As the 250th anniversary of America comes closer, NewsNation has set at least one programming plan for Memorial Day. It features an in-depth look at America’s Navy.
What We Know: NewsNation will premiere a one-hour special, America’s Greatest Sailors: Heroes of the High Seas on Monday, May 25, at 9 PM ET. On Balance anchor Leland Vittert will host the documentary, which will also stream on NewsNationNow.com after its linear debut. The special features rare access to the United States Naval Academy. It also profiles figures from U.S. naval history, including John Paul Jones, David Farragut, Chester Nimitz, Bull Halsey, and James Stockdale. The special will also spotlight three Naval Academy midshipmen preparing to enter service.
What They Said: “As the nation approaches its 250th anniversary, NewsNation is proud to mark this historic milestone by celebrating America’s rich history. This documentary honors the sailors whose bravery helped win the Revolutionary War, laying the foundation for one of the strongest naval forces in the world and today’s modern Navy.” -NewsNation President of Programming & Specials Michael Corn
What Remains Unclear: It’s not yet known whether the special will encore beyond its May 25 premiere or expand to additional platforms. It is also unclear what other potential programming related to the America 250 celebration is in store of NewsNation.
What It Means: We’re likely to see an influx of military-related programming as the America 250 celebration approaches. Producing that content to air on Memorial Day makes plenty of sense. It’s the first in what’s likely a long line of similar content in the cable news sphere.
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Spotify has announced plans to adopt Apple Podcasts’ new HTTP Live Streaming capabilities. The move will allow users to seamlessly upload videos to both plaftorms.
What We Know: Apple and Spotify are aligning on video podcast distribution, a development that could reshape how creators reach audiences across platforms. Earlier this year, Apple rolled out a major upgrade to its video experience in Apple Podcasts, deploying HTTP Live Streaming technology to improve how video shows are delivered and consumed. The update shipped for iPhone, iPad, Apple Vision Pro, and the web in late March. Now, Spotify has announced plans to adopt Apple’s HLS technology for video podcasts as well. That move would let creators distribute video content to both Apple Podcasts and Spotify without overhauling their existing setup.
What They Said: “Starting this year, Spotify for Creators and Megaphone will support Apple Podcasts’ HLS video technology. This will enable Spotify-hosted creators to distribute their video podcast content across platforms, reaching audiences on both Spotify and Apple Podcasts without changing their existing setup — a major step toward truly platform-agnostic video distribution.” -Spotify
What Remains Unclear: Beyond distribution, Spotify says it’s also working to support monetization for video content on Apple Podcasts, so creators won’t have to choose between audience reach and revenue. The company adds that it’s actively coordinating with Apple on the integration. However, a firm timeline hasn’t been announced — Spotify says more details are coming soon.
What It Means: It feels like a surprising move by Spotify. The company has done everything it can in the past to own the podcast space. Adopting the new Apple Podcasts update for enhanced video podcasts is a shift in strategy. However, the goodwill from creators likely outweighs any negatives from the collaboration.
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NAB CEO Curtis LeGeyt has championed several moves in the media industry. He believes we could see changes in 2026 on those issues.
What We Know: The AM Radio for Every Vehicle Act was introduced almost three years ago, to the day. The NAB has continually touted the bipartisan support the bill has received. But the piece of legislation remains unsigned. The NAB has also previously shared that local ownership rules need to be modernized to allow for more competition. In a podcast appearance with RAB President Mike Hulvey, Curtis LeGeyt shared his belief that there could be movement this year on both.
What They Said: “I am very optimistic that we are going to get some modernization of these local radio ownership rules as well as passage of the AM for Every Vehicle Act this year … The exact timing on that’s a little above my pay grade. Because, unfortunately, I don’t have a vote in Congress. And I certainly don’t have one at the FCC. But I can tell you just based on the level of engagement and want to break through this on behalf of our champions in Washington, DC, including the chairman of the FCC on this issue of ownership, very, very confident on where we are.”
What Remains Unclear: What steps members of Congress need to push The AM Radio for Every Vehicle Act to a vote. It has been passed by two Senate committees and reintroduced in 2025. But still has not received a full vote.
What It Means: LeGeyt has long been optimistic about the potential passage of that bill. He’s also shared his stance that the ownership limits need to be reassessed. To say that he’s “very confident” about the potential for movement on each should bring some optimism to the industry.
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Spotify brought the music community to Nashville. The company hosted a Mental Health & Songwriter Summit at Belmont University, drawing close to 200 songwriters, artists, and executives.
What we know: The summit took place at Belmont’s Fisher Center, in partnership with Backline and powered by BetterHelp. Together, Spotify and Backline launched Between the Lines, a mental health guide developed specifically for songwriters. Moreover, panels featured prominent voices including Old Dominion’s Brad Tursi, singer-songwriter Joy Oladokun, and Sony Music Publishing Nashville CEO Rusty Gaston. Additionally, a dedicated on-site wellness space offered songwriters immediate access to practitioners and support pathways.
What’s at stake: Songwriters frequently face long hours, financial uncertainty, and emotional pressure that largely goes unseen. Furthermore, those working behind the scenes often lack the industry visibility that connects artists to mental health resources. Research consistently links creative occupations to elevated rates of anxiety and burnout. Consequently, access to structured, industry-specific support has become a growing priority across Nashville’s music community.
What remains unclear: Spotify has not disclosed specific funding commitments tied to the Heart & Soul initiative going forward. It also remains to be seen whether the Between the Lines guide will be distributed broadly beyond summit attendees. Similarly, future summit locations or a recurring schedule have not yet been confirmed. Nevertheless, Spotify signaled the Nashville event is one step in a longer effort.
What it means: Spotify’s relationship with the music industry has been rocky at best. Royalty disputes and creator frustration have followed the platform for years. Consequently, this mental health push looks less like charity — and more like strategy. Positioning as a creator advocate could help repair what low streaming payouts damaged.
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107.5 The Game in Columbia is expanding its local programming. A new show with Scott Hamilton is set to hit the lineup.
What We Know:Connecting Carolinas will air from 6-7 PM on 107.5 The Game. Scott Hamilton will serve as host of the daily program. Additionally, the show will air on 96.9 The Game in Charleston, 100.5 The Game in Florence, and 100.3 The Game in Myrtle Beach. Hamilton is no stranger to The Game lineup. He’s worked as a contributor to the station, as well as a sports columnist for the Charleston Post and Courier.
What They Said: “We have now expanded to being live and local from 6 AM-7 PM and delivering our content to three other markets in South Carolina.” -107.5 The Game Program Director Terry Ford
What Remains Unclear: When Hamilton’s show is slated to debut. We do know that it will replace a one-hour “Best Of” block in The Game’s lineup. It is also unclear what the content focus of Connecting Carolinas will be.
What It Means: Very few stations in a market the size of Columbia have local programming from 6 AM to 7 PM. It’s another commitment to providing local content by Cumulus Media. It also helps 107.5 The Game with another show from an experienced voice. That benefits the entire statewide sports radio network.
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The Buffalo Bills have a new radio flagship. Cumulus’ 97 Rock will serve as the new home of the NFL franchise in the market.
What We Know: The Buffalo Bills have moved their game broadcast and live show production in house, with the help of Good Karma Brands. The team also moved the daily One Bills Live show away to streamining on its website and airing on MSG Networks. 97 Rock previously served as the radio flagship for the Bills from 1998 to 2011. Additionally, The Score 1260 in Syracuse will serve as an affiliate. That station is also owned by Cumulus.
What They Said: “As we move into Highmark Stadium, we look forward to bringing Bills games back to 97 Rock and expanding our reach to even more fans across New York, as well as Southern Ontario. This new partnership ensures Bills fans will enjoy a best-in-class broadcast experience each and every game day.” -Buffalo Bills President of Business Operations Pete Guelli
“This is a proud moment for our company and for Buffalo. After 14 years, reuniting with the Bills as they move into a new stadium allows us to deliver a unique, elevated game day experience — bringing together two premier teams committed to excellence, community, and fans.” -Cumulus Media Regional Vice President Beth Coughlin
What It Means: The move ends a 14-year partnership between the Buffalo Bills and Audacy’s WGR. That station took over the rights in 2012 from 97 Rock. During the most recent ratings period, WGR earned a 7.0 share in the 12+ ratings. 97 Rock’s ratings were unavailable due to the ongoing litigation between Cumulus and Nielsen.
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The 2026 Barrett Media Audio Summit presented by Point to Point Marketing is coming to New York City June 30-July 2, 2026. The News Media show kicks things off on Tuesday, June 30th. Our Sports Media show follows on Wednesday, July 1st. And we cap it all off with our first-ever Music Radio show on Thursday, July 2nd.
One-day, Two-day and Three-day passes are available in our Summit section. We also created a cluster pass for General Managers and Corporate Executives to keep costs down for larger groups. You can also find details about hotel room reservations, speakers, sponsors, and a new awards ceremony section we just added. If attending is difficult due to budget restraints, contact iMar Entertainment. They have barter opportunities available to attend the Summit.
Growing up in New York, I fell in love with radio at a young age. Music initially drew me in, but as I got a little older, I gravitated to larger than life personalities. I spent countless hours consuming Howard Stern, Mike and the Mad Dog, and Scott Shannon. Each brought a unique approach to the airwaves, and cut through in a major way. Their successes and accomplishments since have placed them among the best to ever do it.
When we announced plans to extend the Barrett Media Audio Summit to a three-day event and add a Music Radio show, I knew Scott Shannon had to be involved. Anyone who has followed the industry for decades understands Scott’s impact as a talent and programmer. With our show taking place in New York, the place where Scott created impact for multiple brands, it just had to happen.
Z100’s Worst to First story is often mentioned when discussing Scott’s career, and rightfully so, it’s an incredible story. However, Scott’s accomplishments extend far beyond that amazing run.
Scott’s Radio Journey
His radio career began in Spring Lake, NC before extending to Columbus, GA, Mobile, AL, Memphis and then Nashville, TN. After leaving radio to work for Casablanca Records, Shannon returned as PD in Washington, D.C. leading WPGC-FM to #1 in the ratings.
Next came stops in Atlanta, GA at WQXI and in Tampa at WRBQ-FM where he developed the morning zoo radio format. The new zoo format was an instant hit, leading Shannon to once again dominate the ratings.
His impact in Tampa gained attention in the big apple, which led to the zoo format being unleashed on Z100 in 1983. The rest as they say is history.
Scott would go on to become one of VH1’s original VJ’s, and earn syndication from Westwood One and United Stations. He even consulted WPLY in Philadelphia and WKCI in New Haven, CT. An additional radio stop followed too in Los Angeles at KQLZ, before returning to New York City for two more memorable runs.
Upon his return to the big apple, Shannon joined Z100’s rival, WPLJ. He spent over two decades hosting mornings on the station, creating additional impact in the concrete jungle, before exiting in 2014. That led to a move to WCBS-FM where he hosted mornings from 2014-2022 enjoying more #1 ratings success.
Scott’s career has earned him induction into the National Radio Hall of Fame, the National Association of Broadcasters Hall of Fame, and he’s one of several disc jockeys honored in an exhibit at the Rock and Roll Hall of Fame. Today, he is the host of the True Oldies Channel, distributed by Local Radio Networks. He is also the announcer for talk radio’s The Sean Hannity Show.
Honoring an Industry Gamechanger
When an individual in the radio business creates this type of impact, it deserves to be remembered and celebrated annually. So we are going to do just that.
It is my honor to announce that on Thursday, July 2nd, we will introduce The Scott Shannon Award at the 2026 Barrett Media Audio Summit. This new annual award will be given to a selected music radio talent who is creating impact and helping to blaze a trail just as Scott has. The best part, Scott Shannon will be present to deliver the honor to this year’s recipient.
But that’s not all.
In addition, Scott will be a part of a powerhouse panel led by Jim Ryan. I will share additional details about the session next Tuesday. The men involved are among the best to ever occupy the New York City airwaves.
I’ve had the pleasure of speaking with Scott numerous times leading up today’s announcement. He is not only a great human being with incredible stories, but his wealth of knowledge, and love for the business is instantly felt. He cares about the present and future of the industry. It’s fair to say that he has forgotten more about radio than most will ever know. When legends like Scott speak, we owe it to ourselves to listen. I’m excited to provide attendees with that opportunity on Thursday, July 2nd.
The 2026 Barrett Media Audio Summit takes place at the SVA Theatre in New York City June 30-July 2, 2026. The event serves executives, managers, programmers, talent, sales and advertising professionals, digital leaders, and anyone committed to understanding the present and the future of the audio business. Tickets, hotel information, and sponsorship details are available in the Summit section on BarrettMedia.com. For sponsorship inquiries, email Stephanie@BarrettMedia.com.
We hope to see you there!
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Disney has a vision. New CEO Josh D’Amaro wants everything the company owns living under one roof — specifically, the Disney+ app. It’s a bold idea, and honestly, it’s a smart one.
But when you start pulling at the threads, particularly around ABC News, the strategy gets a lot more complicated.
The appeal of consolidation is obvious. One app, one subscription, one destination — consumers don’t have to toggle between platforms to find what they want. That convenience is real, and D’Amaro deserves credit for thinking big. Still, wanting something and executing it are two very different things.
Consider what Disney+ currently represents in the minds of most subscribers. It’s where families fire up Bluey on a Saturday morning. It’s where The Mandalorian lives. It’s where Taylor Swift concert films and Pixar classics sit side by side. That brand association didn’t happen by accident — Disney built it deliberately.
News and Nostalgia Don’t Always Mix
Now layer ABC News into that equation. World News Tonight and 20/20 carry weight. They tackle serious topics, cover tragedies, and often present the kind of content that requires a different headspace than what someone brings to a Marvel movie. That’s not a knock on ABC News — it’s a recognition that hard-hitting journalism and feel-good family entertainment operate in fundamentally different emotional registers.
The user behavior question is the real challenge here. How long does it take for someone accustomed to opening Disney+ for kid-friendly content to instinctively return to that same app when they want to catch up on a news cycle? Habits are stubborn things, and retraining an audience isn’t cheap or fast. It requires sustained marketing investment and, perhaps more importantly, a clear signal to users that the app isn’t just for cartoons anymore.
Warner Bros. Discovery wrestled with a version of this problem. CNN didn’t fit cleanly inside what was then HBO Max, and the news network eventually found itself lost in the clutter. Leadership ultimately removed it from the platform altogether. That’s not an encouraging precedent for D’Amaro’s ambitions.
Does ABC News Need Its Own Home?
Fox News presents an interesting counterpoint, though it’s not a clean comparison. The FOX One app exists largely because of Fox News — the news product drives the platform, not the other way around. Disney+ isn’t built around ABC News, and it almost certainly can’t pivot to treat it that way without alienating the core audience that made the app successful.
The honest question is whether ABC News is better served with a dedicated app of its own. A standalone destination would let the brand breathe, build its own identity with news consumers, and compete directly against the likes of Peacock News or CBS News Streaming without fighting for real estate alongside animated films. That clarity of purpose matters — both for the product and for the audience it’s trying to reach.
ESPN’s presence on Disney+ is an easier pill to swallow. Sports and entertainment share enough cultural DNA that the overlap feels natural. News is a different animal entirely. It demands trust, urgency, and a user relationship built on reliability — not on which streaming service also has the best kids’ content library.
D’Amaro’s one-app vision is worth pursuing. Simplicity wins in the streaming wars more often than complexity does. But Disney would be wise to ask whether forcing ABC News into that ecosystem serves the news division — or quietly diminishes it. Sometimes the best move for a brand is giving it room to stand on its own.
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In 2014, Mark Cuban predicted the NFL would eventually “implode” because of greed, overexpansion and television overkill. He specifically pointed to the league stuffing games onto Thursdays and non-traditional windows, turning football into an around-the-clock television product instead of the event programming that once made it special. It sounded ridiculous. The NFL wasn’t imploding. It was conquering America.
“Pigs get fat, hogs get slaughtered,” Cuban famously said.
Then came the line that still hangs over the NFL today like a warning label: “They’re getting hoggy.”
Fast forward to 2026 and Cuban was wrong, at least so far. The NFL didn’t collapse. It became more powerful than ever. Which suddenly makes his warning far more interesting, because now the greed question isn’t about survival. It’s about limits.
Could the NFL ever get TOO greedy?
This season, the NFL will air games on Monday, Wednesday, Thursday, Friday, Saturday and Sunday. Tuesday is basically the league’s load-management day. The NFL now owns Thanksgiving Eve, Thanksgiving, Black Friday, Christmas Eve and Christmas Day. It’s staging international games in the UK, Germany, Mexico, Australia, Brazil, France and Spain, because apparently Roger Goodell looked at FIFA and thought, “Cute little global operation you’ve got there.” Somewhere a soccer fan in Madrid is trying to explain an illegal formation while Goodell counts streaming revenue projections.
The league’s current television and streaming agreements are worth approximately $110 billion through 2033. Yet this month, the NFL is actively negotiating to restructure those deals early with media partners before the season even begins. The NFL is leveraging change-of-control provisions tied to Paramount’s Skydance acquisition to reopen talks with CBS while preparing to negotiate individually with Fox, NBC, ESPN and Amazon afterward.
The league reportedly wants anywhere from a 50% to 100% increase in future rights fees. The NFL looked at a $110 billion deal and said, “We have undersold ourselves.” That’s either brilliant business or the opening scene of a future Netflix documentary titled “At What Point Was Enough, Enough?”
When the NFL Became Television
This is where Fox Chairman Emeritus Rupert Murdoch suddenly enters the story like a billionaire emergency responder trying to save broadcast television.
According to The Wall Street Journal, Murdoch privately warned President Trump during a February dinner that the NFL’s aggressive move toward streaming could “kill” over-the-air broadcast networks. Following that conversation, the FCC initiated an inquiry into sports rights migrating to streaming platforms while the Department of Justice began examining aspects of the NFL’s media structure. Because Murdoch understands something maybe better than anybody alive: the NFL isn’t just ON television anymore. The NFL IS television.
Last year, 86 of the top 100 broadcasts in America were NFL games. Not political debates. Not award shows. Football.
Fox currently pays roughly $2.25 billion annually for its NFL package. CBS pays around $2.1 billion annually. NBC, ESPN, Amazon, Netflix and YouTube are all in bed with the league because live sports remain the only thing left in media that people absolutely insist on watching live.
Without the NFL, affiliate fees weaken, local station ratings drop, ad rates shrink, sports divisions become less relevant and entire media ecosystems wobble. Fox Sports itself became a powerhouse because Murdoch stole NFL rights from CBS back in 1994. That move transformed Fox from The Simpson’s network into a legitimate sports and entertainment giant overnight.
So, when Murdoch sees the NFL aggressively pushing deeper into streaming with Amazon, Netflix, YouTube and more, he sees something terrifying: the possibility that the NFL no longer needs traditional television nearly as much as traditional television needs the NFL. The league has now reached monopoly level cultural power. The league isn’t negotiating from strength anymore. It’s negotiating from dominance.
That leads to the uncomfortable question hanging over the entire sports media industry: what exactly is the endgame here? Will there eventually come a day where networks aren’t involved at all? Will football become almost entirely streaming? Mostly subscription-based? Eventually pay-per-view? Financially, the temptation for the NFL is obvious.
The Super Bowl now draws more than 120 million viewers across platforms. If someday the NFL convinced even 50 million households globally to pay $20-$30 directly for a premium Super Bowl stream, you’re suddenly talking about roughly $1 billion to $1.5 billion in direct revenue from one game.
No network middleman, affiliate splits, carriage disputes or shared revenue headaches. Just direct cash flowing straight into league accounts while Roger Goodell slowly emerges from a pile of streaming subscriptions like a Bond villain.
Realistically, the NFL probably cannot fully put the Super Bowl behind a paywall tomorrow. Politically and culturally, America would revolt. Congress would likely get involved. Advertisers still value gigantic free audiences.
But partial premium models? Enhanced betting streams? Exclusive camera feeds? Alternate broadcasts? Premium playoff access? Maybe this is simply capitalism working exactly how capitalism works.
The Case for the NFL’s Defense
That’s the other side of this argument.
Nobody criticizes Netflix for chasing every possible subscriber dollar. Amazon wasn’t built on restraint and moderation, so why should the NFL voluntarily stop printing money? Opening negotiations years early? The move of a league that knows it holds all the leverage. More international games? An aggressive play for global market share.
That’s the tension. Because individually, every decision makes business sense.
Collectively though, fans need six subscriptions, four passwords and the patience of a hostage negotiator just to find kickoff. At some point your remote control is going to ask: “Would you like to upgrade to NFL Diamond Elite Platinum Max Plus for access to fourth quarters?”
We still haven’t said no. Fans complain constantly. Then ratings go up. People scream about subscription fatigue. Then buy another subscription. People threaten boycotts. Then the Super Bowl breaks another record.
That’s why Cuban’s warning still matters.
Not because the NFL is collapsing. The NFL isn’t collapsing anytime soon. The machine is too massive, too culturally dominant and too perfectly designed for modern consumption habits, but eventually every empire starts believing the audience will tolerate absolutely anything forever.
That’s usually when the danger begins. Maybe the NFL still hasn’t found that line yet, or maybe they’re getting a little hoggy.
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Drake’s ninth studio album Iceman drops today, May 15, and the music industry is watching closely. This is his first solo full-length since For All the Dogs in 2023.
With the shadow of his very public feud with Kendrick Lamar still looming, the stakes couldn’t be higher.
I asked five radio programmers and personalities two direct questions: Does Iceman need to reinvent Drake or reinforce him? And does he need to address Kendrick — or leave it alone? Here’s what they said.
What does Iceman need to accomplish for Drake at this stage — is this about reinvention? Or reinforcing what’s already made him dominant?
Mike Street, Format VP, Mainstream Hip Hop and R&B, Audacy: “At this point, it’s an opportunity for Drake to reinforce that he remains an all-time great. He has nothing to prove other than that he is still ‘that guy.’ Those who don’t recognize that will be hard-pressed to be swayed anyway.”
TT Torrez, Hip Hop Media Personality, Host of Tap In with TT: “I think it’s about reconnecting with the core of what made him dominant in the first place. Drake became one of the biggest artists in the world because he mastered the art of making records that connected emotionally and culturally. He gave people music they could live with. Records that made you party, sing, reflect, dance, text your ex, or ride through the city at night.”
“So yes, evolve sonically, experiment creatively. But lean back into the things that made audiences fall in love with you in the first place. Sometimes the biggest move isn’t becoming someone new — it’s refining and elevating what already made you great.”
DJ Pup Dawg, Program Director/Mixer/Host, WJMN Boston & KSSX San Diego: “At this stage, it’s all about reinforcing the legacy that made him the most dominant force in the game. Drake is a natural hit machine. The Iceman move isn’t about changing who he is. But about giving him the space to do what he does best.”
“When he leans into that signature variation — dropping the records that the girls love while still delivering those heavy hitters for the guys — he’s unstoppable.”
Skip Dillard, Urban Format VP, Audacy: “Drake needs to take back the crown. Hip Hop’s been a little slow on the massive hits so far this year. Drake needs a banger that can remind us just why he’s one of the most successful artists of our time.”
Buster, Afternoons, Q102 Philadelphia: “Good hits cure cancer,” he joked. “So if he’s got a hit — all he needs is one. I think it’s been a little while since we’ve had new Drake. And I think people are more excited than they’re even willing to admit about getting new Drake.”
After the very public battle with Kendrick Lamar, does Drake need to directly address that moment on this album?Or is the smarter play to move past it sonically and culturally?
Mike Street: “I’m not sure he has to directly address the situation for the project to be well received. Good music is good music. If he delivers a sonically great project, most people will care less about a ‘non-response.’ Though, for the gamesmanship of hip-hop, some may consider a response a ‘must.'”
TT Torrez: “If I’m Drake, I’m not making this album centered around Kendrick. Because every time you continue to address it, you’re keeping the spotlight on that moment instead of shifting the narrative forward. In my opinion, continuing to take shots at Kendrick risks making him look more focused on the loss than the future.
Sometimes the strongest thing an artist can do is accept the moment, put the ego aside, take the L publicly, and redirect the conversation by delivering undeniable music. The audience already knows Drake can compete. Now I think people want to see him reclaim the energy, fun, confidence, and hit-making ability that made him untouchable for so many years.”
DJ Pup Dawg: “The world has seen the battle, it’s happened, and honestly — everyone is ready for the next chapter. Drake doesn’t need to look in the rearview mirror; he just needs to be Drake. By shifting the energy forward, he proves that his brand is bigger than any single moment or conflict.”
Skip Dillard: “Time for the beef to go! Give us the music, please. No need to regurgitate the past.”
Buster: “If he really swings for the fences and gives us a smash, or maybe even a couple off this album, then I don’t think anything that happened in that Kendrick beef will have any relevance on how the audience sees it today.”
The consensus from radio is clear: Iceman doesn’t need to be a rebuttal — it needs to be a reminder. The programmers and personalities who move the needle on what gets heard want Drake the hitmaker, not Drake the grudge-holder.
As Buster put it most plainly, good hits cure cancer. Today we learn whether Iceman delivers that medicine.
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