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Inside Pat McAfee’s $85m rise-to-fame from NFL

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PAT McAfee stunned the sports world when he left an All-Pro career in the NFL aged 29 to become a media personality.

The Indianapolis Colts punter was due to earn nearly $6 million over the following two seasons when he made a surprise decision to work with Barstool Sports in 2017.

Pat McAfee has become one of the most popular sports personalities in the US

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Pat McAfee has become one of the most popular sports personalities in the USCredit: The Mega Agency
McAfee signed a five-year, $85 million deal with ESPN earlier this year

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McAfee signed a five-year, $85 million deal with ESPN earlier this yearCredit: YouTube/Pat McAfee Show
He is a college football analyst and has his own daily show

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He is a college football analyst and has his own daily showCredit: Getty

But that calculated gamble has paid off handsomely with McAfee having emerged as one of the most popular – and best paid – sports broadcasters in the United States.

Earlier this year, McAfee joined ESPN in a five-year deal worth a whopping $85 million, which works out around $17 million per year.

The agreement includes his self-titled daily show, which will air on ESPN’s cable channel, YouTube and ESPN+ as well as his weekly spots on College GameDay.

Such is his influence that McAfee, 36, walked away from a four-year deal with FanDuel worth a cool $120 million to move to ESPN.

Pat McAfee's new ESPN show launches with 'most electric Friday ever' on live TV
Pat McAfee's ESPN live TV show goes off-air in huge technical fault

Here is a look at McAfee’s incredible rise from NFL superstar to WWE personality and sports media multi-platform sensation.

Getting his kicks with Colts

After starring as a field kicker for West Virginia, McAfee was selected in the seventh round in the 2009 NFL Draft by the Colts.

McAfee was expecting to play as a kicker for the Colts but was stunned when told he would be the next punter.

McAfee was an All-Pro punter at the Indianapolis Colts

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McAfee was an All-Pro punter at the Indianapolis ColtsCredit: Getty
Despite his success, McAfee quit the NFL aged 29 to become a media personality

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Despite his success, McAfee quit the NFL aged 29 to become a media personalityCredit: Getty

He went to an empty high school field the next day with his dad and a bag of footballs.

“We had to figure out how to (expletive) punt,” McAfee recalled.

Over the following eight seasons, McAfee honed his craft to become the greatest punter in franchise history, with a punting gross average of 46.4 yards.

He was also skilled at onside kicks, quick-witted enough to pull off fake punts and strong enough to tackle opposing players.

After earning $4.77 million during his first five seasons with the Colts, McAfee signed a five-year, $14 million contract in 2014.

Such was his outsized personality that McAfee began to make a name for himself as a standup comic, local radio personality and social media presence on Twitter.

McAfee was named to the Pro Bowl in 2014 and 2016 but knee injuries began to take their toll, with three operations in four years.

The NFL star also became frustrated with general manager Ryan Grigson, leading to his move to quit the league at the height of his career.

Becoming sports media superstar

McAfee’s first move into sports media was with Dave Portnoy’s Barstool Sports in 2017.

But after making a name for himself at Barstool with his podcasts and digital content, McAfee abruptly left the company a year later for undisclosed financial reasons.

McAfee on radio row ahead of Super Bowl LVII in Phoenix

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McAfee on radio row ahead of Super Bowl LVII in PhoenixCredit: Getty
His move to ESPN came via Barstool Sports and SiriusXM

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His move to ESPN came via Barstool Sports and SiriusXMCredit: Getty

As a free agent, the offers soon came flooding in for McAfee, joining ESPN as a college football analyst in 2019.

He also launched his hugely popular three-hour digital show on SiriusXM’s Mad Dog Sports Radio channel as well as on YouTube.

Such was its success that he secured a monster $30 million-per-year sponsorship deal with FanDuel before he took his talents to ESPN earlier this year.

McAfee is now considered one of the most important members of the ESPN family alongside the likes of Stephen A. Smith, the Manning brothers, Troy Aikman, and Joe Buck.

McAfee’s daily show debuted on ESPN earlier this week, on tape delay in a bid to combat swearing.

The show even with a disclaimer apologizing in advance for any NSFW words.

The pressure on McAfee in particular to succeed at ESPN is immense.

Many sports fans on social media pointed the finger at McAfee and his contract, amid ESPN’s mass layoffs earlier this summer.

Speaking on Twitter, the former NFL punter said he was “reflecting about our show’s journey while I was getting murdered on the internet today.”

He added: “We’re very pumped to be joining ESPN and our goal is that ‘Mass exits’ are never a thing again (and) we hope to help that.

“Obviously that’s a lofty goal but, that’s how I truly look at life.”

Living childhood dream in WWE

One of McAfee’s dreams growing up was to become a professional wrestler.

“If it wasn’t for finding out that my right leg could kick a ball really far, which is what I did, I am 100 per cent certain that I would be attempting to be or would be a professional wrestler,” McAfee said.

McAfee has worked as a WWE commentator

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McAfee has worked as a WWE commentatorCredit: Getty Images – Getty
Has has even performed in the ring

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Has has even performed in the ringCredit: WWE

McAfee first joined WWE in 2018 as part of the NXT TakeOver pre-show panel in a multiyear deal.

In 2020, McAfee’s childhood dream came true when he made his in-ring debut at NXT TakeOver: XXX against Adam Cole.

He amazed fans with his displays of athleticism, including leaping off the top rope.

In 2021, McAfee joined the WWE Smackdown commentary team.

But he was forced to leave the job last year after landing a full-time gig to co-host ESPN College GameDay.

McAfee had made cameos at SummerSlam 2022 and WrestleMania 39 but it seems his time in WWE has come to an end, at least for now.

In March, McAfee became a father for the first time with the birth of his daughter Mackenzie.

For all his success, McAfee is hugely grateful for the opportunities he had been given since leaving the NFL.

“I’m not supposed to be here. There’s no way I’m supposed to be here,” he told Sports Illustrated.

“I’m very happy with what I do.I enjoy the stupid decisions that my friends and I make. 

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“Everything for me is either a learn or a win. I just keep moving forward and that’s about it, honestly.

“I think I’m the luckiest guy on Earth.”



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Collector’s Con coming to SMPA | News

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The Sand Mountain Park & Amphitheater will host the Sand Mountain Collector’s Convention next weekend, with special guests from Star Wars, DragonBall Z, Stranger Things, and former WCE and WWE superstars, among others.

The event is Saturday and Sunday, Sept. 16-17. In addition to the line up of guests and vendors, the park will host a battle of the bands competition on Saturday, and there will be a variety of food trucks on both days of the event.

The show is 10 a.m.-6 p.m. Saturday and 11 a.m.-5 p.m. Sunday. The park is located at 1325 SMPA Boulevard, Albertville.

Tickets are on sale now. For children 12 and under, admission is free. All tickets can be purchased at: https://www.itickets.com/events/473725.html

Hotel Information is available at: https://explorelakeguntersville.com/stay/hotels/

RV Park Information is available at: https://sandmountainpark.com/rv-park/

Special guest currently set to attend include:

• Barry Lowin: He is best known for his roles on The Mandalorian, The Big Bang Theory and The Bold and the Beautiful.

• Dorian Kingi: He is best known for being the performance artist for the highly acclaimed character Cad Bane in the hit Disney+ series The Book of Boba Fett. He was also the Demogorgon in Stranger Things as well as provided the motion capture for Venom in the Venom movie

• Mike McFarland: Mike has been acting professionally for over 20 years in various capacities, but is most known for his voice work in animation and video games. Notable roles include “Master Roshi” in DragonBall Z and DragonBall Super, “Jean Kirstein” in Attack on Titan, “Lt. Jean Havok” in Fullmetal Alchemist and Fullmetal Alchemist: Brotherhood, “Ojiro” and “Ectoplasm” in My Hero Academia, “Buggy” in One Piece, “Amon” in Tokyo Ghoul, “Gordon” in Black Clover, “Carnage Kabuto” in One-Punch Man, and “Cain Nightroad” in Trinity Blood.

• Daniel Baugh: Daniel Baugh is a voice and stage actor, as well as an artist. Daniel brings over 40 years of stage acting experience and directing skills to his new love of dubbing anime. Daniel has been doing voice over for several years now; the most notable role to date is that of the Helmsman of the Straw Hat Pirates, Jimbei(Jinbe) on One Piece. Daniel has also voiced Gemnemo on Blood Blockade Battlefront, Roger on Attack on Titan, Badger on Vinland Saga, as well as providing voices for shows such as Zombie Land Saga, Overlord III, The Ancient Magus Bride and others

• R. Bruce Elliott: R BRUCE ELLIOTT has been a professional actor for decades, working in theatre, film, TV, radio and commercials, not to mention the occasional tailgate party and bar mitzvah. He started dubbing voices for anime at Funimation in 2003 and has continued ever since, having performed nearly 220 roles in over 200 anime shows and movies. From his first role as the bumbling detective Richard Moore in Case Closed, he has become known for his range and versatility in shows such as Attack on Titan, One Piece, Space Dandy, Fairy Tail, Samurai Seven, Full Metal Alchemist, Dragonball Z Kai (and Super) and Black Butler, and more recently in shows like Star Blazers (originally Space Battleship Yamato), Angels of Death, Chio’s School Road, Kikuriyo: Bed and Breakfast for Spirits and Fairy Gone. He can also be heard in movies like Empire of Corpses and Dragon Ball Z: The World’s Strongest, plus numerous video games, including The Walking Dead: Survival Instinct, Aeon Flux, Orcs Must Die (1 & 2), Borderlands 2, and twelve or thirteen different games in the Dragon Ball Z series as his favorite fearless idiot, Captain Ginyu of the Ginyu Force.

• Bryan SilverBaX: Bryan SilverBaX is an artist whose work can be seen on the covers of comic books as well as in films and NFTs. Bryan also has his own comic bookuniverse that he works on called Kerra Prime.

• Steven Butler: Steven Butler is a 34 year veteran freelancer in the comic book industry who has worked for wide variety of comic companies on many well-known titles like Web Of Spider-Man, Silver Sable And The Wildpack, and Punisher War Journal for Marvel Comics- Superman for DC Comics- Sonic The Hedgehog, Betty and Veronica: The New Look for Archie Comics, and Lady Death homage covers for Coffin Comics.

• Lily Butler: Lily Butler is a comic artist from south Mississippi who has worked on a variety of assignments in the comic book industry for the past few years. Some of her clients have been Marvel and DC Comics where she has provided color artwork on variant covers for such characters as Spider-Man and Superman.

• Buff Bagwell: Best known for his appearances with World Championship Wrestling from 1991-2002, where he was a five-time World Tag Team Champion!

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Great American Conference capsules

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SW OKLAHOMA STATE AT ARKANSAS-MONTICELLO

WHEN 6 p.m.

WHERE Willis “Convoy” Leslie Cotton Boll Stadium, Monticello

RADIO KBHM-FM, 93.7, Monticello

INTERNET uamsports.com

RECORDS SW Oklahoma State 0-1, 0-1; UAM 1-0, 1-0

COACHES Ruzell McCoy (0-1 in first season at SWOSU and overall); Hud Jackson (43-79 in 12th season at UAM and overall)

SERIES SW Oklahoma State leads 6-5

LAST MEETING SWOSU rang up 522 yards of total offense to beat UAM 37-27 on Oct. 1, 2022, at Weatherford, Okla.

NOTEWORTHY Three of the previous five meetings have resulted in losses for UAM. The Boll Weevils, though, have won the past two home matchups in the series, including an 18-16 win in 2021. … The 492-mile trip from Weatherford, Okla., to Monticello is the longest of the season for SWOSU. … The lone win the Bulldogs have had on the Boll Weevils’ field came in 2017 when they won 20-19. … UAM quarterback Demilon Brown accounted for five touchdowns (4 passing, 1 rushing) in the team’s 49-24 victory over Northwestern Oklahoma State last week. The last time the Boll Weevils played the Bulldogs, the senior threw for 302 yards, but he also threw 3 interceptions and was sacked 6 times. … SWOSU last won a game in Arkansas on Oct. 20, 2018, when it beat Arkansas Tech 35-14 in Russellville. … A win would give the Boll Weevils a 2-0 mark for just the third time since 2011. … Running back Ethane Hyche led the Bulldogs with 67 yards on 15 carries and 1 touchdown in their 38-14 loss to Ouachita Baptist in their opening game.

HENDERSON STATE AT SE OKLAHOMA STATE

WHEN 6 p.m.

WHERE Paul Laird Field, Durant, Okla.

RADIO KYXK-FM, 106.7 Gurdon; KVRC-AM, 1240, Arkadelphia; KDEL-FM, 100.9, Arkadelphia; KWPS-FM, 99.7, Hot Springs; KZYP-FM, 104.1, Malvern; KZYP-AM, 1310, Malvern

INTERNET hsusports.com and GoSoutheastern/SESportsNet (streaming)

RECORDS Henderson State 1-0, 1-0; SEOSU 0-1, 0-1

COACHES Scott Maxfield (126-62 in 18th season at Henderson State and overall); Bo Atterberry (33-24 in sixth season at SEOSU and 74-52 in 12th season overall)

SERIES Henderson State leads 26-6

LAST MEETING Korien Burrell and eight times for 119 yards as Henderson State picked up an 31-23 victory on Oct. 1, 2022, at Arkadelphia.

NOTEWORTHY Henderson State has dominated SEOSU since the teams began playing as members of the Great American Conference in 2011. The Reddies have won every matchup during that span. … The Savage Storm haven’t beaten Henderson State since 2009 when they took a 54-38 victory. … Quarterback Andrew Edwards is the reigning GAC Co-Offensive Player of the Week after he accounted for 307 yards of offense and four passing touchdowns in Henderson State’s 41-13 win over East Central (Okla.) last week. The Bentonville native is 8-2 as a starter. … Receiver Marquis Gray, who set team single-season records in receptions, receiving yards and touchdowns caught in 2022, had 4 catches for 121 yards and 1 touchdown in SEOSU’s loss at Southern Arkansas on Aug. 31. The Savage Storm turned the ball over three times and allowed five sacks. … The fumble return for a touchdown by Paul Manning last week was the Reddies’ first score of that nature since 2016. … The next two games for SEOSU will be against teams from Oklahoma before it plays at Ouachita Baptist on Sept. 30.

NW OKLAHOMA STATE AT OUACHITA BAPTIST

WHEN 6 p.m.

WHERE Cliff Harris Stadium, Arkadelphia

RADIO KARN-FM, 102.9 (Little Rock); KZNG AM, 1340, KZNG-FM 97.9/105.5 (Hot Springs); KTPB-FM, 98.1, Pine Bluff; KCXY-FM, 95.3, Camden; KNAS-FM, 105.5, Nashville; KHGG-FM, 103.5, Fort Smith, KESA-FM, 100.9, Eureka Springs; KILX-FM, 102.1, De Queen; KQOR-FM, 105.3, Mena

INTERNET obutigers.com

RECORDS NWOSU 0-1, 0-1; OBU 1-0, 1-0

COACHES Ronnie Jones (0-1 in his first season at NWOSU and 11-32 in fourth season overall); Todd Knight (144-99 in 24th season at OBU and 172-131-2 in 30th season overall)

SERIES OBU leads 11-3

LAST MEETING A 21-point second quarter help OBU open a big halftime lead en route to earning a 48-7 win on Oct. 1, 2022, at Alva, Okla.

NOTEWORTHY OBU ran its winning streak in season openers to 16 games last week when it blasted Southwestern Oklahoma State 38-14 at Weatherford, Okla. That win was also the Tigers’ seventh straight over the Bulldogs. … NWOSU is 3-20 over its past 23 games. The Rangers have been outscored 112-24 in two games against OBU during that frame. … Receiver Keemontrae McKnight had 4 catches for 54 yards and 2 touchdowns in his first game with the Tigers since 2021. He missed last season because of injury and used a medical redshirt. … The last time NWOSU beat OBU was in 1996 when it cruised to a 34-3 win. That was the Rangers’ third victory in a row over the Tigers, but they haven’t beaten OBU since. … Quarterback Riley Harms set career highs in passing yards (283) and touchdown passes (4) last week. In 2022, he had 177 yards through the air and tossed two touchdowns against the Rangers. … A victory by OBU, which is ranked No. 8 in this week’s American Football Coaches Association Division II poll, could set up a key battle with unbeaten Southern Arkansas next week.

SOUTHERN NAZARENE AT ARKANSAS TECH

WHEN 6 p.m.

WHERE Thone Stadium, Russellville

RADIO KCJC-FM, 102.3, Russellville

INTERNET arkansastechsports.com

RECORDS Southern Nazarene 0-1, 0-1; Arkansas Tech 0-1, 0-1

COACHES Dustin Hada (6-20 in fourth season at Southern Nazarene and overall); Kyle Shipp (12-22 in fourth season at Arkansas Tech and overall)

SERIES Arkansas Tech leads 8-1

LAST MEETING Arkansas Tech scored 17 unanswered points in the fourth quarter to pull out a 48-35 victory on Oct. 1, 2022, at Russellville.

NOTEWORTHY The only time Southern Nazarene has beaten Arkansas Tech was in 2019. The Crimson Storm scored 28 of the game’s first 35 points and rolled 41-24 at Bethany, Okla. They’ve given up an average of 44.5 points in back-to-back losses to the Wonder Boys in two games since. … Arkansas Tech used two quarterbacks in a 23-21 loss to Oklahoma Baptist last week. Hunter Loyd was 4 of 12 for 35 yards with 1 interception, while Taye Gatewood went 14 of 20 for 201 yards and 1 score. … Southern Nazarene turned the ball over six times and fell into a huge 35-point hole in the first half during a 53-20 loss to Harding in its season opener. Quarterback Gage Porter completed 6 of 16 passes for 116 yards and 3 interceptions, but he did rush for 117 yards and 2 scores as well. … The Wonder Boys will have another game at home next week against Henderson State. They’ll head to Magnolia to take on Southern Arkansas the following week. … Dustin Hada was the Crimson Storm’s offensive coordinator for four years before becoming head coach in 2020.

OKLAHOMA BAPTIST AT HARDING

WHEN 7 p.m.

WHERE First Security Stadium, Searcy

RADIO KVHU-FM, 95.3, Searcy

INTERNET hardingsports.com

RECORDS Oklahoma Baptist 1-0, 1-0; Harding 1-0, 1-0

COACHES Chris Jensen (40-61 in 11th season at Oklahoma Baptist and overall); Paul Simmons (51-13 in sixth season at Harding and overall)

SERIES Harding leads 7-0

LAST MEETING Harding ran for nearly 300 yards in battling for a 38-23 victory on Oct. 1, 2022, in Searcy.

NOTEWORTHY Harding has never lost in seven meetings with Oklahoma Baptist. Six of those games have been decided by 15 points or more, with the closest game coming in 2015, which Harding won 20-19. … Oklahoma Baptist defensive lineman Brett Karhu was named the Great American Conference Defensive Player of the Week after recording seven tackles, including three sacks, during 23-21 win over Arkansas Tech. … Kicker Luke Watkins was picked as the league’s special teams player of the week following a 3-for-3 outing on field goals. He also had three punts land inside the 20-yard line. … There were only two teams (Harding, Colorado State-Pueblo) in the NCAA Division II that forced six turnovers or more in their season-openers. … Quarterback Aidan Thompson had 197 yards passing with 1 touchdown and 2 interceptions for Oklahoma Baptist last year against Harding. He also had a rushing score. … The Bisons (Harding) have run for six touchdowns or more 34 times since 2010. … The Bison (Oklahoma Baptist) have six rushing scores in their past five games combined.

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Georgia-Ball State: TV, online, radio information

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In its second of four consecutive home games to start the season, top-ranked Georgia faces Ball State from the Mid-American Conference on Saturday.

The Cardinals played at Kentucky last week and led at the end of the first quarter before losing by 30 points. This is the Bulldogs’ second nonconference game before they open SEC play a week from Saturday at home against South Carolina.

Here is some important information regarding how to follow the action:

Date: Saturday, Sept. 9

Time: Noon

Location: Sanford Stadium, Athens

Records: No. 1 Georgia 1-0, Ball State 0-1

Television: SEC Network will televise the game. Taylor Zarzour will handle play-by-play, with Matt Stinchcomb as the analyst and Alyssa Lang as the sideline reporter.

Local radio: The game will be broadcast on the Georgia Bulldogs IMG Sports Network, heard in metro Atlanta on WSB 750/95.5. Scott Howard is handling play-by-play. Eric Zeier is the analyst, and D.J. Shockley is the sideline reporter.

Satellite radio: You can listen on SiriusXM Radio Ch. 190.

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UMG & Deezer’s Streaming Model Devalues Passive

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As the music streaming business matures, the way people listen to music could determine how artists get paid. Sitting back and letting a streaming service choose a song will result in a lower royalty than choosing the song yourself, if this week’s news of a new streaming model is any indication.

It’s not a phobia toward algorithms that’s driving the change. Rather, the approach rewards those artists who create the most active engagement. Songs that play in the background are deemed to be less valuable.

On Tuesday, French music streamer Deezer and Universal Music Group announced a partnership to reinvent how Deezer calculates UMG’s streaming royalties. The partnership will “[reduce] the economic influence of algorithmic programming” and reward “engaging content” with greater royalties, according to the companies’ press releases.

When they say, “algorithmic programming,” they mean the streaming service’s personalized recommendations about what song will play next. That’s a more passive, lean-back approach to listening than hunting and pecking on the app’s user interface to choose a song.

At some point between the launch of internet radio platforms and the present battle for better royalties, passive listening got a bad rap. What has the world come to, some people fret, when dreaded algorithms are deciding what music gets heard? What gives an algorithm such an important role in determining how royalties will be paid?

But algorithms are a common way to stream music. When given an on-demand streaming service, people often let an algorithm do the hard work of picking the next song. A 2021 MusicWatch survey found Spotify Premium users spent 25% of their time in “lean-back” listening rather than “lean-in” listening. That figure rose to 31% for Apple Music users and 32% for Amazon Prime Music users. In all, 48% of time spent listening to music was “lean back” listening on streaming services, broadcast radio and satellite radio.

Algorithms also drive helpful products such as Spotify’s Discover Mode, a promotional tool that allows artists and labels to find new listeners in return for a lower royalty rate. It works by increasing the likelihood a song will be recommended to a listener. It’s popular, too. From the first quarter of 2021 to the first quarter of 2022, Discovery Mode had a 98% customer retention rate, Charlie Hellman, Spotify’s vp/global head of music product said during the company’s 2022 investor day presentation.

When a streaming service does personalization well, it adds great value to a listening experience. Pandora was revolutionary when it launched in 2005 because it had a spooky sense of what people wanted to hear. Its Music Genome Project, a proprietary technology that classifies recordings’ various musical traits, gave it the ability to pick the right songs based on a history of giving other songs a “thumb up” or “thumb down” vote. Pandora took away the effort in digging for songs and provided a much broader catalog than broadcast or satellite radio.

Today’s music streaming services are superior to their predecessors — and their own previous iterations — specifically because they have mastered passive listening. Consider how far Spotify has come since it was launched. Spotify used to recommend songs based on a user’s social network — kind of an “if your friend likes it, you’ll like it” approach to song-picking. But it wasn’t a good listening experience. Spotify’s decision to acquire music intelligence startup The Echo Nest in 2014 was the cornerstone for a new approach to providing a personalized listening experience.

The proliferation of smart speakers only adds to the need for algorithmic listening. About two-thirds of U.S. smart speaker owners wanted to own the devices to discover new songs, according to a 2022 Edison Research survey, and their share of time spent listening to audio through a smart speaker increased 400% over the previous five years. The joy of owning a smart speaker is allowing the device and streaming service to do all the work — it’s passive listening at its best.

Most Americans use their favorite streaming service when doing things around the home such as cleaning, relaxing, cooking, eating and entertaining guests, according to the same MusicWatch study. Most people stream music when exercising. More than half of people also use their favorite streaming service when driving, although satellite and broadcast radio were preferred in the car over streaming. Streaming service Songza, acquired by Google in 2014, was built on the premise that people chose music for moods and activities. That approach to curation has since been adopted by most — if not all — streaming services.

The UMG-Deezer partnership is evidence that background listening is on its way to getting a demotion. Deezer will remove tracks of white noise, which account for 2% of its streams, from the royalty pool. That leaves more royalties for professional artists who depend on streaming to earn a living. Throughout the year, UMG has been calling out “functional music” — a term that has come to mean low-cost or generic music built for moods or activities — and drawing a distinction between artists who draw people to streaming services and sounds that people play in the background.

Taylor Swift and Drake may rule the charts, but functional music is mainstream, too. Of U.S. music streamers who listen to playlists, many of them listen to playlists for white noise (36%), rain sounds (45%) and relaxation (61%), according to a 2023 MIDiA Research survey. In recent years, streaming services have broadened their playlists and radio stations to address the fact that consumers want a variety of sounds.

Artists with small followings will get less, too. Deezer will “boost” the royalties of “professional” artists with at least 1,000 streams per month by a minimum of 500 unique listeners. That will relegate hobbyists and artists early in their career development to a different tier. Exactly how many artists will be affected isn’t clear, but Deezer says just 2% of artists on the platform have more than 1,000 monthly unique listeners.

UMG and Deezer aren’t exactly taking an innovative stance, however. The music industry — at least in the United States — has already determined that active, on-demand listening is more valuable than passive, non-interactive listening. The Deezer-UMG partnership merely codifies for an on-demand service what is standard at internet radio. In the United States, non-interactive internet radio streams from the likes of Pandora pay 0.24 cents per ad-supported stream (and 0.3 cents per subscription streams). That’s less than any on-demand stream from a premium streaming service such as Spotify, Apple Music and YouTube Music.

In effect, a streaming service pays less for non-interactive streams because it gives the listener less value than on-demand services. To qualify for the lower royalty rate, a non-interactive streaming service cannot have the same robust features as an interactive one. At Deezer, a listener can stream any song from any artist any number of times. They can listen to playlists and build playlists, too. They can listen to songs shared by friends through SMS or social media. That’s all lean-in listening, and it’s more valuable because people will pay $11 a month to do it.

Until now, on-demand services’ standard pro-rata model hasn’t separated passive from active listening. When labels negotiated licensing deals with streaming services, they have always treated one stream the same as any other stream. A stream from a user-curated playlist is treated the same as a stream from an algorithmically created radio station. Whether the listener actively hits the play button to listen to a particular track isn’t taken into account. Right or wrong, that’s how the pie has been divvied up.

A couple of decades into the life of the pro-rata system, Deezer shows there is a greater willingness to treat active listening differently than passive listening. MIDiA Research’s Mark Mulligan called this demotion “a very welcome and long overdue move” that will “disincentivis[e] the commodification of consumption by rewarding active listening.” There’s certainly a logical argument to be made here: The artists people actively seek out arguably provide the most value — give the streaming service the most foot traffic, so to speak — while less popular artists play the important but less financially valuable role of giving breadth and depth to music catalogs.

Time will tell if and how other streaming services follow Deezer’s lead. An alternative already exists: In 2022, Warner Music Group adopted the user-centric model that SoundCloud rolled out to independent artists the prior year. That system pays royalties based on an individual subscriber’s listening rather than pooling all subscribers’ fees into a larger pool. So, a subscriber who listens to out-of-the-mainstream or independent artists is assured their money is not going to popular artists.

Over the next few years, labels and services are likely to experiment with different approaches to calculating streaming royalties. But regardless of how the dust settles, streaming services and rights holders should respect what passive listening brings to their listeners.

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What’s Love Got to Do with Christianity?

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There are a number of important biblical passages about love. While there are many New Testament passages pertinent to any discussion about love (e.g., John 3:16, 1 Corinthians 13, or 1 John 4:8-10), a handful of other passages offer pictures of what we might call a basic biblical notion of love.

Many of these passages are associated with another biblical topic: the law. These associations are crucial to an understanding of love in the Bible because, as we will see, love is not fully realized apart from a reordering of our desires.

From Chaos to Order and Back Again

Genesis 1:1-2:3 has often been discussed as part of the creation-evolution debate. While I do not wish to diminish the importance of a Christian self-understanding that is grounded in a biblical rather than Darwinian understanding of origins, the discussions related to the creation-evolution debate can tend to overshadow other important aspects of the creation narrative.

For instance, Genesis 1:1-2:3 highlights at least three of God’s attributes: sovereignty, wisdom, and benevolence: 

1. God is sovereign. He has full, unrivaled authority over his creation. God speaks. The various elements of creation obey. There is no resistance. He exercises his authority without constraint or opposition.

2. God is wise. His authority does not result in more chaos. The “formless and void” world moves from chaos to order, not from chaos to a new sort of chaos. God is not an all-powerful ruler with a half-baked plan for the world. He has an order in mind and institutes that order through wisdom (Proverbs 3:19-20).

3. God is benevolent or good. The finished creation demonstrates God’s abundant, kind provision to humankind and, ultimately, his desire to see all of creation flourish.

The pain and struggle we often experience were nowhere to be found before the Fall. God’s goodness worked with his wisdom and sovereignty to create a harmonious world.

To the extent that Genesis 1:1-2:3 has been treated in relative isolation as part of the creation-evolution debate, we can also tend to miss the significance of what happens in Genesis 3:1-24.

The serpent convinces the woman that God is not benevolent, wise, or sovereign:

1. God is holding out on humanity. The serpent’s initial question is difficult to translate but should likely be understood as an exasperated assertion framed as a question.

The force is arguably something like: “God may as well starve you if he is prohibiting you from eating the fruit of the tree in the middle of the garden.”

As I note in Trajectories, “The serpent has accused God of being less-than fully benevolent in keeping the human couple from eating the fruit of the tree of the knowledge of good and evil.”

God’s paradise is a prison designed to keep humanity comfortable and under God’s thumb. He is not benevolent but is seeking to limit human flourishing.

2. The serpent diminishes God’s wisdom. As the “wisest” or “craftiest” of the beasts God made, the serpent is well-positioned to make this argument.

After raising questions about God’s benevolence, the serpent tells the woman that humans can be “like God, knowing good and evil” (Genesis 3:5).

The forbidden fruit is the key to wisdom as the woman recognizes when she makes her own judgment that “the tree was to be desired to make one wise” (3:6).

3. Throughout the narrative, the serpent assumes that God can be opposed. Unlike the various elements of creation that respond to the word of God, the serpent encourages rebellion.

God’s command is not the final word but an ambiguous order from a fragile Sovereign who does not want humanity to become his rival.

All that the serpent says, of course, is false. When the human couple disobeys God, they disrupt the order God had established at creation.

The world falls back into a chaotic state in which ambiguity reigns because the relationship between God, humankind, and creation is skewed.

Humanity no longer occupies an ordered paradise but is thrust into a threatening environment in which the present is difficult and the future unsure.

Disordered Love

In a world where toil and pain have become the norm, humankind must learn how to relate to God, others, and creation to survive and thrive. In the midst of disorder, humans looked out at the world with fallen eyes.

Both the threats and opportunities were abundant. Having split from God, humanity made its own judgments about what was “good” (Genesis 6:1-2; cf. 1:9, 12, 18, 21, 25, 31). Those judgments reflected the disordering of love.

Augustine suggests, “Neither is luxury the fault of lovely and charming objects, but of the heart that inordinately loves sensual pleasures, to the neglect of temperance, which attaches us to objects more lovely in their spirituality, and more delectable by their incorruptibility.”

He goes on to conclude, “he who inordinately loves the good which any nature possesses, even though he obtain it, himself becomes evil in the good, and wretched because deprived of a greater good.”

In other words, disordered love is corrosive even when it is aimed at what is good and beautiful. Love needs to be rightly ordered if it is to allow us to flourish.

Rightly Ordered Love

In Matthew 22, an expert in the Mosaic law asks Jesus to identify the greatest commandment. Jesus responds, “You shall love the Lord your God with all your heart and with all your soul and with all your mind.

This is the great and first commandment. And the second is like it: You shall love your neighbor as yourself. On these two commandments depend on all the Law and the Prophets” (Matthew 22:37-40). Jesus’ statement in Matthew 22 quotes Deuteronomy 6:5 and Leviticus 19:18.

In Deuteronomy, love involves loyalty. It is not simply a subjective feeling about God but a commitment to Him that shapes the ways we see the world and determine to act within it. First and foremost, we are to give our full, uncompromised allegiance to the Lord.

It is not so much that we cannot exhibit love without first loving God but that without a primary commitment to the Lord, our love will never be rightly ordered.

Our love is expressed in obedience (1 John 5:3). We realign our lives with God’s order and, in doing so, imitate the love he showed us in sending his Son (1 John 4:10-11).

Loving our neighbor is an extension of our commitment to God. As we love our neighbor, we demonstrate not only our understanding of what God has done for us but our willingness to conform our lives to the way of God’s love.

God’s love is not selfish. It is self-giving. Just as Christ “did not count equality with God a thing to be grasped” (Philippians 2:6) or to be used to His advantage, we recognize that we are freed from selfish ambition and self-centeredness.

We can relate to others in ways that recognize that our own safety, security, and prosperity are not things to be grasped. They are resources we can employ to demonstrate God’s love to those around us.

What Is Love?

Love connects us deeply to the world because love is a recognition of reality as it really is. Rightly ordered love orients us to the world so that we understand and act in ways aligned with God’s order, which is evident despite the world’s brokenness.

Love is the demonstration of our devotion to and knowledge of God (1 John 4:7). It is not simply knowledge about God. It is knowledge born from experience.

We have tasted and seen that the Lord is good (Psalm 34:8). We have experienced God’s love and actively respond to it by following the pattern God has set for us.

Meditate on unfailing love from Jeremiah 31:

rong>For further reading:

What Is Love?

Why Do Love and Forgiveness Have to Go Hand-in-Hand?

Why Does God Love Me?

Photo Credit: ©iStock/Getty Images Plus/Anna Frank


James SpencerJames Spencer earned his Ph.D. in Theological Studies from Trinity Evangelical Divinity School. He believes discipleship will open up opportunities beyond anything God’s people could accomplish through their own wisdom. James has published multiple works, including Christian Resistance: Learning to Defy the World and Follow Christ, Useful to God: Eight Lessons from the Life of D. L. Moody, Thinking Christian: Essays on Testimony, Accountability, and the Christian Mind, and Trajectories: A Gospel-Centered Introduction to Old Testament Theology to help believers look with eyes that see and listen with ears that hear as they consider, question, and revise assumptions hindering Christians from conforming more closely to the image of Christ. In addition to serving as the president of the D. L. Moody Center, James is the host of “Useful to God,” a weekly radio broadcast and podcast, a member of the faculty at Right On Mission, and an adjunct instructor with the Wheaton College Graduate School.  

Related podcast:

The views and opinions expressed in this podcast are those of the speakers and do not necessarily reflect the views or positions of Salem Web Network and Salem Media Group.

So when sin is not being confronted, or even viewed as sin at all, it’s time to address it with the hope of gently helping to restore believers caught in its web.

Here are 10 sins that often go overlooked in Christian community.

Stock Footage & Music Courtesy of Soundstripe.com Thumbnail by Getty Images

This article originally appeared on Christianity.com. For more faith-building resources, visit

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UMG & Deezer’s Streaming Model Devalues Passive Listens. Is…

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As the music streaming business matures, the way people listen to music could determine how artists get paid. Sitting back and letting a streaming service choose a song will result in a lower royalty than choosing the song yourself, if this week’s news of a new streaming model is any indication.

It’s not a phobia toward algorithms that’s driving the change. Rather, the approach rewards those artists who create the most active engagement. Songs that play in the background are deemed to be less valuable.

On Tuesday, French music streamer Deezer and Universal Music Group announced a partnership to reinvent how Deezer calculates UMG’s streaming royalties. The partnership will “[reduce] the economic influence of algorithmic programming” and reward “engaging content” with greater royalties, according to the companies’ press releases.

When they say, “algorithmic programming,” they mean the streaming service’s personalized recommendations about what song will play next. That’s a more passive, lean-back approach to listening than hunting and pecking on the app’s user interface to choose a song.

At some point between the launch of internet radio platforms and the present battle for better royalties, passive listening got a bad rap. What has the world come to, some people fret, when dreaded algorithms are deciding what music gets heard? What gives an algorithm such an important role in determining how royalties will be paid?

But algorithms are a common way to stream music. When given an on-demand streaming service, people often let an algorithm do the hard work of picking the next song. A 2021 MusicWatch survey found Spotify Premium users spent 25% of their time in “lean-back” listening rather than “lean-in” listening. That figure rose to 31% for Apple Music users and 32% for Amazon Prime Music users. In all, 48% of time spent listening to music was “lean back” listening on streaming services, broadcast radio and satellite radio.

Algorithms also drive helpful products such as Spotify’s Discover Mode, a promotional tool that allows artists and labels to find new listeners in return for a lower royalty rate. It works by increasing the likelihood a song will be recommended to a listener. It’s popular, too. From the first quarter of 2021 to the first quarter of 2022, Discovery Mode had a 98% customer retention rate, Charlie Hellman, Spotify’s vp/global head of music product said during the company’s 2022 investor day presentation.

When a streaming service does personalization well, it adds great value to a listening experience. Pandora was revolutionary when it launched in 2005 because it had a spooky sense of what people wanted to hear. Its Music Genome Project, a proprietary technology that classifies recordings’ various musical traits, gave it the ability to pick the right songs based on a history of giving other songs a “thumb up” or “thumb down” vote. Pandora took away the effort in digging for songs and provided a much broader catalog than broadcast or satellite radio.

Today’s music streaming services are superior to their predecessors — and their own previous iterations — specifically because they have mastered passive listening. Consider how far Spotify has come since it was launched. Spotify used to recommend songs based on a user’s social network — kind of an “if your friend likes it, you’ll like it” approach to song-picking. But it wasn’t a good listening experience. Spotify’s decision to acquire music intelligence startup The Echo Nest in 2014 was the cornerstone for a new approach to providing a personalized listening experience.

The proliferation of smart speakers only adds to the need for algorithmic listening. About two-thirds of U.S. smart speaker owners wanted to own the devices to discover new songs, according to a 2022 Edison Research survey, and their share of time spent listening to audio through a smart speaker increased 400% over the previous five years. The joy of owning a smart speaker is allowing the device and streaming service to do all the work — it’s passive listening at its best.

Most Americans use their favorite streaming service when doing things around the home such as cleaning, relaxing, cooking, eating and entertaining guests, according to the same MusicWatch study. Most people stream music when exercising. More than half of people also use their favorite streaming service when driving, although satellite and broadcast radio were preferred in the car over streaming. Streaming service Songza, acquired by Google in 2014, was built on the premise that people chose music for moods and activities. That approach to curation has since been adopted by most — if not all — streaming services.

The UMG-Deezer partnership is evidence that background listening is on its way to getting a demotion. Deezer will remove tracks of white noise, which account for 2% of its streams, from the royalty pool. That leaves more royalties for professional artists who depend on streaming to earn a living. Throughout the year, UMG has been calling out “functional music” — a term that has come to mean low-cost or generic music built for moods or activities — and drawing a distinction between artists who draw people to streaming services and sounds that people play in the background.

Taylor Swift and Drake may rule the charts, but functional music is mainstream, too. Of U.S. music streamers who listen to playlists, many of them listen to playlists for white noise (36%), rain sounds (45%) and relaxation (61%), according to a 2023 MIDiA Research survey. In recent years, streaming services have broadened their playlists and radio stations to address the fact that consumers want a variety of sounds.

Artists with small followings will get less, too. Deezer will “boost” the royalties of “professional” artists with at least 1,000 streams per month by a minimum of 500 unique listeners. That will relegate hobbyists and artists early in their career development to a different tier. Exactly how many artists will be affected isn’t clear, but Deezer says just 2% of artists on the platform have more than 1,000 monthly unique listeners.

UMG and Deezer aren’t exactly taking an innovative stance, however. The music industry — at least in the United States — has already determined that active, on-demand listening is more valuable than passive, non-interactive listening. The Deezer-UMG partnership merely codifies for an on-demand service what is standard at internet radio. In the United States, non-interactive internet radio streams from the likes of Pandora pay 0.24 cents per ad-supported stream (and 0.3 cents per subscription streams). That’s less than any on-demand stream from a premium streaming service such as Spotify, Apple Music and YouTube Music.

In effect, a streaming service pays less for non-interactive streams because it gives the listener less value than on-demand services. To qualify for the lower royalty rate, a non-interactive streaming service cannot have the same robust features as an interactive one. At Deezer, a listener can stream any song from any artist any number of times. They can listen to playlists and build playlists, too. They can listen to songs shared by friends through SMS or social media. That’s all lean-in listening, and it’s more valuable because people will pay $11 a month to do it.

Until now, on-demand services’ standard pro-rata model hasn’t separated passive from active listening. When labels negotiated licensing deals with streaming services, they have always treated one stream the same as any other stream. A stream from a user-curated playlist is treated the same as a stream from an algorithmically created radio station. Whether the listener actively hits the play button to listen to a particular track isn’t taken into account. Right or wrong, that’s how the pie has been divvied up.

A couple of decades into the life of the pro-rata system, Deezer shows there is a greater willingness to treat active listening differently than passive listening. MIDiA Research’s Mark Mulligan called this demotion “a very welcome and long overdue move” that will “disincentivis[e] the commodification of consumption by rewarding active listening.” There’s certainly a logical argument to be made here: The artists people actively seek out arguably provide the most value — give the streaming service the most foot traffic, so to speak — while less popular artists play the important but less financially valuable role of giving breadth and depth to music catalogs.

Time will tell if and how other streaming services follow Deezer’s lead. An alternative already exists: In 2022, Warner Music Group adopted the user-centric model that SoundCloud rolled out to independent artists the prior year. That system pays royalties based on an individual subscriber’s listening rather than pooling all subscribers’ fees into a larger pool. So, a subscriber who listens to out-of-the-mainstream or independent artists is assured their money is not going to popular artists.

Over the next few years, labels and services are likely to experiment with different approaches to calculating streaming royalties. But regardless of how the dust settles, streaming services and rights holders should respect what passive listening brings to their listeners.

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Georgia Tech-South Carolina State: TV, online, radio

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After letting a lead slip away with a second-half collapse in the season opener, Georgia Tech faces what might be a welcome sight in an FCS program.

South Carolina State has lost both of its games this season, having been outscored by Jackson State and Charlotte 61-10. After playing the Bulldogs, the Yellow Jackets face consecutive road games, against Ole Miss and Wake Forest. Saturday’s game provides a potential boost ahead of playing those opponents.

Here is some important information regarding how to follow the action:

Date: Saturday, Sept. 9

Time: 1 p.m. ET

Location: Bobby Dodd Stadium, Atlanta

Records: Georgia Tech 0-1, South Carolina State 0-2

Television: The game will be livestreamed on ACC Network Extra and ESPN-Plus. Chuckie Kempf will handle play-by-play, with Forrest Conoly as the analyst.

Local radio: The game will be broadcast on the Georgia Tech Sports Network, heard in metro Atlanta this week on 680 AM/93.7 FM. Andy Demetra is handling play-by-play. Joe Hamilton is the analyst, and Chris Mooneyham is the sideline reporter.

Satellite radio: You can listen on SiriusXM Ch. 204.

Online: RamblinWreck.com.



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Tohono O’odham partners with wireless internet

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Tohono O’odham citizens now have access to wireless internet options thanks to a partnership the Tohono O’odham Utility Authority established with Baicells Technologies to provide high-speed broadband connectivity to villages across the largely rural Tohono O’odham Nation. 

“Understanding our remote location and lack of service by any existing carriers, we knew it was up to us to address this issue of broadband access,” Kristan Johnson, the operations manager for the Tohono O’odham Utility Authority (TOUA), said in a press release. TOUA has been offering internet services since 1998. 

The Tohono O’odham Nation is 4,460 square miles, about the size of Connecticut, and roughly 28,000 Tohono O’odham people live on its tribal lands in southwestern Arizona. 

The Tohono O’odham Nation is divided into 11 districts that are made up of 72 villages. Due to the rural conditions, the tribe has faced challenges bringing access to high-speed internet in many parts of tribal land.

The tribe has largely relied on simple WiFi connectivity set up in limited locations, and residents relied on internet speeds as low as 2 Mbps download and 1 Mbps upload, which often left the community unable to access critical service. 

With the help of federal funding, the TOUA has been able to overhaul and upgrade its infrastructure, and has been able to build out its network plan through wireless connection.

TOUA reached out to Baicells to partner with them to get the network established, but according to the press release, the tribe is the one behind the wheel because they planned, deployed and now operate the network.

“We have experience and a track record of solving these types of challenges for our communities,” Johnson said. “A private network that we can manage on our own was a great fit since we are very accustomed to operating our own infrastructure.” 

The TOUA already operates key utility infrastructures like electricity and water, Johnson said. 

“In today’s age, internet access is just another utility,” she added.

The tribe launched its project to build the wireless network in 2020, according to the press release, and started testing Baicells technology in 2021. Since then, the tribe successfully deployed a dual-band private 4G LTE network. 

Johnson said that they are still working to build out a fiber optic network, which is expected to be completed in 2024, and the wireless system allows customers to have access to the internet until then.

Workers prepare to install a wireless internet antenna on a home in a Tohono O’odham community. Photo courtesy of Baicells

The Tohono O’odham Nation has approximately 50 base stations set up across its land, and it has the potential to serve an estimated 3,000 homes. 

“The primary objective of this initiative is to enhance communications and access to content and educational services, with the high-speed connectivity provided by this network,” Minchul Ho, Americas CEO at Baicells, said in a press release. 

“Baicells core mission is empowering unserved communities and bridging the digital divide with affordable solutions,” Ho added. “The success of the partnership with the TOUA showcases the company’s dedication and commitment to this mission.”

According to Baicells, the Tohono O’odham Nation is able to maintain tribal sovereignty over its network infrastructure by leveraging a private LTE network. 

The Tohono O’odham Utility Authority was interested in getting service across the community sooner rather than later, said Tony Eigen, vice president of global marketing for Baicells.

“They knew they could do this with a wireless kind of network,” Eigen said, and Baicells is helping the Tribe get connected through the wireless technology they provide.

Eigen said Baicells went out to the Tohono O’odham Nation this summer to work with the TOUA to set up more towers in their network, and the tribes’ choice to go wireless gave them the ability to get their communities connected faster.

Since the project launched, Eigen said they’ve been able to cover a large portion of the community, unlike fiber optics, which takes longer to build out and costs much more.

Customers will have a transmitter set up on their house that talks to the radio transmitters and then broadcasts WiFi in the house, Eigden said, which is vastly different from digging and laying down fiber cables. 

For example, a mile of fiber costs roughly $5,000, but connecting a similar amount of endpoints using wireless networks costs only about $500.

“The cost is very much based on the population density that you’re trying to serve,” he added. “There is major differences in those two approaches.”

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