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Programming For Ghosts



I’m a firm believer that anyone who works in the sports radio business is an employee of the listener. They decide whether or not to consume our material, support our advertisers and interact with us and it’s our job to serve them the best content possible and keep them interested. While we all head to an office each day and have someone we report to, our performance is decided by the listeners in each of our respective markets.

customerThe hardest part of creating content is trying to juggle what we passionately care most about, what each listener wants and what the research in our market tells us the majority of people care about. While it’s great to be liked and use our best efforts to please every individual who listens to us, I believe the majority of people in your market will listen to you (even if they dislike you) if you present content with the broadest appeal. If a host delivers strong opinions and solid information on the subjects that matter most, they’ll earn the audience’s time.

This is supposed to matter because if you play the game correctly it should lead to ratings and as everyone knows, ratings dictate whether or not you and your brand are successful and what rates a client will pay to continue investing in your product. Only there’s one small problem to this equation – how do you really know if what you’re doing is right or not?

ghostI’ve been operating stations for 9 years since PPM became the new standard for audience measurement. During those 9 years I’ve programmed in 3 different markets. One was on the East Coast, one in the Midwest and one on the West Coast. During all 3 stops, I’ve never once met or seen a listener with a PPM meter. I’ve not received an email, tweet, facebook message or text into the company’s database from them and as far as I’m concerned, they’re ghosts. Do I believe they exist? Yes. However I don’t lose sleep at night worrying about where they are, who they are or how I’m going to satisfy 20 people who don’t provide me with feedback on how I can make their content experience more enjoyable on the radio station.

I love the radio business as much as anyone but you’d think that for the millions of dollars that numerous broadcasting companies, agencies and advertisers spend, that there would be stronger accountability and performance with audience measurement. It’s ludicrous that we can see the exact number of texts, tweets and facebook messages to our brands, the exact number of downloads our apps get, the number of streaming sessions and length of each person’s listen, yet we can’t show know how many people listen to our radio stations. Instead, less than 1,000 people form the opinions of what millions in a market listen to. And I’m saying this while in the midst of one of my best ratings runs ever.

tv2While it’s easy to be skeptical towards radio’s measurement system, I’m equally amazed at how so many people in radio will look at TV ratings as being a true reflection of the marketplace. A newsflash for my radio friends, TV has the same challenges with sample size, poor participation and inconsistency.  It can be very frustrating to folks in the media business who’s performance and next contract is decided by such a small number of people but rather than complain about it, you can help yourself by playing the game the right way.

First, it’s important to recognize how PPM works when it comes to having ratings success. This means managing your content inside of a clock. If you need 5 minutes of listening time (it doesn’t need to be consecutive) inside of a quarter hour, don’t screw yourself up by breaking late or wasting time with minutia. The hour doesn’t extend and offer you extra minutes and the audience won’t sit through 2-3 minutes of meaningless crap. Dive head first into the content with a focused game plan and make the material mean something.

playthehitsSecond, do some homework on what your market cares about. Too many hosts have the mindset of “If I care, they’ll care“. That may work sometimes, but if you’re playing a game of percentages I believe you’re going to win a lot more by playing to the audience’s needs than your own. Ask yourself this, if you went to see a famous comedian and couldn’t wait to hear them perform the jokes and stories you were familiar with, how would you feel if they didn’t deliver their most popular material? Would you stay? Even if you did, you’d likely remember it as a poor experience. If the audience tells you they want steak, give it to them. If you continue serving fish, don’t be surprised if you’re dealing with unhappy customers.

When I worked in St. Louis, a number of our shows were doing a lot of hockey interviews and when I told my crew that it was hurting us they didn’t want to hear it. Some guys loved the sport and the local team (The Blues) and they’d push back by telling me how the Blues had better support than other cities for hockey talk and with us operating on FM it would work out well. I disagreed and decided to do some homework to see if my feeling was correct.

stlIn our next staff meeting, I listed 20 different content items on the left side of a sheet of paper. 10 of them were hockey interviews we did on the station that month and the other 10 were open segments and interviews we conducted during the same month on the Cardinals, Rams and popular national stories. I then put 20 numbers on the right side of the paper and went around the room to see if the group could match up which ratings numbers lined up with each content piece. As it turned out, the 10 lowest rated content items were the hockey interviews.

After I showed them how the audience listening went down when we executed those content choices, they understood and went forward focusing on presenting subjects with broader appeal. Consequently we wound up surging in the ratings. That didn’t mean we never put another hockey guest on the air again. Instead we used better judgment of when it made sense to do so and we didn’t focus 50% of our content on it.

researchThe habits and interests of your audience are critical for you to know and often it’s not hard to figure out. Especially today when you can use social media to further help you. If you look at Facebook, Twitter and Instagram and see how many fans exist on each team’s page and then look at how much engagement takes place on each of their posts, that’s a good start. Then you can look at what the radio ratings in the market are for each team and do the same with TV. If you have a relationship with local newspapers or websites or if you have columnists working at your station, you can also find out which stories generate the most clicks. That type of research helps you in deciding which content to showcase.

In St. Louis for example, the Cardinals are the kings of the content circle. Their flagship station during the day delivers News Talk programming and the other sports stations in the market operate on very poor signals so when we launched 101 ESPN in January 2009 it was easy to see that the team’s fans were underserved during the day. By hiring people who the audience knew and trusted and by giving them a platform where they could be heard and offering the right content, we were able to build a dominant sports station.

BUILD4It wasn’t rocket science. I simply used the information available to me and recognized that while we couldn’t deliver the games to people due to not having the team’s rights, we could still be the market’s leader for Cardinals coverage throughout the day. By relaying that message to our audience through effective imaging and by getting the talent on board to make it part of their daily focus, we won a lot. In the movie “Field of Dreams“, James Earl Jones says “If you build it, they will come” and it works in radio too except I like to say “If you present the right content, they will listen to it“.

One article I enjoyed was published by the NY Times this past October. It was built around the MLB Playoffs and the neighborly feel that existed due to the involvement of teams who were rivals or inside the same market. By using Facebook data, the article showed which teams had the bigger pull in their regions and where the shift in fan bases occurred in each market. If you were programming or hosting a show in any of these markets in October and used this information to help you in deciding your branding and content execution, smart move.

TomsulaWhile PPM is not perfect, there are times where it works really well. Case in point, regular weekly guests, big games and other important events such as an introductory press conference usually show a change in listening patterns. For example, in January I carried Jim Tomsula’s press conference when he was named the new Head Coach for the 49ers. The presser ran 30-minutes long and was incredibly bizarre and considering that the 49ers had parted ways with popular Head Coach Jim Harbaugh, fans were not happy. The presser that day was carried by my station and my competitor (the home of the 49ers) and during the 30-minute time that we each carried it, we delivered a 6.5 and were 2nd in the market with Men 25-54 and my competitor produced a 4.8 and were 4th.

The presser delivered for both stations which showed that the content mattered to the audience. But why did we perform higher? Well, we are on FM and my competitor is not so maybe that could have been a factor and while that’s certainly possible, I have a different theory. In the San Francisco market, my brand is seen as the station that covers both teams and isn’t afraid to take teams to task when it’s warranted. My competitor meanwhile is the heritage sports station and play by play home for a number of local teams and they present a very positive presentation when discussing local teams. That formula works well when teams are winning but in this case, people were mad at the 49ers and wanted to know the other side of the story. That is why I believe they came to us to hear it.

nflI saw the same thing take place in early March during Day 1 and 2 of NFL Free Agency. At my current radio station we were #1 overall with Men 25-54 both days delivering a 6.7 and 6.3 and our streaming sessions were up 250% over both days. Because we present ourselves as a strong football destination and employ people who have a passion for the sport, we performed well when big NFL news was taking place.

My competitor in the marketplace was 5th during these 2 days which is understandable because they present themselves strongly as a Giants baseball station. If the news for these 2 days was centered around the Giants or Major League Baseball, the positions would’ve likely been reversed. None the less, when big NFL news is happening you should see increased listening to sports radio stations and PPM captured it during both days.

If you’re a programmer or talent, be smart about your content choices and remember who you work for – the audience! Don’t worry about what the meters are doing, worry about what you’re presenting. A metered listener still has two ears to listen, a brain to form an opinion and a finger to push a button to listen to a particular radio station. If you’re a good talent delivering a good show and presenting the content that matters to the majority of the audience, they’ll find you. Just don’t expect to find them. Ghosts and PPM meters are usually undetectable.

Barrett Blogs

Where Are The Sports Radio Programmers of Tomorrow?

“As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019.”



Photo Credit: Roman Gorielov

I don’t get the opportunity to write as often as I’d like to. Consulting projects make that harder these days but I do miss it. Fortunately I’ve been able to assemble a quality team to deliver news and industry opinions to your inbox and social media platforms each day. If you receive our emails, then you should notice one of those improvements today with our BSM 8@8 Newsletter. If you aren’t receiving our emails and would like to, click here to sign up.

The reason I chose to write today is because there’s one specific area of our industry that I’m concerned about and need to draw attention to. That’s the emergence of tomorrow’s sports radio program directors.

If you work in or follow this business, can you recall a year during the past decade where we saw more programming changes in sports radio than this one? I can’t. WFAN in New York, WEEI in Boston, KNBR in San Francisco, WIP in Philadelphia, Arizona Sports 98.7 in Phoenix, ESPN 97.5 in Houston, 93.7 The Fan in Pittsburgh, 750 The Game in Portland, ESPN 94.5 in Milwaukee, The Fan in Indianapolis, 107.5 The Game in Columbia, ESPN Las Vegas, 1620 The Zone in Omaha, and 98.1 The Sports Animal in Oklahoma City have or are soon to undergo PD changes. This follows a year where 101 ESPN in St. Louis, 104.5 The Zone in Nashville, WFNZ in Charlotte, and 680 The Fan and 92.9 The Game in Atlanta changed programming leaders. 98.5 The Sports Hub in Boston, ESPN 1000 in Chicago, 710 ESPN in Seattle, and ESPN LA 710 went thru changes too in the fall of 2019.

Twenty three brands undergoing change at the top of a station’s programming department in that short period of a time is an eye opener. But what really stands out are the lack of new faces to arrive on the PD scene let alone even come up during the interviewing process.

For every Rick Radzik, Amanda Brown, Kyle Brown and Qiant Myers who were elevated to PD positions over the past two years, there are proven leaders like Kevin Graham, Jeff Rickard, Tommy Mattern, and Terry Foxx who’ve landed in new situations. Those folks absolutely deserve those positions, so let me be clear, proven PD’s should always be valued. As I’ve told many decision makers before, a great PD is a difference maker. The film industry pays big money for Steven Spielberg, Martin Scorcese and Quintin Tarrantino because their track record highlights their abilities to deliver box office hits. Proven PD’s who can do the same for a radio station deserve similar respect.

But if you’re a younger person looking to advance your career into a programming role today, how do you take that next step let alone earn the nod when more experienced people want the same gig? Who’s advocating on your behalf? How would a corporate executive or market manager know that a producer, board op, promotions director or part-time host is capable of becoming the next great programmer?

Better yet, how does any corporate executive or market manager running a local brand know anything about your management style, vision, multi-platform skills, ability to lead people and work with multiple departments, and create exciting content, events and promotions if you’re working for another company in a different city? Here’s the answer, most times, they don’t. You apply for the job, your resume and email arrives in their inbox, which leads to them asking others about you. If someone you’ve crossed paths with says something good about you, you might get a call. If not, your materials go on file should the station have future needs.

Having led PD searches for a number of brands the past few years, I think the first step is finding out who’s interested in growing. Does anyone know of your desire to one day lead a brand besides the host you work with and the programmer you work for? Who have you sought out to gain knowledge and mentorship from outside of your building? Are you counting on an internal promotion to become a leader or assuming your PD will hype you up to potential employers? What are you doing to make sure the right people know you’re hungry to take the next step and you’re ready to go wherever an opportunity exists?

As someone who’s helped many aspiring programmers over the years, I’ve seen less new people seeking out advice the past few years than they did from 2011-2019. Maybe folks don’t think to come my way as much. Maybe they assume the company they’re working for will take care of them when the time comes. Maybe they don’t have the motivation to relocate or upset their current situation. Maybe the pandemic forced folks to press pause on pursuing advancement. Or maybe the role of a program director isn’t as appealing as it was to leaders from my era.

Some assume that because they’ve been successful at producing, and have done it for a long enough time, it means they’re ready for the next step. But programming is much more than managing a show. Not everyone is built to handle a verbal lashing from a market manager, balance a budget, negotiate deals, coach high profile talent, understand and examine PPM ratings, and unify departments. Let’s not forget interactions with corporate, being multi-platform skilled, knowing how to study and attack the competition, dealing with negative PR, and being the brand leader who keeps play by play partnerships in a healthy state.

If you’re behind the scenes in the sports radio industry, your path will most likely lead to becoming either a host, PD, moving into sales/marketing/imaging/digital/corporate or leaving the business. Top 10 markets and national networks are an exception as there are some very talented producers who’ve continued to work with top shows/stations for a long time. Both invest more in off-air positions. In many other cases, the financial upside for behind the scenes help is limited so eventually you reach a fork in the road when you have to decide the best path forward to make a decent living.

But those looking to take the next step don’t often think about positioning themselves to land the next big opportunity. They don’t take time to build relationships with key executives who they’ll one day interview with for a top job. Instead they think about that day’s show and the immediate tasks at hand. You can be the most creative, multiplatform savvy, best guest booker and strongest talent coach in America as a producer but if nobody else knows it outside your building, it’s going to be hard to take the next step. Which is why you have to make time to help yourself. You can start by emailing me. That can’t hurt.

Program directors have a responsibility here too. They should be making time to teach and push their behind the scenes people to want to advance their careers. They should also be telling anyone who will listen why one of their own is ready for the next step. Not enough do that. I can count on one hand the number of PD’s who’ve come to me championing one of their own for a top programming job over the past six years since I began helping stations find PD’s. Just going thru the interview process can be huge for an off-air professional who dreams one day of leading a brand. It helps them learn what to expect, how to present themselves, which areas they need to improve on in order to make the jump and most importantly, it shows them you care about them and their professional development.

I know that the job is busier today than ever for a PD and finding time is a pain in the ass. But coaching people is one of your biggest strengths. It’s why why you’ve been trusted to lead your brand. When twenty three positions open up and more than half require hiring elsewhere in the country and turning to folks inside different companies, that should raise eyebrows. Have you told others to consider someone on your staff? Did you push for them to be interviewed, even if they weren’t the right fit because you knew it’d serve them well later? Did you invest time in them to to make sure they were ready for the next step? And that doesn’t mean just giving them the crap you hate like filling out affidavits, building clocks, and corresponding with the traffic department.

Have you conducted 1 on 1’s with all of your off-air crew and learned who aspires to one day do what you do? Have you taught them how to analyze ratings and content? Sit in on show meetings? Critique talent? Recruit future staff? Participate in creative brainstorms or sales meetings? Have you told your GM or other high ranking executives or PD’s in your company about their passion to lead?

It should go without saying that if you’re in a position to lead and develop people, that it applies to more than just on-air talent. It should include grooming future programmers too. Any executive with oversight of your brand should be asking “who on your staff is ready to take a step?” If the answer is no one, they should be asking what your plan is to change that so the answer is different the next time they ask. If you’re skilled enough to lead a brand for years or even decades, those above you should want to protect the future by having you develop the next crop of programmers too. Your report card as a PD isn’t complete if all you can point to are good quarterly ratings. There are plenty of brands who’ve won in spite of their PD and others who have lost despite having an elite program director.

By the way, shouldn’t a PD want to see people inside their operations get called upon to take the next step? As hard as I pushed my crew to perform in St. Louis and San Francisco, when one got an opportunity to become a PD, APD or EP I was proud as hell. There’s nothing more fulfilling than seeing someone you have mentored, challenged and cared about take their career to a higher level. If you spend years in the position and have producers and assistant programmers not landing opportunities, let alone receiving calls to be interviewed for openings, you should be asking yourself ‘what haven’t I done to get them to that next level’ and ‘do I have the right people here who want to grow?’.

Lastly, I recognize everyone is under pressure to add good help. A station operating without a leader in the programming department creates a lot of problems, especially when it lingers for months. But you also need to find the right people or you end up with bigger problems later, most notably, others questioning your ability to hire the right people. If there’s one thing I’ve learned going thru these processes with different companies is that often times, decision makers want to move fast and find people who are referred by others they know and respect. If they hear a few good things said in conversation by a candidate that match what they value, they’re ready to move forward. Some get caught up in resumes or similar experiences/interests but not all ask the right questions and research people well. It’s amazing what you’ll learn if you investigate properly and ask questions that make folks uncomfortable. If you’re going to trust someone to lead your brand and staff, and set the tone for your operation, spending the extra time to be sure about those you hire is absolutely necessary.

Taking a chance on the APD or smaller market PD isn’t as safe as hiring a veteran leader. If you have a proven winner interested in your opening and feel confident that they fit your needs, I’m all for them being hired. But don’t make the mistake of assuming someone with less experience can’t make a greater difference. Imagine if we were back in 2004 and you passed on Jack Dorsey or Mark Zuckerberg in favor of a proven Newspaper editor to lead your brand’s digital strategy. How would you look today? That could be your radio station in five years if you overlook those with an ability to see the future better than the present when future openings arise.

To grow this format we need a mixture of new blood, new ideas, people who view the audio business differently from those in the present or past, and proven performers who’ve helped turn this format into a very successful one. We have to ask the right questions, fully research candidates, challenge our executives and programmers to take a greater interest in developing the next crop of sports radio executives, and consider new roads rather than the ones we’re most familiar with. We also need to hear from people who haven’t told us of their interest in taking the next step. We need to encourage them to want to grow and show them the path to do so. If we each do those things better, our format is going to spend a lot more time thriving and less time surviving in the years ahead.

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John Skipper To Speak At The 2022 BSM Summit

“In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured key talent to join the brand, and in April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.



Putting on a two-day industry conference comes with a fair share of challenges. Months are spent building sessions, selling sponsorships, and talking to so many people that by the time the event rolls around, all I can think about is reaching the finish line and avoiding major issues.

But then the event happens, and there are moments where I’m able to block out the noise for 30-40 minutes and just be present in conversation. It’s what I enjoy most. Being able to sit across from an industry leader who’s been successful in business, and pick their brain on the past, present and future of our industry is both personally and professionally fulfilling. Not only does it provide me with an education, but it helps everyone in attendance too. That’s my motivation for running this conference.

When we return to New York City on March 2-3, 2022, I’m thrilled to share that I’ll have a chance to do that once again with someone I’ve professionally respected and admired for a long time. It is an honor to announce that Meadowlark Media CEO John Skipper will join us for a special on stage conversation at the 2022 BSM Summit.

If you’ve worked in this industry or aspire to, then you’re likely aware of what John has accomplished. He’s seen the business from many different points of view and remains very much involved in helping shape its future. But before we discuss his present involvement, let’s revisit the past.

During his tenure with ESPN, John spent five years serving as company president where he secured a series of long-term, multiplatform agreements with key rightsholders such as the NBA, NFL, MLB, Major College Conferences, US Open Tennis, FIFA, the Masters Tournament and British Open, the College Football Playoff, and the Rose, Sugar and Orange Bowls. He also oversaw the evolution of several brands including The Undefeated, Grantland, five thirty eight, and espnW among others.

Prior to becoming company president, John held the position as EVP of Content, which he earned after helping create and introduce one of the most successful magazine launches of the 1990’s with ESPN The Magazine. His understanding and belief in digital helped ESPN move ESPN. com forward in 2000, adding a paid section, ESPN Insider, and delivering a revamped site approach to generate more advertising. His foresight also spurred the launch of ESPN3, a television network producing more than 4,000 live events on the web and through mobile devices. If that wasn’t enough, John also supported the creation of the Watch ESPN app, played a key role in elevating the careers of many of the industry’s top sports media stars today, and oversaw the growth of ESPN Films, ESPN Radio, and many of ESPN’s key television programs.

After exiting the worldwide leader, John signed on as the Executive Chairman of DAZN. In January 2021, Skipper’s plate became even more full when he reunited with Dan Le Batard to create Meadowlark Media. Since joining forces, the group has raised millions of dollars in funding, lured a number of key talent to become part of the brand, and established a strong presence in podcasting and on YouTube. In April, Meadowlark closed a deal with DraftKings for a reported fifty million dollars over three years. Not too shabby for year #1.

What I’ve appreciated about John is that he’s never been afraid to roll the dice and take risks. Some of his moves have worked out, others haven’t. The wins have been recognized across the industry, but so too have the losses. He’s had to lead a company thru high profile talent controversies, cord cutting challenges, understand the world of video, audio, print, digital, advertising, subscriptions, talent, and rights deals both domestic and internationally, all while keeping his finger on the pulse of the present state of the media business while turning an eye towards the future and knowing which areas the company should make significant investments in.

John has been thru all of it as a media executive, and he’s still doing it while building the Meadowlark brand. A recent story in Bloomberg captured some of his views on growing the Le Batard empire and navigating various parts of the industry. I highly recommend taking time to read it. You can do that by clicking here.

We have five and a half months until we’re inside the Anne Bernstein Theater in New York City, so who knows where the industry will shift during that time. One thing is for certain, John Skipper will be ready for whatever lands on his doorstep. I’m eager to spend time with him in New York treating industry professionals to his insights, opinions and leadership lessons. I’m confident those in attendance will gain value from hearing his perspectives on the industry.

I invite you to join us either in person or virtually for the 2022 BSM Summit. Tickets to the event can be purchased by clicking here. For information on sponsorship opportunities, email

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2022 BSM Summit Adds Pablo Torre, Joe Fortenbaugh, Kazeem Famuyide & John Jastremski

“By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day Summit.”



The announcements continue for the 2022 BSM Summit. After recently sharing the news that former ESPN Radio executive Traug Keller would join us in the big apple to accept the Jeff Smulyan Award, and previously revealing the first fourteen participants scheduled to appear, it’s time to inform you of a few key talent who will participate in sessions at March’s show.

I’m thrilled to welcome ESPN’s Pablo Torre to the 2022 BSM Summit. Pablo’s been with the worldwide leader since 2012. During that time he’s served as a senior writer for, the host of the ESPN Daily podcast, and has appeared on shows such as Around The Horn, Highly Questionable, and The Dan Le Batard Show. He also previously co-hosted High Noon with Bomani Jones. Prior to joining ESPN he spent five years writing for Sports Illustrated. Having worked with a mixture of talent from various backgrounds, I’m looking forward to having him share his insight and opinions on the value of it at the show.

Pablo isn’t the only ESPN personality joining us in New York for the conference. I’m excited to welcome back a great friend and one of the smartest sports betting analysts on television, Joe Fortenbaugh. Joe is regularly featured on ESPN’s sports betting program Daily Wager. He also appears on other ESPN programs and segments on television, radio and digital platforms. Prior to joining the network he hosted 95.7 The Game’s morning show in San Francisco, and hosted “The Sharp 600″ sports betting podcast. He’ll moderate a conversation with sports betting executives at the show.

Given that this two-day sports media conference is taking place in the heart of New York City, it’d be silly to not include someone who’s passion, energy, sound, and content embody what New York is all about. The Ringer’s John Jastremski will make his BSM Summit debut in 2022. The ‘New York, New York’ host is known to many for his years of contributions on WFAN. It’ll be fun picking JJ’s brain on the differences between performing on a traditional platform and the digital stage.

Jastremski isn’t the only one with a connection to The Ringer who will participate at our 2022 event. My next guest is someone who I’ve followed on YouTube and Twitter for years, has infectious energy and likeability, and has taken his life experiences and sports passions and turned them into opportunities with MSG Network, SNY, The Ringer, Bleacher Report, WWE, The Source and various other outlets. Kazeem Famuyide will join us to shed light on his journey and offer his perspective on the value of traditional vs. non-traditional paths.

By the time March’s conference rolls around, we’ll have somewhere between 50-60 people announced to participate at the two day event. I’ll be announcing the addition of a very special executive in mid-October, as well as a few high profile speakers and awards recipients in the weeks and months ahead. I’m appreciative of so many expressing interest in speaking at the conference, and as much as I’d like to include everyone on stage, I can’t. Keeping the Summit informative, fresh and focused on the right issues is important, and to do that, I’ve got to introduce different people, perspectives and subjects so our attendees gain value to further improve the industry.

A reminder, the 2022 BSM Summit is strictly for members of the sports media industry and college students aspiring to work in the business. It brings together people from more than thirty different media companies and focuses on issues of relevance and importance to media industry professionals. The show takes place March 2-3, 2022 in New York at the Anne Bernstein Theater on West 50th Street. Tickets and hotel rooms can be secured by visiting For those unable to attend in person, the Summit will also be available to view online. Virtual tickets can be purchased by clicking here. Hope you’ll join us!

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