, playlist adds that don’t convert, TikTok spikes with no follow-through. I don’t chase numbers that don’t actually mean anything for career building. One viral moment without retention isn’t a metric…it’s noise.
What I do pay attention to is repeat behavior. When fans start coming back…watching the whole video, saving the song, re-sharing the clips, showing up in comments. That’s REAL momentum. You can’t fake that.
There is one metric that always tells me a band is about to break before a chart ever reflects it. Ticket acceleration. When a band is opening and you see their walk-in crowds growing night after night or venues quietly upgrading rooms because they’re suddenly pulling real numbers — that’s the first flicker that something real is catching.
Charts lag behind reality. But the moment fans start rearranging their weekend to show up early for an opener? That’s when you know something real is happening.
Artist Management
Keith: Compared to 10-20 years ago, what has become harder about managing an artist? What has become easier?
Jackie: The nonstop pace is harder. 10 or 20 years ago, you could give an artist space to disappear, write, reset. Now they’re expected to be “on” 24/7 — posting, filming, touring, engaging, creating. You’re managing not just a career, but their capacity as a human being in an always-on world. People hit their limit much quicker now. Attention spans are shorter. Every platform wants a different version of them, which can pull an artist in five directions at once.
What is easier? Access. You don’t need a million dollar setup to reach fans anymore. One great idea, one great clip, one moment of authenticity can be enough to spark real momentum. Tools are better, analytics are clearer, and artists have more ways to build an audience without waiting for a gatekeeper to tap them in. So the challenge now is filtering out the noise while using the access. The artists who find that balance — and the mangers who help them protect it — are the ones that actually grow.
The Uncomfortable Truth
Keith: What’s the uncomfortable truth about today’s music industry that most aren’t willing to admit?
Jackie: A viral spike, a fast metric, a flashy chart screenshot…those things get more attention than real artist development. It’s easier to celebrate noise than invest in longevity. And that pressure pushes artists to create for algorithms instead of building something meaningful.
But here is the other truth: fans still want careers, not moments. They want bands they can follow for years, not 15 seconds. And the artists who focus on substance — even if it takes longer — end up outlasting the ones who chase the quick hit.
So yes, the industry has become obsessed with the immediate. But the artists who win are still the ones playing the long game… and the teams willing to support that are the ones shaping the future.
Carrying The Torch
Keith: What keeps you passionate about being a syndicated DJ for hard rock and metal?
Jackie: Because this music still hits me in the chest the same way it did when I was a kid. Being syndicated means I get to bring that energy to people everywhere, every week. I feel incredibly fortunate that I get to play the classic metal bands I grew up on and put them right alongside the new artists who are pushing the genre forward. That balance keeps the show exciting to me.
I also love giving bands a platform where the music isn’t background noise…it’s celebrated! And listeners know when you’re doing something with heart. That’s why they show up.
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.
The artificial intelligence revolution is here and is impacting every segment of our lives. If you are not using AI or playing around with it, I am sharing the ideas that I pursue on ChatGPT, Grok, and Perplexity to lead my news/talk radio stations.
No matter how well read you are, you can never have enough data. You just cannot know enough. If you are like me, you probably need to confront your confirmation bias. When I hear a host explain why his or her listeners are different from the station’s target demographics, I know that they are prisoners of their confirmation bias.
Hosts, you automatically have a tad bit of a messiah complex. You are programmed to share your opinions, observations, and interests. This is a great thing. You can’t be a successful host without those qualities. But if your audience doesn’t relate or care about the interests you share, you are in deep trouble. Our job is to reflect our audience.
I have hosted shows where deer hunting is a huge deal. I am a hunter, but have never really had the desire to sit in a deer stand for 12 hours on a weekend. I would rather walk through a field with my dog looking for pheasants or quail. If my audience is interested, I am as well. If you are a dude, your romantic partner has locked you into watching a Hallmark Christmas movie with her. These movies make her happy. Do you take a couple of hours to make her happy? I know it sucks, but you do it.
Well, you may not be actually interested in the cares, concerns, and interests of your community, and that is totally fine. You must reflect their interests to be successful. Artificial intelligence gives us the opportunity to learn more about our audience.
If your company has not invested in a perceptual study of the market, this can work as a poor man’s research budget. I will give you a couple of warnings though. Cross-check the data. AI will give you only the data that you request. It is all about the prompts. I was digging into housing data for my community on ChatGPT. The answer was a little weird. I checked a few other places online, adjusted my prompts, and received a complete look at what I was seeking. It’s all about the prompt.
Use AI to build a summary of an article that you are reading. This can be very helpful if you are using a long article with lots of information. Enter the URL of the article and ask for a bullet-point summary. I find this technique very useful.
Now, read the article first and digest the information. You will find that a summary from artificial intelligence will give you a very accurate look at the piece and can help you build your topic in a more efficient manner. This really helps if you are doing deep research and find a long study from a think tank. You can ask for a 300-word summary. You get the information you need, and that allows you to prep for an entertaining angle for your station’s listeners.
Show prep is a lonely pursuit. Show prep must be completed, and generally hosts lock themselves away to be ready for the next show. You may be a host that gets caught up in the information, which can be a hindrance to doing the show part. Artificial intelligence is like having a producer who is available 24 hours a day.
This tool will only assist you if you are honest with yourself. We all may live in an imaginary world from time to time. There are great reasons to build a show around not getting too personal about your life. I get it — your wife, kids, co-workers, or friends may get perturbed if you spill the beans on your interactions with them. It can actually destroy relationships. But personal anecdotes are essential for creating glue with the audience.
I was raised Roman Catholic. Part of that religion is going into a confessional to tell the priest about your shortcomings. Confession is a very needed thing for human beings. You may not be Catholic, but you may have friends, a therapist, or a family member that you can be very honest with. It is kind of freeing to get things off your chest.
Well, tell artificial intelligence a scenario and let it build a background for your anecdote. It is like having staff writers. You may produce 15 to 20 hours of programming a week. That is a lot of work, and that content is built by you!
According to ChatGPT, The Tonight Show with Jimmy Fallon has 20 full-time writers. This is for five hours a week. You are a writing staff of one, with perhaps a producer, for 15 hours a week. Artificial intelligence can build a personal connection to a news story in 30 seconds. Use the tool. Artificial intelligence can help you be completely prepared for a show, and it will allow you to create other ideas to make your show even more relatable to your station’s target audience.
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.
