SportsRadio 94.1 WIP faced a significant shakeup as its popular morning show lost its longtime producer, Joe Weachter, amid a broader wave of layoffs by its parent company, Audacy.
Weachter, who had been with WIP for 38 years, was the station’s longest-tenured employee and a key figure behind the scenes of the morning show, which airs weekdays from 6 to 10 a.m. His departure was positioned as retirement and announced by morning show host Joe DeCamara during the broadcast.
Joe Weacheter
The Philadelphia Inquirer reports Weachter’s exit coincided with Audacy’s latest round of cost-cutting measures, which impacted over 200 employees nationwide. The Philadelphia-based radio giant, which owns WIP along with other local stations like KYW NewsRadio and Big 98.1, had recently emerged from bankruptcy in September 2024, reducing its debt from $1.9 billion to $350 million. However, the company continued to restructure, with layoffs hitting various markets and departments. At WIP, another veteran, producer Dave Breitmaier, was also let go after nearly 25 years, known for managing remote broadcasts and earning praise as a behind-the-scenes stalwart.
Joe Weachter’s tenure at WIP predated its shift from music to sports talk in 1986, and he became a linchpin during the morning show’s rise under legendary host Angelo Cataldi, who retired in 2023 after over 30 years. Weachter served as Cataldi’s call screener and producer, earning a reputation as a “legend” among colleagues. DeCamara, who took over the morning slot alongside Jon Ritchie and Rhea Hughes, called Weachter “my best friend here at the station,” while Hughes credited him as a vital part of the show’s success.
Audacy’s layoffs, estimated to affect 250 to 300 staffers across its 230+ stations, were part of a strategy to “streamline resources” and stay competitive in a media landscape shifting toward digital platforms. The cuts spared WIP’s sports brand somewhat, as it remains a revenue driver, but Weachter’s departure and Breitmaier’s layoff underscored the impact even on flagship properties.
In 2024, the U.S. recorded music industry achieved a significant milestone: paid streaming subscriptions surpassed 100 million for the first time. This landmark, highlighted in the Recording Industry Association of America (RIAA) 2024 year-end report, underscores streaming’s dominant role in driving music revenue, accounting for nearly two-thirds of the industry’s total earnings. However, alongside this achievement, the industry saw a notable slowdown in revenue growth, signaling a maturing market.
Total U.S. recorded music revenue reached a record high of $17.7 billion in 2024, up 3% from the previous year, marking the ninth consecutive year of growth. Streaming led the charge, contributing $14.9 billion—or 84% of the total—with paid subscriptions generating $11.7 billion of that figure, a 5% increase from 2023. This growth in subscriptions, while impressive, reflects a cooling trend: the number of paid subscribers rose by just 3 million (from 97 million to over 100 million), a slower pace compared to prior years when annual increases often hit double digits.
A fresh projection suggests that President Trump’s economic policies will hinder U.S. advertising growth through at least 2027.
Why it’s significant: Analysts had braced for some uncertainty with the new administration, but the economic turbulence has exceeded expectations, says Brian Wieser, a leading advertising analyst. In particular, the president’s trade policies are creating bigger disruptions to supply chains and corporate strategies than anticipated.
Current landscape: In a forecast released Tuesday, Wieser downgraded his outlook for U.S. ad growth starting in 2025, predicting a modest 3.6% rise this year (excluding political ads), compared to his earlier estimate of 4.5%. According to Axios, Wieser believer the slowdown is expected to hit harder in the second half of 2025 as new policies fully take effect. He foresees similarly tempered growth through 2027 as the economy adapts, with a potential rebound in 2028 driven by the Olympics boosting ad spending.
At least one of the US-funded international networks in President Trump’s crosshairs is going to court to contest his shutdown order.
Radio Free Europe/Radio Liberty, which broadcasts news and information in 27 languages across Eastern Europe, Asia and the Middle East, said in a statement last weekend’s grant termination “would violate the Constitution and federal laws.”
Officials filed a lawsuit in US District Court on Tuesday afternoon.
CNN reported earlier Tuesday that the leaders of Radio Free Europe and other US-funded networks have instructed their organizations to ignore Trump’s order and continue broadcasting because they believe the terminations were unlawful.
The entities – also including Radio Free Asia and Middle East Broadcasting Networks – are continuing to operate around the world while network executives contemplate next steps.\
On Tuesday Radio Free Europe/Radio Liberty CEO Stephen Capus said in a statement that “this is not the time to cede terrain to the propaganda and censorship of America’s adversaries. We believe the law is on our side and that the celebration of our demise by despots around the world is premature.”
A US Agency for Global Media spokesperson did not immediately respond to a request for comment.
Cumulus Media’s Westwood One, the largest audio network in the U.S. and the official network audio broadcast partner of the NCAA, will once is home to every bounce, basket, and buzzer beater of the NCAA Division I Men’s Basketball Championship. Westwood One’s coverage continues with play-by-play action from every game through the National Championship on Monday, April 7. In addition, Westwood One will broadcast live Spanish-language coverage of the NCAA Men’s Final Four® on Saturday, April 5 and the National Championship Game on Monday, April 7.
Where to Listen: Westwood One’s complete NCAA men's tournament coverage can be heard on terrestrial radio stations nationwide and via SiriusXM. All 67 Division I men’s games will also be streamed online for free at NCAA.com/MarchMadness and on westwoodonesports.com and on the newly launched Westwood One Sports app available in the iTunes and Google Play stores. Additionally, the broadcasts will be available for free via the NCAA March Madness Live app or The Varsity Network app. Fans can also access live audio via Alexa-enabled devices by asking to “Open Westwood One Sports”. TuneIn premium subscribers can also hear all the action live.
All-Star Broadcast Team: The trio of Kevin Kugler, Robbie Hummel, and P.J. Carlesimo will announce all the action for the Final Four and the National Championship in English. Andy Katz will return to serve as courtside reporter and Jason Horowitz will host the pregame, halftime and postgame shows from the Final Four and National Championship in San Antonio, Texas.
Jesse Colin Young, the renowned singer-songwriter and frontman of the 1960s folk-rock band the Youngbloods, passed away on Sunday at his home in Aiken, South Carolina. He was 83 years old. Death is believed to have been caused by a heart attack.
Young was best known for his soulful tenor voice on the Youngbloods’ iconic 1969 hit “Get Together,” a song written by Chet Powers (aka Dino Valenti) that became a defining anthem of the peace-and-love era. Its chorus—“Come on people now, smile on your brother, everybody get together, try to love one another right now”—resonated deeply during the turbulent late 1960s, particularly as anti-war sentiment grew amid the Vietnam War. The track, originally released in 1967 on the band’s self-titled debut album, gained widespread popularity after a 1969 reissue, spurred by its use in a National Conference of Christians and Jews public service announcement, peaking at No. 5 on the Billboard Hot 100.
Born Perry Miller on November 22, 1941, in Queens, New York, Young grew up in a musical household, with a mother who was a violinist and a father passionate about classical music.
His early career saw him performing in Greenwich Village, where he adopted his stage name—a blend of outlaws Jesse James and Cole Younger, and Formula One designer Colin Chapman. After forming the Youngbloods in 1965 with Jerry Corbitt, Lowell “Banana” Levinger, and Joe Bauer, the band became a fixture in the folk-rock scene, releasing five albums before disbanding in 1972. Young then embarked on a solo career, producing over 15 albums across decades, blending folk, blues, jazz, and rock with socially conscious lyrics. Notable works include “Darkness Darkness,” later covered by Robert Plant, and solo albums like Song for Juli (1973) and Dreamers (2019), his final release.
➦In 1890...radio & film actor/announcer/host/narrator Gayne Whitman was born in Chicago. He appeared in 213 films, while in OTR radio, he played the title role in Chandu the Magician, was a key anouncer for Dupont on NBC’s prestige series Cavalcade of America, and hosted or narrated several lesser known series. He died Aug. 31 1958 at age 68.
➦In 1912...Russ Case born in Hamburg, Iowa (Died – October 10, 1964). He was a trumpeter and bandleader who led jazz and light music orchestras.
His professional career began when he was hired at WOC-AM in Davenport, Iowa to arrange and play trumpet with local bands on broadcasts. He worked with Frankie Trumbauer in Chicago and Paul Whiteman in New York City, then was hired by NBC to arrange for radio and television. He led orchestras which accompanied broadcasts of singers such as Eddy Arnold and Julius LaRosa, but became best known for directing ensembles behind Perry Como, including on his hit single "Till the End of Time".
Case lent his name to dozens of light orchestral albums which were released in the 1950s, and arranged for The Jackie Gleason Show in the 1960s. He also served as conductor for cast recordings of musicals such as Finian's Rainbow, The King and I, The Music Man, My Fair Lady, and Oklahoma!
➦In 1928...Radio performer Freeman Gosden and Charles Correll departed WGN radio in Chicago to head across town to WMAQ radio.
Gosden and Correll were white actors familiar with minstrel traditions. Both men had some scattered experience in radio, but it was not until 1925 that the two appeared on Chicago's WQJ. Their appearances soon led to a regular schedule on another Chicago radio station, WEBH, where their only compensation was a free meal. The pair hoped that the radio exposure would lead to stage work; they were able to sell some of their scripts to local bandleader Paul Ash, which led to jobs at the Chicago Tribune's station WGN in 1925. This lucrative offer enabled them to become full-time broadcasters. The Victor Talking Machine Company also offered them a recording contract.
Since the Tribune syndicated Sidney Smith's popular comic strip The Gumps, which had successfully introduced the concept of daily continuity, WGN executive Ben McCanna thought a serialized version would work on radio. He suggested that Gosden and Correll adapt The Gumps for radio. The idea seemed to involve more risk than either Gosden or Correll was willing to take; neither was adept at imitating female voices, which would have been necessary for The Gumps. They were also conscious of having made names for themselves with their previous act. By playing the roles of characters using dialect, they would be able to conceal their identities enough to be able to return to their old pattern of entertaining if the radio show was a failure.
Instead, they proposed a series about "a couple of colored characters", which, nevertheless, borrowed certain elements from The Gumps. Their new show, Sam 'n' Henry, began on January 12, 1926, and fascinated radio listeners throughout the Midwest. It became so popular that in 1927 Gosden and Correll requested that it be distributed to other stations on phonograph records in a "chainless chain" concept that would have been the first radio syndication. When WGN rejected the proposal, Gosden and Correll quit the show and the station; their last musical program for WGN was announced in the Chicago Daily Tribune on January 29, 1928. Correll's and Gosden's characters contractually belonged to WGN, so the pair was unable to use the character names when performing in personal appearances after leaving the station.
WMAQ, the Chicago Daily News station, hired Gosden and Correll and their former WGN announcer, Bill Hay, to create a series similar to Sam 'n' Henry. It offered higher salaries than WGN as well as the right to pursue the syndication idea. The creators later said that they named the characters Amos and Andy after hearing two elderly African-Americans greet each other by those names in a Chicago elevator. Amos 'n' Andy began on March 19, 1928 on WMAQ, and prior to airing each program, Gosden and Correll recorded their show on 78-rpm discs at Marsh Laboratories, operated by electrical recording pioneer Orlando R. Marsh. Early 1930s broadcasts of the show originated from the El Mirador Hotel in Palm Springs, CA.
For the program's entire run as a nightly series in its first decade, Gosden and Correll provided over 170 male voice characterizations. With the episodic drama and suspense heightened by cliffhanger endings, Amos 'n' Andy reached an ever-expanding radio audience. It was the first radio program to be distributed by syndication in the United States, and by the end of the syndicated run in August 1929, at least 70 other stations carried recorded episodes.
➦In 1938...the National Broadcasting Company (NBC) aired a special radio program known as the "National Children’s Frolic" from its studios in Washington, D.C. This event was part of NBC’s broader efforts to provide educational and entertainment programming for younger audiences. The broadcast included live performances and was a snapshot of how radio served as a family medium during the late 1930s, a golden age for the medium when it was a primary source of entertainment and information in American homes.
➦In 1965...Sportscaster John Charles "Jack" Quinlan died at age 38 in a car accident in Scottsdale, AZ (Born - January 23, 1927, Peoria, Illinois).
He was best known for covering the Chicago Cubs first on WIND 560 AM 1955-56, then on WGN 720 AM from 1957 to 1964, his broadcast partner was Hall of Famer Lou Boudreau 1957 to April 1960, 1961 to 1964 and Cubs legend Charlie Grimm April 1960 to October 1960.
Quinlan was killed in an auto accident after leaving a golf outing during spring training of 1965. He was an avid golfer, and a charity golf tournament in his name has been held in the Chicago area ever since.
➦In 1984....KSD-AM (now KTRS) in St Louis MO changed call letters to KUSA. The change came under Gannett ownership. After a short-lived all-news format, on which Gannett pulled the plug just as KSD was beginning to build an audience, KSD went to country and adopted the call letters KUSA. The call letters were restored by EZ Communications when it bought KSD-AM/FM in 1993. The call letters were switched back to KSD on October 4, 1993.
Unfortunately, the station lost the call letters again when it was sold to the Dorsey Media Group of St. Louis. EZ’s successor, American Radio Systems, retained the KSD call letters for use on KSD-FM.
➦In 1987...Radio writer Arch Oboler died at age 77. He was best known for the series "Lights Out".
Oboler entered radio because he believed it had great unrealized potential for telling stories with ideas. He thought that the medium was being wasted on soap operas.
In 1933, he wrote a spec script called Futuristics, which satirized the world of the present in light of the future. NBC bought Oboler's script and broadcast it as part of a dedicatory program to NBC's new futuristic headquarters in New York City, Radio City. The broadcast was a success, but it set the stage for Oboler's future run-ins with broadcasters. In the play, one of Oboler's characters lampoons the slogan of American Tobacco. At that time in broadcasting history, making fun of commercials was still taboo.
➦In 2003...Harry Harrison aired his last show at WCBS 101.1 FM in NYC.
Commissioner Geoffrey Starks, a Democrat, has announced his intention to resign from his position at the FCC this spring.
Starks, who has served on the commission since January 2019 after being nominated by President Donald Trump and unanimously confirmed by the Senate, shared his decision in a letter to President Trump and Senate Minority Leader Chuck Schumer.
In a statement, he described his tenure as "the honor of my life," highlighting his work alongside fellow commissioners and FCC staff to connect Americans, promote innovation, protect consumers, and ensure national security. He did not specify a precise date for his departure or a reason for leaving, though speculation in late 2024 suggested he might exit early in 2025, potentially influenced by the prospect of serving in the minority under a Republican-led FCC.
Starks’ resignation comes at a pivotal moment for the FCC.
The commission is currently deadlocked at a 2-2 split between Republicans and Democrats, following the departure of former Chairwoman Jessica Rosenworcel in January 2025.
With Republican Brendan Carr now serving as chairman, Starks’ exit could shift the balance, potentially giving Republicans a 2-1 advantage until a new commissioner is confirmed—though this depends on the timing of his departure and other factors, such as whether Republican Commissioner Nathan Simington also leaves. President Trump has nominated Olivia Trusty to fill a vacant seat, but her confirmation by the Senate remains pending, adding uncertainty to the FCC’s composition.
A native of Kansas, Starks brought a wealth of experience to the FCC, including roles at the Department of Justice, where he earned the Attorney General’s Award for Exceptional Service, and as Assistant Bureau Chief in the FCC’s Enforcement Bureau. His tenure emphasized broadband access, particularly for rural communities, consumer protection, and national security, notably through his "Find It, Fix It, Fund It" initiative to secure communications networks. FCC Chairman Brendan Carr praised Starks’ contributions, noting their bipartisan collaboration on key issues and calling his legacy "impressive."
Audacy announces Rob Miller as the new Brand Manager of NEW 102.7 FM (WNEW-FM) in New York effective April 7. In this role, Miller will oversee the station’s content strategy, talent, operations and branding. He succeeds Jim Ryan, who has stepped down as Senior Vice President of Programming of Audacy New York and Brand Manager of NEW 102.7 FM and WCBS-FM 101.1.
“WNEW has become one of New York's most successful brands, with great music, compelling personalities and marquee experiential events under the brilliance of Jim Ryan,” said Chris Oliviero, New York Market President, Audacy. “Rob is the ideal leader of the next era for NEW 102.7 with his own remarkable resume of success, especially here in New York. We're excited to see his talents continue to evolve and enhance the station.”
Rob Miller
“I'm thrilled to be joining the amazing team at Audacy,” said Miller. “Under Jim Ryan's leadership, WNEW has become Audacy's crown jewel adult pop station. It's an honor to take the helm at NEW 102.7, looking forward to harnessing my love of music, talent development and extensive industry relationships to further elevate our ratings, revenue, and digital footprint! Thanks to Jim, Chris Oliviero and Jeff Sottolano for welcoming me home. I'm ready to write the next historic chapter at NEW 102.7 with my sights set squarely on being number one.”
Miller joins Audacy after 35 years at iHeartMedia, where he most recently served as EVP of Hot AC Programming and Strategy, overseeing 35 Hot AC stations and 10 brands in the Miami/Fort Lauderdale market as SVP of Programming. This marks Miller’s return to New York, having spent over a decade as Program Director of WKTU-FM. He began his iHeart career as a WALK-FM intern in 1990 before becoming Program Director in 2001.
📻Listeners can tune in to NEW 102.7 (WNEW-FM) in New York on air and nationwide on the Audacy app and website. Fans can also connect with the station via X, Facebook and Instagram.
Audacy announced significant changes Monday to its executive leadership team. Kelli Turner, who had been serving as interim President and CEO since January 2025 following the departure of long-time CEO David Field, was officially appointed to the permanent role of President and CEO. This decision marked the removal of her interim tag, solidifying her position at the helm of the company.
Kelli Turner
Turner has been a member of Audacy’s Board of Directors since September 2024 and brings a wealth of experience from her previous roles, including Managing Director and CFO of Sun Capital Partners and President and COO of SESAC Holdings.
Alongside Turner’s permanent appointment, Audacy revealed a broader executive shakeup.
The company parted ways with four C-suite executives: Chief Operating Officer Susan Larkin, Chief Digital Officer J.D. Crowley, Chief Marketing Officer Paul Suchman, and Executive Vice President and General Counsel Andrew Sutor. These departures signal a significant restructuring of the leadership team as Audacy aims to navigate its next phase of growth following its emergence from Chapter 11 bankruptcy in 2024.
To fill some of these vacated roles and bolster the leadership team, Audacy promoted two internal executives: Chris Oliviero was named Chief Business Officer, having previously served as Market President for Audacy New York, and Bob Philips was appointed Chief Revenue Officer, transitioning from his role as President of Audacy Networks and Multi-Market Sales. Both Oliviero and Philips have extensive histories with Audacy and its predecessor companies, bringing deep institutional knowledge to their new positions. Additionally, Mike Dash, a nearly 20-year veteran of the company, was named Executive Vice President and General Counsel, succeeding Andrew Sutor, who will remain temporarily to ensure a smooth transition.
Turner expressed enthusiasm about her permanent role, stating, “It’s a privilege to lead Audacy at this exciting moment in its impressive history and the evolution of audio,” and highlighted her excitement to work with Oliviero and Philips, praising their expertise in management, programming, and sales. Audacy Chairman Michael Del Nin also commended Turner’s appointment, noting her as an “exceptional media executive” poised to lead the company through reinvention and growth, alongside the newly configured leadership team.
Oliviero, Phillips
Oliviero started at CBS Radio as a production assistant for the Howard Stern Show in New York and rose through the ranks to serve as chief content officer. After about 18 months as a media consultant, Oliviero joined Audacy in 2020 as market president for New York.
Philips climbed the executive ranks to chief revenue officer at CBS Radio before it was acquired by Audacy, then called Entercom. Philips served as chief revenue officer at Entercom until 2021, at which time he was named president of networks and multi-market sales for the rebranded Audacy.
It was not immediately clear if Turner, Oliviero or Phillips will relocate to Audacy’s Philadelphia headquarters. Both Turner and Oliviero are situated in New York and Phillips is based in Baltimore.
Turner is the first person who is not a member of the Field family to lead Audacy since its inception in 1968. Joseph Field founded the company and his son David Field became CEO in 2002, three years after it went public.
It is now the second-largest U.S. radio station operator behind iHeartMedia.The company owns over 220 radio stations across 47 media markets.Joseph M. Field founded the company as Entertainment Communications (which would later be shortened to Entercom) on October 21, 1968, on the conviction that FM broadcasting, then in its infancy, would eventually surpass AM broadcasting as the leading radio broadcast band.
This executive overhaul comes on the heels of other recent changes at Audacy, including layoffs earlier in March 2025 that affected hundreds of employees, reflecting the company’s efforts to streamline operations and position itself for long-term success in the competitive audio entertainment landscape.
Audacy's bankruptcy recovery is a significant chapter in the company's recent history, reflecting its efforts to restructure and emerge stronger in the competitive audio entertainment industry. Audacy, one of the largest radio broadcasters in the United States, filed for Chapter 11 bankruptcy on January 7, 2024, in the U.S. Bankruptcy Court for the Southern District of Texas. This filing came after the company faced mounting financial pressures, primarily driven by a substantial debt load of approximately $1.9 billion, which had been exacerbated by challenges in the traditional radio industry, including declining advertising revenues and the shift toward digital media.
Dan Bernstein, a veteran midday host on Chicago’s WSCR 670 The Score, is off the air this week, following a heated social media exchange that escalated into controversy.
Bernstein, who has been with the Audacy-owned sports talk station for nearly 30 years, typically co-hosts the Bernstein & Harris show from 10 a.m. to 2 p.m. CT alongside Marshall Harris. However, this week, he has been replaced by fill-in host Leila Rahimi, with Harris announcing on-air that Bernstein is taking the week off.
The situation stems from an incident on X that began Thursday when Bernstein posted a photo of himself with a northern pike he had caught, captioned, “This was a helluva fight.” A follower responded, accusing Bernstein of killing a pregnant fish instead of releasing it, sparking a contentious back-and-forth. Bernstein initially defended himself, asserting the fish was “released successfully.” The exchange quickly turned hostile when the user called him a liar, prompting Bernstein to retort, “Wanna fight? I’m a bad enemy, f***er,” and later threaten to dox the individual by revealing their address and phone number. He escalated further, asking, “Want your kids involved?” and demanding an apology to halt his threats.
Although Bernstein deleted the initial photo and some posts, screenshots of the exchange circulated widely, drawing significant backlash. By Monday, the fallout intensified: Camp One Step, a Chicago-based charity for children with cancer, announced it had removed Bernstein from its board of directors, citing his social media behavior. The charity did not elaborate further, but the decision sparked debate.
Former 670 The Score host Danny Parkins, now at FS1, defended Bernstein, arguing that his fundraising efforts for the charity—amounting to substantial support—should outweigh what he called an “awful decision” by Camp One Step, suggesting it hurt their mission more than it addressed the issue.
Neither 670 The Score nor its parent company, Audacy, has issued an official statement on Bernstein’s absence as of Monday afternoon, leaving it unclear whether this is a planned break, a suspension, or a voluntary step back. Posts on X and reports from media outlets and the Chicago Sun-Times indicate it’s widely perceived as a response to the controversy, though the station has not confirmed this.
The music industry has undergone a profound transformation in the first quarter of the 21st century (2000–2025), driven by technological advancements, shifts in consumer behavior, and evolving business models.
Her's an overview of the key changes that have reshaped the industry during this period.
1. The Digital Revolution and the Decline of Physical Sales
At the turn of the century, the music industry was heavily reliant on physical formats like CDs, cassettes, and vinyl. In 2000, global recorded music revenue peaked at around $23.8 billion, with CDs accounting for the vast majority of sales. However, the rise of the internet and digital file-sharing platforms, most notably Napster (launched in 1999), disrupted this model. Illegal downloading led to a steep decline in physical sales, with global revenue plummeting to $14.6 billion by 2014—a drop of nearly 40% from its peak.
The industry initially struggled to adapt, with record labels pursuing legal action against file-sharing services and individual users. However, the introduction of legitimate digital alternatives, starting with Apple’s iTunes Store in 2003, marked a turning point. By offering individual song downloads for $0.99, iTunes shifted the focus from albums to singles, fundamentally altering how music was consumed and purchased. By the late 2000s, digital downloads had overtaken physical sales in many markets, though they never fully restored the industry’s former revenue highs.
2. The Rise of Streaming
The most transformative change came with the advent of music streaming, which began to dominate in the 2010s and solidified its position by 2025. Spotify, launched in 2008, pioneered the subscription-based streaming model, offering access to millions of songs for a monthly fee or through an ad-supported free tier. Other players like Apple Music (2015), Amazon Music, YouTube, and Tidal followed, creating a fiercely competitive landscape. By 2025, streaming accounted for over 80% of global recorded music revenue, according to estimates from the International Federation of the Phonographic Industry (IFPI).
Streaming reversed the industry’s revenue decline, with global recorded music revenue reaching $28.8 billion in 2023 (the latest full-year data available) and projected to grow further by 2025. In the U.S. alone, the Recording Industry Association of America (RIAA) reported that streaming generated $14.4 billion in 2023, up from virtually zero in 2005. This shift democratized access to music, allowing listeners to explore vast catalogs instantly, but it also sparked debates over artist compensation, with payouts per stream (e.g., $0.003–$0.005 on Spotify) criticized as insufficient by many musicians.
Dolly Parton’s heartfelt tribute to her late husband, Carl Dean, titled "If You Hadn’t Been There," has made a significant impact on the music charts, crowning the Country Digital Song Sales chart. Released on Friday, March 7, 2025, just days after Dean’s death at age 82, the song quickly resonated with fans and listeners, reflecting both Parton’s personal loss and her enduring artistry.
The ballad, a sweeping and emotional ode to nearly 60 years of marriage, features lyrics like, “I wouldn’t be here / If you hadn’t been there / Holding my hand / Showing you care / You made me dream / More than I dared,” capturing the depth of their bond. Parton announced the song’s release on Instagram, writing, “Carl and I fell in love when I was 18 and he was 23, and like all great love stories, they never end. They live in memory and in song, and I dedicate this to him.” Accompanied by a throwback photo of the couple, the post underscored the personal significance of the track, which was produced by Gregg Perry and bolstered by a gospel choir in its stirring climax.
Following its release, "If You Hadn’t Been There" surged to No. 1 on the U.S. iTunes chart, as noted in posts on X, signaling immediate fan support. By mid-March 2025, it topped Billboard’s Country Digital Song Sales chart, a testament to its commercial success and emotional resonance.
Carl Dean, a private Nashville businessman who owned an asphalt-paving company, had been Parton’s steadfast partner since they met outside the Wishy Washy Laundromat in 1964, marrying in 1966. Though he shunned the spotlight—famously avoiding her public events after an early red-carpet appearance—Dean inspired classics like “Jolene” and supported Parton’s career from behind the scenes. His death, after a reported battle with Alzheimer’s in his final years, prompted an outpouring of condolences, which Parton acknowledged in a separate Instagram post on March 6, thanking fans for their support and affirming, “He is in God’s arms now and I am okay with that.”
Audacy’s Newsradio WRVA 1140 AM/96.1 FM in Richmond has announced the addition of Rich Herrera as the new morning host of Richmond’s Morning News.
Herrera steps into the role previously held by John Reid, who resigned in late January 2025 to run for Lieutenant Governor of Virginia.
Herrera brings over 30 years of broadcasting experience, primarily in sports radio, to WRVA. His career spans major markets including San Francisco, Los Angeles, Tampa, Miami, St. Louis, and Tucson, with stints at prominent stations and networks such as Fox Sports Radio, SiriusXM, and CBS Sports Radio.
Most recently, Herrera served as Head of Marketing for Charlotte’s Web, a CBD company, while also hosting weekends for Audacy’s Infinity Sports Radio.
Prior roles include programming and hosting afternoons at Cumulus’ “Wildcats Radio 1290” KCUB in Tucson (2020–2022), and serving as Assistant Program Director and Senior Executive Producer for Audacy’s “97.3 The Fan” KWFN in San Diego, where he also hosted pre- and post-game shows for the San Diego Padres radio network (2016–2020). Earlier, he worked with the Tampa Bay Rays and hosted at stations like WHFS Tampa, KMOX St. Louis, and WAXY Miami.
Herrera’s shift from sports talk to news/talk radio reflects a personal evolution. A self-described lifelong conservative and son of a migrant farm worker, he expressed a desire to contribute to the nation that shaped his opportunities.
In a statement on X, Herrera said, “I’m thrilled to join NewsRadio WRVA as the new host of Richmond’s Morning News! As [WRVA] turns 100 & America nears 250, I’m honored to be in Virginia, where history comes to life. Let’s get to work, Richmond!” He also highlighted his excitement after meeting with Audacy Virginia Senior Vice President Bennett Zier and Market Manager Zach McHugh, noting that hosting the morning show made him “fall in love with the station.”
WRVA has a storied history since its first broadcast on November 2, 1925, and remains a 50,000-watt Class A station with a strong regional presence. Herrera’s hiring signals Audacy’s intent to maintain WRVA’s prominence in news and talk radio while blending his seasoned broadcasting skills with a fresh perspective for Richmond listeners.
Super Bowl Sunday ranks as one of the most heavily viewed days of television each year, and this year’s Super Bowl Sunday, February 9, tracked with historic trends as TV viewing across the day exceeded 110 billion viewing minutes. This total day viewership milestone has been reached just one other time since The Gauge launched in May 2021, with Super Bowl Sunday on February 11, 2024, leading by a relatively slim margin of about 500 million minutes.
A record-breaking 127.7 million viewers watched FOX’s broadcast of Super Bowl LIX, including a simulcast streamed on Tubi (FOX’s free streaming service), which clearly resonated with consumers and further illustrated how cross-platform distribution has materialized into real world success. While previous Super Bowls have offered alternative streaming options, Tubi’s free and subscriptionless features provided a means for the Big Game to reach even more viewers. As the game aired live, Tubi represented a third of all streaming usage and multiplied its audience to nearly 16 times its January 2025 average. Viewers that watched Tubi during the Super Bowl were 38% more likely to be 18-34 than the total game average, and also skewed slightly female. Overall, Tubi’s February usage was up 17% over January to finish with 2.0% of total TV watch-time, its largest share since July 2024.
Following typical seasonal trends, time spent watching television decreased from January to February. Streaming was least impacted, however, and the category gained 0.9 share points versus January to account for 43.5% of total viewing time this month, marking its largest share of the TV viewership pie to date. By comparison, broadcast (21.2%) and cable (23.2%) combined to account for 44.4% of TV in February.
Time spent watching YouTube on TV in February was up 2.5% versus last month to represent 11.6% of total TV viewing—a record for YouTube and the streaming category overall. Additionally, nearly 27% of time spent streaming in February was dedicated to watching YouTube.
Trending
Following its platform-best performance achieved last month, Netflix represented the second largest share among streaming services in February with 8.2% of TV. Netflix also owned the top streaming program in February with its original action-thriller series The Night Agent, which captured 6 billion viewing minutes across the month. Bluey on Disney+ was second with 4.2 billion minutes.
Among cable viewing, the championship game in the inaugural NHL 4 Nations Face-Off drew this month’s largest cable audience, with 9.3 million viewers on ESPN. FOX News Channel represented the next 13 top cable telecasts, as cable news gained 8% over January to represent 27% of all cable viewing in February.
On broadcast, the Super Bowl and its pregame and postgame programs on FOX were followed by NBC’s Saturday Night Live 50th Anniversary Special with 16.5 million viewers, and The Grammys on CBS with 16.2 million viewers. Broadcast dramas, which accounted for the largest share of broadcast viewing in February (27%), were up 15% versus last month and led by CBS’ Tracker (10.6 million) and Matlock (9.4 million).
Last month’s post-season success for the NFL and College Football Playoffs meant an even steeper decline for traditional TV viewing in February. This was most obvious among sports events viewership, which fell 54% on broadcast and 42% on cable versus January. Despite strong showings by the Super Bowl and aforementioned top telecasts, total broadcast fell by 10% to account for 21.2% of TV (-1.3 pts.). Meanwhile, cable declined 9% and totaled 23.2% of TV (-1.2 pts.).
The February 2025 interval dates included 01/27/2025 through 02/23/2025. Nielsen reporting follows the broadcast calendar with measurement weeks that run Monday through Sunday.
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