A year ago today, July 22, 2025, the world didn’t just lose a rock star. It lost a legend — John Michael “Ozzy” Osbourne.
Ozzy was a force, a presence, truly one-of-one. He was a human and artist unlike most we’ll ever be lucky enough to encounter in our lifetime.
Still Feeling the Loss
A year removed, the loss still feels strange. You can still feel the space he left behind. Every time Ozzy’s music comes barreling out of the speakers, it hits differently — heavier, more meaningful. Clips from the reality show still bring laughs. Meanwhile, bootleg recordings feel newly sacred and even more valuable. And tributes from brands and artists continue to remind us how remarkable the Prince of Darkness really was.
Throughout his life, Ozzy brought people together, made them smile, and showed the world what real, unfiltered authenticity looked like. When he passed, the Rock community responded in a way I’ve never seen — wholly united, emotional, and stronger than ever.
Legends Don’t Die
That fire still burns, because legends don’t die — they evolve. In fact, they take on new meaning and create unforgettable memories along the way.
Indeed, Ozzy is still with us. And he is still dearly missed, one year later.
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Whenever I hear someone mention the band Tesla, one phrase usually follows — “They Are SOOOOO Underrated.” Indeed.
The Sacramento hard rockers debuted in 1986 with one of the most killer rock albums of the decade, Mechanical Resonance, and have been at it ever since. Tesla also made acoustic rock cool with Five Man Acoustical Jam, released in 1990. They have continued their legacy through the years with exceptional talent driving the tour bus.
Their new studio album, Homage — out this past Friday on Frontiers Records — pays tribute to some of the band’s favorite vocalists. Those include Etta James, Bob Seger, Hank Williams Sr., and Sam Cooke. The record also honors their own singer, Jeff Keith, who at 68 is still killing it vocally on tour with the band.
Frank Hannon: Tesla’s Guitar Master
Frank Hannon has been Tesla’s guitar player since day one. He is a master craftsman, solo artist, producer, and founder of Frank Hannon Music. Frank joined me on my Carr Stereo Podcast and discussed why paying Homage was important. We also talked about his style of guitar playing and spending more than 20 years as the son-in-law of another guitar master — the late Dickie Betts of the Allman Brothers Band. Frank is one of rock’s most humble people, and it is always a pleasure to catch up with him.
*Editor’s Note: Answers have been edited for clarity and length.*
Terrie Carr: Frank! So many decades of friendship, love, and music. It is wonderful to see your beautiful face again. Thanks so much for joining me on Carr Stereo.
Frank Hannon: Thanks, Terrie. Yeah, it’s great to see you. We were just talking about all the years — gosh, it’s been a lot with you! And we’re celebrating 40 years since our first album, Mechanical Resonance, came out. We used to come to your neck of the woods a lot!
Terrie Carr: The history I have had with Tesla — wow. You guys did the first radio station concert that we did independent, away from all the big promoters, way back when in a minor league ballpark. They didn’t want us using the field, so we couldn’t pack it — but you guys killed it. I can’t believe it’s been 40 years since Mechanical Resonance. And 40 years ago, ’86 was a year where we had a lot of big records. That was a monumental year for hard rock — Slippery When Wet, Look What the Cat Dragged In, Master of Puppets, Megadeth’s Peace Sells…
Frank Hannon:Eat ‘Em and Smile!
Terrie Carr: Yup! Diamond David Lee Roth. Wow, so many. You guys have a new release, Homage, out now. How many Tesla records do we have? We have eight studio, I think, and six live. You’ve got six solo. I said it to you before we got rolling — you are the unsung hero of guitar, criminally underrated, just amazing. Technique and tone. But here’s what I love so much about your playing — anybody can have the technique. There is something that emotes out of you that I don’t always necessarily hear with the most technical players. You are a very special player who makes people feel. This collection has 14 tracks, 13 of which are covers. One is a brand new song called “Never Alone.” This is also a very special record because you’re paying Homage to — stop me if I’m wrong — vocalists. Yes?
The Concept Behind Homage
Frank Hannon: Correct. That’s exactly the concept. When we started this particular project, instead of just doing another covers album, there was a concept behind it. Brian Wheat, our bassist, came up with the word “Homage.” There are many ways of pronouncing it — “Homagio” in Italy. I just did an Italian interview! It’s a tribute to lead singers. It started with the Queen song “Spread Your Wings” and Freddie Mercury — the idea of Jeff being able to sing a Freddie Mercury song. Then it went from that to Elvis Presley, and then to James Brown. They asked me, “Well, Frank, what do you think?” And I said, “How about Bob Seger?” We wanted to show people that at 68 years old, Jeff Keith is still able to sing so many dynamic, soulful types of things. A lot of the vocal tracks on this new record were done in my home studio when we were just making the first demos, and we kept those early takes. Jeff is just able to naturally belt it out, and usually the first couple of takes are the best — and that’s what’s on this record. Someone asked me to describe Jeff in one word the other day in one of these interviews, and I said “Heart.” He’s from the heart, he wears his heart on his sleeve — he’s all heart. Going back to 1984, when I had my home studio and first heard Jeff sing in the club, he came over to my house and we started recording and writing songs like “Modern Day Cowboy” and “Changes” — songs that ended up on our first album. I would set the mic up, I had a little four-track recorder, I’d press record, and he would just start singing. It was instant. I didn’t have to do a hundred takes of vocals — it was just one or two passes, and he just has the natural gift. But more importantly, he sings lyrics and everything from the heart, and that’s how our songwriting has always been. We’ve always taken that approach. And when I play guitar, it’s the same thing. I’d rather play one or two notes that make me feel a certain way — and hopefully make someone else feel — as opposed to using my brain and trying to be a math scientist on the guitar and playing a bunch of numbers.
Terrie Carr: Well, when I watch you play, I hear you and I watch you — your whole body goes into it. Certain people have their whole body go into it. Flea does that. I was watching the Earth, Wind & Fire documentary on HBO — Verdeen White does that on bass. That’s you.
Frank Hannon: Thank you. Jimi did that too….
Remembering Dickie Betts
Terrie Carr: Someone else you remind me of is your father-in-law — if people don’t know, I don’t want to say “was” because he’s still your father-in-law, even though he’s no longer with us. The late, great, amazing Dickie Betts. You’re married to Christy, and you guys have been married for a really long time.
Frank Hannon: Yeah, 25 years.
Terrie Carr: Wow. I interviewed Dickie a couple of times and I loved him — he was a delightful character, always super fun. He’d hit me up talking about how much he loved the Jersey girls because we were spicy and feisty. I always felt like it was a gift for me as an interviewer and radio personality to sit down and pick the brain of someone like Dickie Betts. What was it like for you having him in your life for such a long time? He was a real special guy.
Frank Hannon: Oh, he was so special and so dynamic. Dynamic is the word I use to describe him because he was multifaceted. If you look at his music, he’s one of the greatest unique guitarists. Even Ronnie Montrose told me, “Man, Dickie Betts instantly has the most recognizable guitar sound” — as soon as you hear him, you know it’s him. So as a guitarist, that’s one thing, but as a songwriter, singer, survivor, and artist in general — as a person — as you described, his personality and character could be so fun, and then so serious at the same time. So inspiring, man. The best times I had with him — while I did get to play music with him a few times on stage — were on the golf course or driving in the car, just listening to him crack jokes. He was really witty. He would crack a joke and you’d be like, “Huh? Is he serious?” He would say, “You know, out of all the guys I hate, I hate you the least.” He had that southern dry humor that would catch you by surprise. I learned so much about character and honesty from him. He was the most real, honest character — he wasn’t faking it in any way, shape, or form. What you saw is what you got with Dickie Betts. He was able to detect any nonsense instantly. He told me a story about one time he was at a party — I think Steve Martin and John Belushi and all these people were there — and some guy was being a real jerk. Dickie kept saying, “Hey man, why don’t you just have a good time, settle down?” And the guy said, “Hey, let’s take this outside.” And Dickie said, “You ain’t gonna make it to the door.” As he was standing up, he knocked the guy out cold. Then Steve Martin and all the guys said, “Thanks, Dickie — that guy’s been bothering me all night.” That’s who he was.
Frank also discusses hitting the road with Mötley Crüe and Extreme for a big summer rock tour, and more on Dickie’s final days spent with family. It was a really special conversation with Frank Hannon from Tesla — one of my personal favorite bands of all time. Thanks, Frank — always a pleasure.
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Last year, the news felt sudden. After 4,953 episodes across nearly 23 years on ESPN, Around the Horn came to an end. For Tony Reali, who hosted the program for 21 years, the show marked his evolution from a 24-year-old, sports-obsessed newcomer into one of the network’s most beloved personalities.
Since Around the Horn aired its final episode in May 2025, Reali has remained largely out of the spotlight. Aside from the occasional social media post, he spent his time deciding what came next. Rather than rushing back to network television, Reali found inspiration during his time away, realizing media was increasingly being shaped by individual creators instead of network executives.
“I wanted to create not the next job search, but the next job venture. Once I got to that space in my head, what am I going to invent? Around the Horn 2.0 or PTI [Pardon the Interruption] 2.0 would be something I knew how to do. But I wanted to do something different,” explains Reali.
Last week, Reali unveiled that new venture. After launching his own media company, Real Ones Media, and partnering with iHeartMedia, he introducedReal Deal with Tony Reali. The sports culture podcast is built around one memorable sports moment at a time. The venture blends a podcast, game show, exclusive interview, and walk-and-talk into one production.
“This idea of living in the moments is a byproduct of how I was consuming content at that time in 2025. I live in a world where I’m reminded of a great sports moment in my feed or in my group chat, and I want to unpack what that is,” says Reali. “It all comes back to feelings. I’m a big feelings guy. It’s a great unlocking for me sharing in the connection you feel with sports.”
Building Real Deal
Reali considers himself fiercely independent. During his time at ESPN, he only took on projects where he felt fully invested. That approach continues to shape how he’s building Real Deal and the other projects he hopes to develop in the coming years.
After Around the Horn ended, multiple podcast platforms approached Reali with concepts centered around his talents. Instead of immediately accepting an opportunity, he immersed himself in studying creators who had built successful independent media businesses. He spent months talking with them about content creation, ownership, and the freedom that comes with building something on their own.
“I didn’t want to go more than a year [away from media], and I was three quarters down the way to building one thing. Then the opportunity to partner with iHeartMedia came up and I pivoted,” said Reali about going fully independent compared to partnering with iHeartMedia for Real Deal. “For me, this [Real Deal with Tony Reali] is sports culture. They [iHeartMedia] have wins in culture. I want to be intentional about this, and that’s part of my long-term strategy.”
Reali said iHeartMedia expressed interest in partnering with him almost immediately after Around the Horn concluded. Other companies also reached out with opportunities, ranging from reaction-based sports content to daily programming similar to pregame and postgame shows.
In addition, there was plenty of speculation throughout the industry. Following FS1’s shake-up of its daily lineup, many assumed the network would pursue Reali, but no offer ever materialized. Netflix also became the subject of rumors, yet Reali says the streaming platform never made an offer.
Still, Reali paid close attention to the direction both companies took. FS1 partnered with Barstool Sports to launch Wake Up Barstool, while Netflix reached agreements with The Ringer, Barstool Sports, and iHeartMedia to add podcast programming to its platform.
“I saw where they landed which was digital shows on TV,” noted Reali. “It became apparent to me that those offers are going elsewhere. So, it wasn’t a feeling of I’m on the outs. It was about preparing myself to be the most attractive candidate or building my own brand.”
The End Of Around The Horn
Reali also noticed the trend extending to his former home at ESPN. The Pat McAfee Show and The Rich Eisen Show both operate under licensing agreements in which ESPN distributes the programs without exercising creative control. He views those types of agreements as an increasingly commonplace strategy and one he knew he needed to prepare for as he planned his next move.
Despite the show’s cancellation, Reali still considers Around the Horn a success by every measure. He credits ESPN for allowing the program to receive the sendoff its loyal audience deserved. The emotions shared during the final episode reflected exactly how he wanted the show to conclude.
However, Reali says he had already processed the show’s cancellation well before the final episode aired in May 2025. Throughout his tenure, he believed Around the Horn and Pardon the Interruption occupied a unique place within ESPN’s lineup.
“All the other shows on ESPN feel different than Around the Horn and PTI. Those are different animals. I much preferred where I was with the species of shows that were there,” says Reali. “I got reached out to twice in 25 years. Maybe three times. Not about other opportunities with ESPN. More keep doing what you’re doing type conversations.”
Even during the show’s final months, that lack of communication continued. Reali reiterated that Around the Horn and PTI operated in “a different lunar system,” adding that ESPN never offered him another opportunity to remain with the company.
“It’s messy to break up with somebody. You always want more communication and you want to hear more. I didn’t hear as much as I wanted to in the moment, but I wasn’t waiting on them,” explained Reali.
Reali says the end of Around the Horn wasn’t a “blow.” Instead, his focus quickly shifted toward building what came next. He admitted that dedicating himself almost exclusively to Around the Horn and PTI may not have been the smartest business decision, but he believes it was the right creative one.
In the months surrounding the show’s finale, Reali received an outpouring of texts, emails, and messages thanking him for everything he invested in a program that informed, entertained, and introduced audiences to new personalities along the way. As ESPN continues leaning into nostalgia with the returns of Rich Eisen, Mike Golic, and others, Reali says he would welcome the opportunity to return for a special one-off appearance with the network he called home for more than two decades.
“I’m not running from my past. I’m very thankful for what the show meant to me and the viewers. There’s no ‘I’m not working with them’ feelings at all,” said Reali. “Of course, I’ll do a show and be happy to see people if they’re interested. But that’s not going to be my only brand. I’m not running away from it, but I’m not running back to it either.”
Evolving Into A New Era
Now, Reali’s attention is centered on building Real Deal. Each episode begins with him walking into the studio, identifying a memorable sports moment, exploring why it resonated, finding the right guest, reliving the experience, and wrapping up with a walk-and-talk that brings the story full circle.
His goal isn’t to climb to the top of the podcast charts. Instead, Reali wants to continue serving the audience that has supported him throughout his career. He’d rather deeply connect with the top five percent of his audience than simply rank among the top five percent of podcasts nationwide. He understands the challenges of the medium but has no intention of backing away from them.
“If your people that are there from the start are into you, that’ll be a success for me from the start,” said Reali. “I don’t want to silo myself away where I’m only doing one show. I want to people to feel Real Deal, and I have other ideas I’m wanting to do down the road. There will be three to four others to grow out the portfolio in a way. I don’t see overexposure with the voice.”
Reali is leaning on his producing background to shape each project’s format. While the person remains the same, the creative challenges are different. He also plans to expand beyond podcasting by hosting live events, creating new opportunities to connect with the sports fans who have supported him throughout his career.
“I had an odd awakening in this year off. It’s not ‘you are a sports host.’ It’s what are the greats doing? Colin Cowherd, Dan Patrick, Nick Wright among others. What are they doing on their shows? Mine was different following the comedians and several YouTubers,” explained Reali. “I use the term irresistible on this show. That’s the moments I’m chasing in this show. It’s the one you can’t resist when it shows up in your feed. You’ve seen it five times in that ten second clip, and you’re still unpacking some of the feelings behind it. That’s what success will look like for me building out a roster of shows bringing those feelings out in different ways.”
Reali built his career helping audiences debate the biggest moments in sports. Now, he’s betting those moments can fuel something even bigger than a television show. Whether through podcasts, live events, or future projects still on the drawing board, he’s chasing connection over convention.
For someone who spent more than two decades defining one of ESPN’s signature programs, the next chapter isn’t about replacing Around the Horn. It’s about proving the most compelling stories are still the ones he hasn’t told yet.
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First Take is without question one of ESPN’s most unique and important studio programs. The foundation built many years ago by embracing debate has fueled a generation of content creators, all chasing a piece of the attention that sports television’s premier debate show commands.
Yesterday, ESPN was part of Disney’s company-wide reduction in force. Some names you know, many you do not. Ryan Clark, Charles Davis, Karl Ravech, Tom Pelissero, and Bart Scott were among the more recognizable personalities who exited the company. However, it was the departure of Cam Newton from First Take that raises an interesting question about the program’s future. Is it officially time to welcome Skip Bayless back to First Take on a weekly basis?
I know what many of you are thinking, so stop rolling your eyes for a moment.
Earlier this year, Bayless returned to the show that helped define his television career. His appearance wasn’t simply a nostalgic reunion alongside Stephen A. Smith. It was a reminder of why he became one of the most influential personalities in sports media.
The results spoke for themselves.
Bayless’ appearance averaged 674,000 viewers, a 24% increase over the program’s weekday average to that point this year (520,800) and 44% higher than the corresponding episode a year earlier.
The impact extended well beyond television.
According to Front Office Sports, Bayless’ return generated more than 33.5 million social impressions, 2.2 million video views, and 1.1 million engagements across ESPN’s social platforms.
People watched. They shared. They debated. In other words, they did exactly what First Take has always been built to encourage.
Opportunity Meets Bayless
Those numbers matter because they reinforce what has always separated First Take from nearly every other studio show. It doesn’t simply cover sports. It creates conversation.
Bayless helped pioneer that formula by taking the energy, passion, and opinion-driven style that fueled sports radio and successfully adapting it for television. Countless debate shows have followed, but First Take remains the standard every competitor continues to chase.
Yesterday’s layoffs unexpectedly created an opening.
Cam Newton joined First Take after Shannon Sharpe departed the program. Unfortunately for Newton, despite signing a multi-year contract less than a year ago, he became one of the casualties of Disney’s latest workforce reduction.
Replacing Newton shouldn’t necessarily mean finding another former NFL player. It should mean finding someone capable of creating compelling television.
That has always been First Take’s greatest strength. Viewers tune in because of personalities, chemistry, and conversation. Credentials certainly matter, but television chemistry matters even more.
Watching Bayless reunite with Stephen A. Smith in May, it was obvious the chemistry still exists.
Yes, ESPN leaned heavily into nostalgia by revisiting many of their legendary debates. Even so, what stood out wasn’t simply the history. It was how naturally the two slipped back into the roles that helped make First Take a cultural phenomenon.
The debates still felt authentic. The entertainment value remained high. Most importantly, audiences responded.
What’s Old Is New Again
ESPN has shown in recent years that it’s willing to reunite familiar personalities when it believes viewers still have an appetite for them. Rich Eisen returned to host his radio show, produce the This Was SportsCenter podcast, and contribute to SportsCenter. Mike Golic is also returning to ESPN Radio, bringing back one of the network’s most recognizable voices.
Bringing Bayless back to First Take would fit that same philosophy. This isn’t about recreating 2012. It’s about recognizing what still works in 2026.
Opportunity is often where preparation meets timing. Bayless’ return in May proved the audience remains interested. Yesterday’s layoffs unexpectedly created another opening.
ESPN doesn’t need Skip Bayless simply because of nostalgia. It needs him because he still delivers results. The audience showed up. The social numbers exploded. The debates felt relevant again.
Layoffs are never easy, whether you’re delivering the news or receiving it. But successful companies understand they must continue building even while reducing costs. The battle for audience attention never stops, and neither does the demand for compelling content.
In today’s sports media landscape, proven chemistry is difficult to manufacture. ESPN already knows this pairing works. With another opening on First Take, the easiest decision may also be the smartest one.
Run it back.
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It used to be easy to put music into a box. This was alternative, so it went over there. This was country, so it went into that box. Hip-hop, rock, pop and dance each had their own clearly marked section. Radio stations, record labels and advertisers could identify the audience, package it and sell it.
Those boxes still exist, but the boundaries around them are fading. They have been fading since the arrival of the iPod. For the first time, listeners could carry thousands of songs in their pockets and shuffle between genres without changing radio stations, buying another album or thinking about format classifications. That was an early sign that music fans were becoming more nomadic.
What the Data Tells Us
Luminate’s newly released 2026 Midyear Report offers fresh evidence of how much listening behavior continues to evolve. U.S. on-demand audio streaming grew 4.8% during the first half of the year, reaching 732.7 billion streams. Dance and electronic music posted the largest increase in U.S. streaming share. Meanwhile, nearly one in every 10 U.S. streams is now in Spanish. In addition, Luminate’s separate consumer research found that casual monthly listening to Latin music climbed from 41% of U.S. listeners in early 2024 to 56% during the first quarter of 2026.
Those numbers do not mean everybody suddenly listens to everything. However, they do suggest that increasingly large portions of the audience are moving beyond the categories the music industry traditionally assigned to them. A listener might move from country to hip-hop, then to alternative, Latin, pop or dance without feeling as though they have crossed into an entirely different world. The industry sees format changes. The listener simply hears another song they like.
The Business Reality of Blurring Boundaries
That behavior is not particularly convenient for record labels or radio stations. Market segmentation remains important. Radio still needs a clear position, and labels still need identifiable pathways for promoting artists. Advertisers also want to know whom they are buying. Nevertheless, the lines separating those audiences are becoming increasingly difficult to defend.
The variety-hits format recognized some of this shift. The original promise of stations such as Jack FM was essentially, “We play everything.” Of course, that quickly became, “We play everything — sort of.” There were still boundaries. There were still songs that tested poorly, artists who did not fit and genres that remained outside the station’s definition of variety. Even the format built around breaking the rules eventually developed its own set of rules.
How Younger Listeners Are Reshaping Expectations
Today’s younger listeners do not necessarily expect those same boundaries. Instead, their playlists are shaped by algorithms, social media, friends, video games, television programs and whatever song happens to capture their attention. That does not mean a classic rock station should suddenly start playing current hip-hop records. Radio stations still need an identity. Being the best station in a clearly defined lane remains important.
However, programmers must recognize that listeners are regularly leaving that lane. They are not necessarily leaving because the station failed. Rather, they are leaving because music consumption no longer travels in a straight line. The listener who loves classic rock may also enjoy country, alternative or a Latin crossover record. That person does not see a contradiction. The question is whether radio will fight that behavior or learn from it.
Finding Focus Without Rigid Fences
Formats should continue providing focus, but programmers may need to become more comfortable with porous boundaries. Furthermore, the market should help determine which adjacent sounds and artists belong, rather than relying entirely on rules developed when listeners had fewer choices. Be the best in your lane. Just understand that today’s listener is going to wander.
The boundary lines have changed. The patterns of consumption have also changed. Radio’s challenge is figuring out how to respect that nomadic behavior without losing the identity that made the station valuable in the first place.
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Based on your years of sales and management experience, it’s certainly reasonable to estimate that 70-80% of media salespeople never, or rarely, move beyond a client’s immediate needs. This leaves countless revenue opportunities on the table. While that’s an informed estimate rather than a published industry statistic, it reflects what we’ve all seen every day.
Most sellers still spend their days chasing obvious prospects like car dealers, healthcare providers, furniture stores, banks, and restaurants. Of course, these clients and prospects remain important, but many sellers unwittingly walk past dozens of revenue opportunities simply because they don’t fit traditional boxes.
Without sounding too judgmental, the biggest missed opportunities don’t stem from a lack of prospects. They often result from a lack of imagination.
Here are some of the most overlooked categories to consider when prospecting:
B2B Marketing
Manufacturers, logistics companies, software developers, industrial suppliers, accounting firms, engineering companies, and commercial construction businesses too often view radio and TV strictly as consumer advertising. In reality, these companies are constantly recruiting employees, building brand awareness, and establishing credibility within their industries. Media companies should show them how broadcast, digital, podcasts, streaming, and social platforms can accomplish those goals.
Employee Recruitment
While more sellers have recognized this as a major category, many still haven’t dug deep enough or realized how often employers compete for talent. Sellers tend to wait until they’re asked whether they can help identify candidates instead of proactively proposing employment marketing campaigns. Most managers know that well-designed recruitment campaigns combining broadcast media, streaming audio and video, social media, and digital advertising can generate recurring revenue.
Economic Development Organizations
Chambers of commerce, colleges and universities, technical schools, workforce development agencies, hospitals, and nonprofit organizations. These institutions often have sizable budgets dedicated to awareness and education, fundraising, and community outreach. Too many sellers contact them only when sponsorship opportunities arise instead of positioning themselves as true marketing partners.
Existing Client’s Vendors/Business Partners
Perhaps most surprising, sellers often neglect to ask clients about the companies they work with. Existing advertisers all have accountants, attorneys, insurance agencies, suppliers, technology providers, real estate firms, and countless other vendors. Asking a question like, “Who are your most important business partners?” uncovers a network of qualified prospects that already have trusted connections.
Internal Communications
Large companies often need help communicating with their employees about a wide range of topics, including benefits, safety, career growth, wellness programs, enrollment opportunities, and company events. If you have digital capabilities, you can create videos, podcasts, newsletters, and internal communication campaigns that generate revenue outside of “traditional” advertising.
Community Events
This category represents another overlooked opportunity. Programming departments and on-air talent often give away free airtime and PSAs for festivals, conventions, sports tournaments, 5Ks, charity fundraisers, expos, and other local events. In reality, these events require months of planning and promotion to succeed. We often assume 501(c)(3) organizations don’t have advertising budgets or have only limited resources. That may be true in some cases, but many have dedicated marketing dollars. Don’t assume anything. Rather than giving airtime away or offering less impactful sponsorships, propose comprehensive marketing partnerships that include on-air promotion, streaming, social media, digital advertising, email marketing, influencer content, and event production. No one spends money if they think they can get it for free!
Stop thinking only in terms of advertising budgets.
Nearly every existing client has budgets outside advertising that you can convert into revenue. I often met with marketing departments that said their advertising budgets were depleted, only to discover that human resources, public relations, and training departments had budgets of their own. Those dollars exist outside the marketing department, meaning fewer competitors are pursuing them.
The most successful sellers don’t sell commercials. They sell solutions and solve problems. When they broaden their conversations and ask, “What challenges are you trying to solve?” entirely new business begins to appear. The next great account is likely already in your market. Are you looking for advertisers or opportunities?
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.
iHeartMedia is bringing back its annual Fiesta Latina concert. The 13th edition heads to Miami’s Kaseya Center on Saturday, October 17.
What We Know: The 2026 iHeartRadio Fiesta Latina features a strong lineup. Performers include Myke Towers, Blessd, Farruko, Manuel Turizo, Eladio Carrión, FloyyMenor, Greeicy, Alleh, and Rey Tony Y Helabusador “Los Titis.” Enrique Santos, President of iHeartLatino, returns as host. Additionally, Lin-Manuel Miranda will receive the 2026 iHeartRadio Corazón Latino Award.
What’s at Stake: Latin music’s cultural momentum continues to grow — and iHeart knows it. This event showcases the format’s commercial and cultural power across multiple Spanish-language formats. Moreover, honoring Miranda elevates the night beyond entertainment into a statement about Latino representation. Tickets go on sale July 28 at 10am ET via Ticketmaster.
What Remains Unclear: iHeartMedia hasn’t revealed specific broadcast times or streaming windows yet. It’s also unclear whether additional performers will join the lineup before October. Furthermore, details around the Miranda tribute segment — its format and participants — remain unconfirmed.
What It Means: Fiesta Latina remains one of iHeart’s most culturally significant live events. The concert reaches fans through Spanish Contemporary Hits, Tropical, Regional Mexican, Tejano, and Spanish Adult Hits stations. It also streams across multiple iHeartRadio digital stations simultaneously. Consequently, this isn’t just a concert — it’s a national broadcast moment for Latin music.
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Radio One is reshaping its Dallas R&B presence. The lineup from shuttered “Majic 94.5” KZMJ Gainesville has largely migrated to newly acquired “Smooth R&B 105.7” KRNB Decatur.
What We Know: The transition follows a deliberate, phased approach. Rickey Smiley moved to Hip Hop outlet KBFB on July 6. Now, the remaining KZMJ talent has landed at KRNB. Premiere Networks’ Steve Harvey Morning Show anchors the new lineup from 5-9am.
What’s at Stake: KRNB represents a significant strategic bet for Radio One in a competitive Dallas market. Queen Indy Bee retains her 9am-noon slot, while Veda Loca follows middays from 12-3pm. Reach Media’s DL Hughley Show holds afternoons from 3-7pm. KG Smooth closes the night with “Love and R&B.”
What Remains Unclear: Not everyone’s future is settled. Former KRNB afternoon host Keith Solis publicly confirmed his departure last week. Meanwhile, midday host Dr. Lynne Haze and “Quiet Storm” evening host Janet G have stayed silent. Their status with the company remains unknown.
What It Means: Radio One is consolidating talent while refreshing its Dallas R&B footprint. Moving proven KZMJ voices to KRNB limits disruption for loyal listeners. Still, roster uncertainty could create short-term turbulence. How audiences respond to the new lineup will ultimately define the move’s success.
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Triple Tigers Records/AKANDO Music has a new VP of National Promotion. Chris Palmer, a 28-year promotion veteran, steps into the role effective July 27th.
What We Know: Palmer fills the seat vacated by Raffaella Braun, who recently moved up to Co-President of the label. He brings an impressive track record — 56 #1 records across a career that began in 1998. Previously, he held VP roles at The Valory Music Company, Warner Music Nashville, and Lyric Street Records. In his new position, he will oversee radio promotion for both Triple Tigers and AKANDO Music.
What They Said: Braun wasted no time making her enthusiasm clear. “Having Chris Palmer part of this ambush of tigers is so exciting,” she said. “He brings the experience and creative juices, but most of all, the passion and fun we all love about this job.” Palmer, meanwhile, is equally energized. “I can’t wait to join an already incredible team, many of whom I’ve already worked with, that are firing on all cylinders with arguably Nashville’s hottest artist roster.”
What Remains Unclear: The specific artists or upcoming campaigns Palmer will prioritize first haven’t been revealed. Additionally, how his arrival reshapes the broader promotion team’s structure is still to be determined.
What It Means: Triple Tigers continues to invest aggressively in its promotion infrastructure. Landing a veteran with Palmer’s track record signals confidence — and real momentum — behind its growing artist roster. Nashville is watching.
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Midlands Media Group has found its missing piece. South Carolina native Robb Reel joins Country WUDE 94.3 The Dude in Forest Acres/Columbia as Brand Manager, morning host, and company Creative Services Director.
What We Know: Reel officially starts August 3. He comes from WVRC Media Classic Country 96.1 WKWS in Charleston, WV, where he served as morning host since 2023. His previous stops include WFMS Indianapolis, KGGL Missoula, WSCH Aurora, WDWQ Terre Haute, and WYGB Columbus. The new morning show will be called “Up Reel Early.”
What’s at Stake: The Dude holds a distinct brand position in the Columbia market. However, local personality has been the gap. Stover made clear that Reel’s role is to make the human element come to life. A strong morning show can anchor a station’s ratings and deepen community ties significantly.
What Remains Unclear: The full scope of Reel’s Creative Services responsibilities hasn’t been detailed publicly. It’s also unclear whether the morning show will expand beyond solo hosting. Additionally, how quickly The Dude’s audience will respond to new local programming remains to be seen.
What It Means: This hire signals a deliberate investment in local content for Midlands Media Group. Reel brings market experience and personal connection to the region. Notably, his own words reflect a homecoming that feels bigger than a job change. For country radio in Columbia, this could be a meaningful moment.
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