Home Blog Page 83

WME Hires Two New Agents to Strengthen Contemporary Music Division

0

WME has hired Barbara Frum and Michelle Martinez as agents in its contemporary music division. Kirk Sommer, the agency’s global head of contemporary music and touring, made the announcement Tuesday.

What We Know: Frum joins from Outer/Most Agency, where she specialized in international touring. She will work from WME’s Beverly Hills office, booking electronic, pop, and rock acts across Canada. Martinez arrives from CAA, where she represented Coi Leray, Key Glock, and Fivio Foreign. She will be based in New York.

What’s At Stake: WME is clearly investing in cross-disciplinary talent expertise. Frum’s background spans artist management, theatrical production, and international touring. Martinez brings a strong roster of emerging and established acts to a competitive booking landscape. Together, they strengthen WME’s footprint in both live touring and developing talent markets.

What Remains Unclear: The full scope of each agent’s client roster at WME has not been disclosed. It is also unclear whether Frum will maintain her independent production work alongside agency duties. Additionally, how Martinez’s former CAA clients will transition remains unconfirmed.

What It Means: The traditional booking agent playbook is changing. WME’s latest hires make that clear. By bringing in Frum and Martinez, the agency signals it wants agents who operate at the intersection of touring, strategy, and creative development. That’s a direct response to what artists increasingly demand — partners who understand the full business, not just the calendar. For WME, this isn’t a staffing move. It’s a strategic one.

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.

Tony Reali Teases New Project Following Around the Horn, ESPN Exit

0

Following his 2025 exit from ESPN and Around the Horn, Tony Reali has teased a new venture.

What We Know: Reali has been largely mum after the final episode of Around the Horn aired on Friday, May 23rd, 2025. However, in a post on social media, Reali shared that he has a new project in the works.

What They Said: “25 years. 7,000 episodes of sports television. I loved every second of it. But when I signed off from Around the Horn in May, it opened up the door into the sunshiny world that looked nothing like the one I broke into. I…wanted to talk sports. But I also wanted to talk people. And how sports connect people. Sports debate? One great way to do it. But it’s not the only way. What’s next? Maybe a little of what you loved about (Around the Horn), but more the irresistible moments of sports and how they collide with our culture and connect with all of us in a real and unpredictable way.” -Tony Reali

What Remains Unclear: What the project will be. Reali didn’t give details on whether or not the project is solo or in conjunction with another company. A timetable for releasing the new venture is also unknown.

What It Means: Tony Reali has stayed out of the spotlight since ESPN canceled the long-running show he hosted. The time away has clearly allowed him to parse out what he wants to do. It sounds as if he’s coming back to the sports media space under his terms.

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.

WTOP SVP/GM Joel Oxley Announces Retirement Plans

0

WTOP’s Joel Oxley has announced his intention to retire next year. He’ll exit after nearly 30 years with the Washington all-news brand.

What We Know: Oxley has been the Senior Vice President and General Manager of WTOP since October 1998. He originally joined the station in 1992 as a sales account and rose through the ranks to become the station’s lead executive. In addition to his work with WTOP, he also stewards the Federal News Network on 1500 WFED.

What They Said: “I have been here nearly 35 years. I have been GM for almost 28 years. Because we are in such a solid position, and because the best time for change is when you are doing well, and because I’m now 65, I feel that now is the time for me to hang up my cleats and retire so I can start the next chapter in my life. Please know this is 100% my decision. (Hubbard Radio CEO Ginny Hubbard) has been extremely supportive about this. She asked me some time back to give her a year’s notice, which I did a few weeks ago. I will be here during the next several of months to help with the transition and will remain in an advisory/consulting role with Hubbard after that.” -Joel Oxley

“Joel’s leadership, integrity, and deep commitment to excellence have shaped this organization for decades. His impact on our people and our brands is lasting, and we are grateful for his remarkable service. We are also incredibly grateful that he is willing to continue offering his experience and expertise to the company once he steps away from leading WTOP-WFED’s daily operations and strategy.” -Hubbard Radio President/CEO Ginny Hubbard

What Remains Unclear: When Oxley’s official retirement date will be. It also remains to be seen who will take over the top job at one of the nation’s premier all-news brands.

What It Means: It’s the end of an era at WTOP. Joel Oxley has been a part of ownership changes, moves from the AM to FM dial, and virtually everything in between. He has been deeply ingrained in the fabric of the station and is widely regarded as one of, if not the, top executive in the news radio world. His departure will leave a large hole, but by giving a year to help find the next leader of the brand, he’s helping set up WTOP for long-term success.

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.

Urban One Reports 15.8% Revenue Decline During 2026’s First Quarter

Urban One reported its 2026 first-quarter financial results. Overall, the company saw a decline compared to the same 2025 window.

What We Know: Urban One has a wide array of holdings that play into revenue ebbs and flows. However, while many companies have reported digital revenue increases, Urban One showed a large drop.

What the Numbers Show:

Segment: 2026: 2025: Change:
Net Revenue $77.651 million $92.235 million -15.8%
Total Operating Expenses $79.866 million $90.137 million -11.4%
Net Loss -$3.101 million -$11.739 million +73.6%

The company’s Adjusted EBITDA dropped from $12.9 million during 2025’s first quarter to $4.7 million.

What They Said: “First quarter revenue was soft across all divisions, with TV down 18.5%, Digital down 33.5%, Radio down 6.4%, and Reach Media dropped by 17.0%. We had budgeted for a down-quarter in our Radio and TV divisions, but not at Reach Media and Digital … We are in a turnaround situation at Reach Media, where we continue to be impacted by a weak marketplace, key client attrition, and sales team re-building. Digital also had a soft first quarter, driven by weak advertiser demand, but second quarter is forecasted to be up, and there is optimism for the back half of the year based on the current sales pipeline.” -Urban One CEO Alfred Liggins

What Remains Unclear: How the recent purchases of KKDA and KRNB in Dallas will help or hurt the company’s overall revenue plans. It also remains to be seen when those two stations will officially join the Urban One portfolio. Initial expectations are for the deal to close during the third quarter.

What It Means: The first quarter is traditionally slow, so the revenue downturn isn’t surprising. Should similar numbers come through during the remainder of the year, especially with the 2026 midterm election approaching, then there will be cause for concern.

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.

YouTube Announces Custom Sponsorships, Creator-Led Shows at 2026 Upfront

YouTube’s Brandcast 2026, its branding for its advertiser upfront, took place on Wednesday night. There were two key announcements at the event.

What We Know: YouTube announced that custom AI-powered sponsorships will be available in the near future. The new functionality will allow users to dynamically insert advertisements into a desired moment. Additionally, new shows featuring Dwyane Wade, Trevor Noah, Kareem Rahma, Alex Cooper, Dude Perfect, and others, will hit the platform later this year.

What They Said: “For decades, the entertainment industry was built on a series of bets–programming shows based on formulas and focus groups and guessing at what would make an audience show up. At YouTube, we didn’t wait for a focus group. We built the stage and empower anyone with a story to find an audience.” -YouTube CEO Neal Mohan

What Remains Unclear: How YouTube will implement the new creator-led programming into the platform. It is unclear if there will be a special tab or hub for the content or if users will find it organically.

What It Means: YouTube is harnessing its power and scale in new ways. During the upfront, the company shared that 91% of all U.S. adults used the platform in November. That scale delivers advertisers for both creators and for the platform.

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.

Versant Reports 1% Revenue Decline During 2026’s First Quarter

Versant has unveiled its first-quarter financial results. It reported an overall revenue decline during the period.

What We Know: The results were the first time Versant has unveiled first-quarter financial data as a standalone company. It also marks just the second-ever earnings release for the company. During the quarter, the company repurchased $100 million Class A shares as part of a $1 billion repurchase authorization.

What the Numbers Show:

Segment: 2026: 2025: Change:
Linear Distribution $1.006 billion $1.085 billion -7.3%
Advertising $368 million $388 million -5.2%
Total Revenue $1.687 billion $1.706 billion -1.1%
Adjusted EBITDA $704 million $757 million -7.0%

What They Said: “Our first quarter as an independent company marks an important milestone for Versant and reflects a solid start to the year. From day one, our teams have operated with urgency and delivered strong financial results, exceptional audience engagement, and impressive momentum in our Platforms business. We are executing our strategy by extending the reach of our brands, deepening our connection with audiences, and scaling our digital platforms. This performance across Platforms and our core brands reinforces our confidence in evolving the business over time and delivering long-term shareholder value.” -CEO Mark Lazarus

What It Means: The drop in linear distribution is the main source of Versant’s overall revenue decline. It’s hard to think that it will bounce back, as cable television usage continues to dwindle. The slight drop in advertising revenue is also notable. With the 2026 midterm elections on the horizon, coupled with Versant’s cable channels being home to many events during the 2026 Winter Olympics, many analysts expected that segment to be higher than the result.

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.

97.5 The Fanatic Host Kevin Cooney Exits As Evening Programming Cut

0

97.5 The Fanatic is making changes to its daily lineup. Those changes have led to the exit of Kevin Cooney.

What We Know: 97.5 The Fanatic is ending its weekday evening programming, including the Philly Sports Tonight show. The station’s local programming will end at 6 PM following the conclusion of Unfiltered with Ricky Botalico and Bill Colarulo. The station is expected to broadcast a two-hour “best of” show featuring the top moments from the morning, midday, and afternoon shows at 6 PM to replace the live program. Philly Sports Tonight aired sporadically due to the Fanatic’s live sports schedule featuring the 76ers and Flyers. The show was hosted by Kevin Cooney and Brendan Gunn.

What They Said: “I have decided to leave 97.5 The Fanatic to pursue other opportunities that may value my experience and knowledge of the market. It’s not an easy decision. I have so many friends that I have made there over the past 3 1/2 years. I wish them all well. As far as the next chapter: I don’t have anything set up yet. I still want to have the interactions with the people in this city that I love. To all those who I’ve gotten a chance to talk to on air since Dec. 22, I want to say thank you.” -Kevin Cooney

What Remains Unclear: If Brendan Gunn will also depart the station or be reassigned. Gunn has not made a similar public announcement.

What It Means: The move comes after both the 76ers and Flyers were eliminated from the NBA and NHL playoffs, respectively. That would mean that Philly Sports Tonight would be heard more frequently with the lack of live games eating up time in the schedule.

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.

Riser House Bolsters Leadership With Allen Hire and Three Promotions

0

Riser House is making a significant leadership push. The company has added industry veteran Shane Allen as EVP of Promotion & Artist Brand Strategy while promoting three key internal executives.

What We Know Allen arrives with an impressive resume. He most recently helmed Eric Church’s SiriusXM channel, Outsiders Radio, before joining Riser House. Prior to that, he spent six years at Columbia as SVP of Promotion, following VP roles at Capitol Nashville and UMGN. Internally, Megan Stottlemyer, Alex Heimerman, and Jason VanAuken each received well-earned promotions reflecting their growing contributions.

What’s at Stake Leadership stability is everything for an independent label competing at this level. Allen’s deep major-label background gives Riser House a proven promotion executive capable of driving meaningful chart results. Furthermore, retaining Stottlemyer — a nine-year company staple who started as an intern — signals a strong internal culture. Together, these moves position Riser House to punch well above its weight.

What Remains Unclear Specific priorities under Allen’s new role have yet to be outlined publicly. It’s also unknown how responsibilities will shift across Heimerman’s expanded marketing mandate. Additionally, whether these promotions signal upcoming roster growth or new label partnerships remains to be seen. The full strategic vision behind the restructuring isn’t yet clear.

What It Means Riser House is building something deliberate. Bringing in Allen’s major-label experience while elevating homegrown executives like Stottlemyer and VanAuken — who has been with the company since day one — signals a label balancing industry firepower with internal loyalty. As a result, this feels less like routine restructuring and more like a strategic move toward the company’s next phase of growth.

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.

Sports Teams Are Making the Same AI Mistake Newspapers Made With the Internet

2

The New Orleans Saints and Minnesota Timberwolves made pledges recently on X. No AI for graphics or illustrations. The sports world applauded. I didn’t.

I understand the instinct. Authenticity matters in the media world. Fans want to feel a human connection to the brands and people they follow. But the blanket rejection of AI as a creative tool doesn’t protect authenticity. It confuses the tool with the output. That confusion gives organizations embracing AI a significant competitive advantage over the ones that don’t.

Let’s start with X. When a post uses AI tools, X labels it “Made with AI.” The implication is that something you’re seeing isn’t real. It’s a scarlet letter for the digital age. That framing is fundamentally wrong. A graphic created with AI assistance isn’t fake. It’s the product of a human idea, human direction, and human creative judgment. When executed with a powerful tool, the outcome is better. Calling it fake is like calling a photograph fake because a camera was involved.

The Tool Has Never Been the Talent

Imaging producers have used Adobe Audition forever to make sound design more impactful. Graphic designers use Photoshop and Canva to create stronger images. Editors use Final Cut Pro and Premiere to make better videos. Each of those tools changes what’s creatively possible. None replaced the human driving them.

AI is the same category of advancement. It’s more powerful and transformative, but fundamentally the same principle. The creativity still belongs to the person holding the wheel. If you don’t train your model and utilize the right prompts, the final product will be underwhelming. Consequently, education, experimentation, and a creative brain remain vital to standing out.

The broader business world already understands this. Beehiiv CEO Tyler Denk has built one of the fastest-growing newsletter platforms in the country. He shared recently on LinkedIn that the best decision he made this year was connecting his entire business to Claude. He didn’t build a media technology company by fearing the tools reshaping his industry. He’s using them to strengthen his business.

Mark Cuban warned why not embracing AI will be a grave mistake. Cuban compared AI skeptics to those who once feared PCs and mobile devices. He has seen this pattern before and knows how it ends.

The New York Times uses AI. Axios uses it. TikTok built its entire recommendation engine on it. PR firms use it to enhance media strategy. Media buyers use it to optimize campaigns. We use it too — to enhance images, thumbnails, videos, press releases, and do research on newsletters, advertising and social posts. Every industry competing for audience attention and advertising dollars is all in. If tools exist that help you improve operations and effectiveness, why wouldn’t you use them? It’s professional suicide not to.

The Newspaper Parallel That Should Terrify Every Executive

There is a pattern in media history that plays out with painful regularity. New technology emerges. Media people immediately reject it, mock it, or declare it inauthentic. Then it takes over, and those who resisted spend years trying to catch up to those who embraced it.

Newspaper editors quickly rejected the internet. They called online publishing a fad. Print was declared superior and digital news was framed as less legitimate. Blogger became a popular term to label writers as unqualified. But the editors were wrong. Many are now gone. Publications that adapted survived. Those that didn’t disappeared.

In audio circles, many programmers initially rejected podcasting. Broadcast was considered legitimate. On-demand listening or podcasting was where less valuable content resided. The idea that digital audio would threaten radio for consumption and advertising dollars was considered far-fetched. They were wrong too.

Spotify now hosts around 7 million podcast titles. Apple Podcasts hosts approximately 2.9 million. According to Podcast Statistics, nearly 480,000 new shows launched in just the past three months alone. The medium many radio professionals dismissed now competes for the same ears, talent, and advertising dollars. Moreover, many view podcasting as a better long-term bet than radio itself. The programmers who adapted built new revenue streams and audiences. Those who didn’t are still trying to figure out what happened.

Missing the Point

The sports franchises making public pledges against AI creative tools are not protecting their authenticity. They’re protecting a comfort zone that carries an expiration date. Every hour their graphics team spends doing manually what AI could accomplish better and faster is an hour spent falling further behind organizations that have already figured out how to use human creativity and powerful tools together.

AI is not coming. It is here. It will only grow more capable, more accessible, and more deeply embedded in every creative and operational workflow in sports and media. The organizations wrapping their arms around it are building a daily structural advantage. The ones making admin promises on X are writing their own version of the newspaper editor who told his staff the internet was a fad.

The train is leaving. Whether you like it or not, seats are filling up fast. When you’re finally ready to board — don’t be surprised if there isn’t one left for you.

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 Hollywood Reporter’s New York Power List Leaves Radio Voices Fuming

The Hollywood Reporter released its Most Powerful People in New York Media list, and New York news/talk radio hosts aren’t happy about it. The publication drew sharp criticism from several of the city’s most prominent voices, who argued it missed the mark badly. Their complaints centered on one consistent theme — radio, and particularly news/talk radio, was all but invisible on the list.

The omissions stretch well beyond the hosts themselves. Howard Stern and SiriusXM CEO Jennifer Witz didn’t make the cut. WFAN’s Boomer Esiason and Craig Carton were left off, as were WFAN president Chris Oliviero and Audacy CEO Kelli Turner.

No major radio CEOs — not iHeartMedia’s Bob Pittman, Cumulus Media’s Mary Berner, nor Red Apple Media’s John Catsimatidis — earned a spot. ESPN Chairman Jimmy Pitaro and Newsmax CEO Chris Ruddy were also absent. The list skewed heavily toward print, television, and digital media, leaving the radio industry almost entirely unrepresented.

Three of New York’s loudest talk radio voices — Sid Rosenberg of 77 WABC, Curtis Sliwa of 710 WOR, and Mark Simone, also of 710 WOR — didn’t hold back. Each offered a pointed take on what The Hollywood Reporter got wrong, and why the exclusions speak to something deeper than a simple editorial oversight.

“Nobody Would Know Who That Person Is”

Rosenberg, who hosts mornings on 77 WABC, framed his absence from the list as self-evident.

“Well, the first thing I thought of was, ‘Oh my God, what a (expletive) list,” said Rosenberg. “I don’t know what sort of criteria there is for influential. But I know this — I’ve been in New York for a very, very long time. I host the number one radio show by a distance. There’s no competition. The guys across the street have not been competitive at all. I got President Trump on a radio show for 40 minutes. You want to talk about influence? I had the president on again for the ninth time for 40 minutes!”

He didn’t stop there. Rosenberg questioned whether the people who made the list carry any real recognition.

“I’m going to tell you that at least 25 people on that list, they can walk into a restaurant and nobody would know who that person is. So, I don’t know why I’m not on the list,” he said. “I can only chalk it up to maybe I’m too close to Trump. Maybe I’m too brash. Too polarizing.

“But any New York list — you want to put most recognizable? I belong there,” said Rosenberg. “You want to put most famous? I belong there. Biggest jerk? I’ll be fair and honest, I belong there. Put me on that list, too. I don’t care. But to omit me from any list dealing with New York? That’s nonsense.”

Talk Radio’s Stepchild Status

Sliwa took a broader view, framing the list as yet another symptom of how the media industry consistently undervalues talk radio. He ran for mayor of New York City twice and spent 35 years behind a microphone, yet the Hollywood Reporter didn’t find him worth a mention.

“Of course, they always want talk radio to be the stepchild of TV and the written word,” Sliwa said. “They don’t even have any hip, bright young up-and-coming bloggers there or people who are representing Gen Z. Now, I notice they have Charlemagne tha God from Power 105. But other than that, I don’t see anybody from radio.”

Simone brought the numbers into focus, arguing that The Hollywood Reporter simply doesn’t understand the medium it chose to ignore. He pointed to the raw audience data and suggested the list reflects a fundamental disconnect from how New Yorkers actually consume media.

“Sean Hannity’s radio show has like 16 million listeners. Clay and Buck have 10 million listeners. Seth Meyers has like 800,000. I don’t know how influential you are with a tiny audience at one in the morning,” shared Simone. “Network television has 25 million viewers. AM radio has 63 million. That’s like 2.5 times the audience, so I don’t know how network TV is still influential.”

Declining Influence

Simone also turned his criticism toward the publication itself, arguing it lacks the standing to define influence for anyone.

“It’s kind of comical that a magazine that’s not very influential is doing a list of who’s influential,” Simone argued. “There’s a handful of Hollywood people who read it, and even not so much anymore. It’s like asking a vegan to recommend restaurants — they’re going to be very limited in what they think. They won’t know 80% of the restaurants in New York.”

Meanwhile, Sliwa shared he was happy to be snubbed by The Hollywood Reporter. He believes it would have meant that talk radio is now viewed as establishment-friendly.

“Well, thank God The Hollywood Reporter did ignore us because putting us on a list with people of no consequence would be like the last nail in the coffin for us,” Sliwa shared. “So thank God we’re not on the list. Because if we were on the list, that means it would be RIP, rest in peace. Because nobody does anything these people say. Nobody.”

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.