SiriusXM delivered higher revenue and earnings during the second quarter. The company also reported improving subscriber trends and stronger profitability.
What We Know:SiriusXM reported 33 million subscribers, with its monthly churn improving 1.4% during the quarter. It reported second-quarter revenue of $2.160 billion, up from $2.138 billion during the same period last year. Subscriber revenue increased modestly, while advertising revenue posted a stronger gain. Meanwhile, the company reduced operating expenses by nearly $85 million, helping drive higher profitability. Net income climbed to $245 million, and adjusted EBITDA reached $691 million as management continued executing its strategy to improve operating performance and strengthen its subscription business.
What the Numbers Show:
Metric
2026 2nd Quarter
2025 2nd Quarter
% Change
Subscriber Revenue
$1.638B
$1.629B
🟢 ▲ 0.6%
Advertising Revenue
$454M
$432M
🟢 ▲ 5.1%
Total Revenue
$2.160B
$2.138B
🟢 ▲ 1.0%
Total Operating Expenses
$1.688B
$1.773B
🔴 ▼ 4.8%
Net Income
$245M
$205M
🟢 ▲ 19.5%
Adjusted EBITDA
$691M
$668M
🟢 ▲ 3.4%
What They Said: “Since resetting our strategy, we’ve been focused on building a stronger, more durable SiriusXM, and our second quarter performance demonstrates that strategy is delivering meaningful results. We achieved positive second-quarter self-pay net additions for the first time in four years, strengthened engagement and retention across our subscriber base, and continue to build momentum by delivering premium content and experiences that deepen our connection with listeners while creating new opportunities for advertisers.” – SiriusXM CEO Jennifer Witz
What It Means: The results suggest SiriusXM’s efforts to stabilize its core subscription business are beginning to gain traction. Additionally, advertising revenue outpaced subscriber revenue growth, providing another positive signal for the company’s diversified business. Lower operating expenses also expanded profitability, giving SiriusXM greater financial flexibility as it invests in programming, technology, and advertising solutions. While subscriber growth remains an important long-term focus, the latest quarter indicates the company is making measurable progress toward improving both financial performance and listener engagement.
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The Minnesota Timberwolves have a new streaming home. DAZN will become the team’s exclusive local broadcast partner starting this summer.
What We Know: DAZN will launch a team-branded subscription service this summer, giving fans direct access to Timberwolves games and content. Additionally, 15 games will stream free this season. Coverage spans Minnesota, Iowa, Nebraska, North Dakota and South Dakota, with partial reach into Kansas and Wisconsin. The NBA will produce all local game broadcasts, including pregame and postgame coverage. In addition, the news follows DAZN partnering with the YES Network and MSG Networks for those network’s streaming platform on Wednesday.
What They Said: Minnesota Timberwolves & Lynx CEO Matthew Caldwell: “Our commitment to the best possible fan experience is what drives everything we do. With DAZN, we’re delivering on that promise, bringing Timberwolves basketball directly to fans through a modern streaming experience that expands reach with 15 free games and meets fans wherever they are.”
Shay Segev, CEO, DAZN Group: “The Timberwolves are one of the most exciting young franchises in the NBA. With an incredibly passionate fanbase, we are honored to be their exclusive regional home starting next season. Giving fans an easy way to watch the team they love. The NBA is one of the most popular leagues in the world and the Timberwolves are an indelible part. Bringing a team of this caliber onto DAZN is an amazing addition to our growing U.S. sports portfolio. We can’t wait to start serving Timberwolves fans as the team prepares for another incredible season.”
“The Timberwolves are one of the most exciting young franchises in the NBA, with an incredibly passionate fanbase,” said Shay Segev, CEO, DAZN Group. “We are honored to be their exclusive regional home starting next season and to give fans an easy way to watch the team they love. The NBA is one of the most popular leagues in the world and the Timberwolves are an indelible part.”
What Remains Unclear: Pricing for the new subscription service is unknown. Meanwhile, exact details on the promised interactive features, like live chats and polls, are still forthcoming. It’s also unclear how existing cable subscribers will transition to the new platform.
What It Means: This deal signals DAZN’s continued push into U.S. sports, following its NFL and NHL ties. For Timberwolves fans, though, it means simpler access to games across multiple devices. Ultimately, the partnership reflects a broader shift toward direct-to-consumer streaming in regional sports following the collapse of Main Street Sports.
NEWS: @Timberwolves and @DAZN Launch New Direct-to-Fan Streaming Offering
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MIW launches its fourth annual mentorship program today. The Speak Up! initiative honors late Media Staffing Network founder Laurie Kahn.
What We Know Mentoring and Inspiring Women in Radio opened applications for Speak Up! beginning July 30 and continuing through August 28, 2026. The year-long program pairs one emerging female leader from small- and medium-market radio stations with accomplished female broadcast mentors. Additionally, the selected candidate receives executive coaching from Media Staffing Network’s certified coaches. Past recipients include Presleigh Bearden (2025), Jessica Williams (2024), and Mary Zukin (2023).
What they said MIW President Sheila Kirby emphasized the program’s lasting impact: “Honoring Laurie Kahn’s legacy means creating opportunities for women to grow as leaders, build meaningful relationships, and gain the confidence to pursue the next step in their careers.” Meanwhile, Media Staffing Network President Lisa Fields stressed the importance of investing in emerging talent. “Laurie believed that investing in people was one of the most meaningful ways to strengthen our industry,” Fields explained.
What Remains Unclear The announcement doesn’t specify the mentorship timeline beyond indicating it’s a year-long commitment. Furthermore, details about selection criteria or target experience level stay vague. Also, specifics about networking events or formal training modules remain unclear beyond one-on-one coaching.
What It Means This program signals the radio industry’s sustained commitment to developing female leaders across all departments. The partnership underscores how established organizations champion emerging talent while keeping founders’ legacies alive. Finally, programs like Speak Up! help narrow leadership gaps by providing underrepresented groups with direct access to experienced mentors and professional connections.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
At the 2026 Barrett Media Audio Summit, Ryan Spoon, President of Yahoo Sports said his brand’s goal is to make you a smarter sports fan. I love that line. It’s something we strive to deliver to media professionals here on this website. Our mantra is to educate, celebrate and challenge, and inform and explain what’s happening and why it matters to media professionals.
That simple approach is why millions of sports fans have loved ESPN, sports writers, sports insiders, and on-air personalities for decades. The ability to gain access to critical information, share it, and examine and debate it is what makes fans feel smarter. They become more interested in watching, listening, reading and engaging. Take a quick gander at X, IG, Facebook, etc. and you’ll find millions of people following reporters like Adam Schefter and Shams Charania. People do so because of their abilities to deliver insightful and valuable information.
But what happens when information is withheld, controlled and/or influenced by teams, individuals, and companies? How does it alter the perception of journalists and the brands they represent? It could become a serious problem if the current patterns continue.
The Key Issues
John Mamola did an excellent job yesterday detailing the issues surrounding the coverage of the Kyle Shanahan story. Tim Kawakami of the San Francisco Standard said he knew about 15% of the details and didn’t think it was worth rushing out the story. I agree that leaping in without additional information isn’t smart. But Kawakami had 11 days. He shared on X that if it was a trade or firing he would’ve made more calls.
Why wasn’t the 49ers Head Coach being involved in a serious accident worth looking into further? Tim also tweeted that same day, “49ers report to training camp today. I think there’s going to be some news later this morning.” That suggested that he knew the Shanahan story was about to drop.
Tim has never been a carry the water for a franchise type of guy. He’s candid, ruffles feathers, and is a damn good writer. He’s a good guy too. But choosing to not look into this story deeper from someone as respected locally as Tim is was perplexing.
More disappointing though was what Adam Schefter said during a conversation with Unsportsmanlike on ESPN Radio. Adam said, “the 49ers did a great job at keeping things quiet” and pointed to July being a quiet time in the NFL. He mentioned that Sean McVay knew about the accident and alluded to it during interviews. Except there’s one major problem – Sean McVay is not an NFL reporter. Adam is. Just like the 49ers, Sean is going to seek to keep the news about himself, his team, and his colleagues private. It’s the reporter’s job to uncover it, not the head coach of the Los Angeles Rams.
By the end of today, all NFL camps will be open.
– What happened with Kyle Shanahan? – What's the 49ers plan with moving forward with camp and potentially the regular season? – What team is @AdamSchefter keeping an eye on during camp? – Do we need to look at Kansas City… https://t.co/bSTyYfnY9Ypic.twitter.com/R4qmFPmiXz
I have been a huge Adam Schefter fan for over a decade. I believe he is the best in the business, and I will remain a fan moving forward. Adam’s work is top notch and he’s a class act of a human being too. But that remark surprised me. I have never heard a reporter congratulate a team for keeping important information private, especially when it’s the type of information a reporter is paid to uncover. I realize Kyle Shanahan’s accident was scary, and the story is sensitive. However, the 49ers should have told fans that their head football coach suffered a serious injury. When a reporter knows that information and waits to publish it one minute after the team does, it creates the impression that the reporter serves the team or league instead of the public. Until Adam made that comment, I had never viewed him that way.
The way this was reported and discussed by Schefter, Kawakami, Chris Simms and local San Francisco media members raised serious questions about media members being truthful with their audiences. Having worked in San Francisco, I knew about KNBR’s image among local fans of being a mouthpiece for the Bay Area teams. We took advantage of that perception during my time at 95.7 The Game. To think that there won’t be some franchise protectors in the media isn’t realistic. To have nobody in town though or across the country share vital information about a massive story like this brings everyone’s credibility into question.
The LeBron James Saga
To make matters worse, Shams Charania created another issue. ESPN’s NBA insider sat down with Max Kellerman and Rich Paul and revealed that he knew the Cleveland Cavaliers met with LeBron James weeks ago. When Max Kellerman asked Shams why he didn’t report it, he cited the information being off the record, adding that he couldn’t report it ethically.
Hang on. I understand the pickle Shams was in here. He didn’t want to burn a source over a sensitive situation. Let’s say for argument sake that the source was LeBron James. If he expected to get anything from LeBron in the future, he had to prove he was trustworthy. I get that. But this begs the question, what is and isn’t fair game to report then?
Shams reveals LeBron James DID meet up with the entire Cavs front office in Akron early July during his Free Agent process 👀
Shams didn’t want to report the news because it was off the record
What if Shams learned that LeBron James had a serious drug problem. LeBron would prefer that information remain private. Would Shams hold that back too? What if LeBron has major issues with Joel Embiid and didn’t want it known because it could hurt his image. Would Shams not share that? How about if a month into the season LeBron told Shams ‘off the record’ that he regretted returning and planned to retire in December. Would Shams wait until LeBron was ‘ready’ to announce it?
Better yet, is Shams going to provide the same courtesy next offseason to unrestricted free agents Steph Curry and Kawhi Leonard? Do Nikola Jokic and Giannis Antetokounmpo get similar treatment if they elect to decline their player options and explore other situations?
Truth vs. Protection
Does anyone think Michael Jordan wanted the public to know about his gambling issues in the 1990’s? Did Brett Favre want the world to know about his addiction to painkillers? What if Alex Rodriguez controlled the way the media presented his public image during his playing days? Barry Bonds and many other MLB players didn’t appreciate reporters linking them to steroid scandals. They’d be in the Hall of Fame if journalists hadn’t done their job.
What if when Thurman Munson died the Yankees fanbase had to wait 11 days to find out. Is that cool? What if the media sat on the Chris Benoit story for 11 days out of respect to the WWE and those close to Benoit. Is that OK?
You may say “JB, some of those are extreme situations.” Fair enough. Let’s just go back to last week. What if ESPN chose not to disclose its recent layoffs for two weeks? Would that be alright? What if police and the Wisconsin media kept the news of Tony Romo’s arrest private for 11 days because the story created a tough PR situation for CBS? Is that acceptable?
🚨 EXCLUSIVE: Tony Romo told cops he was on his way to meet his grandma and grandpa when he was pulled over and ultimately busted for OWI … newly released body camera footage shows. pic.twitter.com/visfkPfxGT
The things we learn about teams and players become public knowledge because reporters are doing their jobs. They uncover details that are sensitive and important. They risk losing relationships because they understand that the information comes first. Their responsibility is to serve the public not protect teams, leagues, players, coaches and executives.
The Same Challenges Exist Elsewhere
Radio groups do this stuff too. They let people go, say nothing, and hope the news will vanish. Or if they have a bad revenue performance, they’ll share one or two positives with publications they own or have influence over to try and convince the advertising industry it’s sunny when it’s raining. Companies are always going to try to hide important information. It’s a reporter’s job to uncover it.
I’m not saying it’s easy. I deal with similar conflicts. I have relationships with consulting clients, advertising partners, personalities, agents, and numerous media professionals. But I’m also the company owner. My role is different from that of a reporter. I have to make judgment calls that are in the best interest of our entire business. I’ve never claimed to be a reporter. Sometimes we uncover and report news. Sometimes we don’t. We offer experienced perspectives and industry news, recognizing that our reporting will occasionally create tension. I am comfortable with what I put my name on and willing to defend it when others take exception.
If we do go with information on a breaking story, I consider all facets before I press send. When you cover an industry daily with hundreds of brands and thousands of people involved who compete against each other, many with different opinions and agendas, it is impossible to keep everyone happy. I prefer having healthy relationships and highlighting the wins, but people make mistakes and operate in ways that raise questions sometimes. We can’t avoid those issues. That’d be no different than a reporter turning a blind eye to an NFL head coach suffering serious injuries in a car accident. If we make a few enemies, attract a few critics, or create a few uncomfortable moments because of that approach, so be it. Those reactions prove we’re doing our job instead of letting outside influences control our decisions.
And therein lies the problem for Adam, Shams, Kawakami and others. They are not in the owner seat. They are in positions to serve the public. But suddenly a shift is taking place where writers and reporters withhold information. They are prioritizing relationships with leagues, teams, and individual sources over the public’s interest. That decision gives fans reasons to doubt whether they are receiving the full story.
The Other BIG Issue
Another problem in this instance involves the impact of sports gambling. What if a heavy bettor wagered $1 million on the 49ers to win the Super Bowl on July 21? Would that person have placed the same bet if they had known the franchise’s head coach suffered a serious accident a week earlier? Maybe not. Will the casino or betting app refund that bettor after new information comes to light? No.
When reporters or teams withhold information that could affect people’s finances, they create a gray area and fuel distrust among the people who depend on that information. That reality creates a challenge unlike any media outlets and journalists have faced before. How long will it take before someone loses a significant amount of money because a reporter withheld critical information and then blames that reporter or the brand they represent? If you think that sounds far-fetched, I know of multiple situations where people showed up at workplaces intending to harm on-air talent.
"It felt like everybody was sitting on a story that had to do with an NFL head coach who was involved in a car accident. This is a big deal!"
What if a bettor was considering dropping millions on LeBron re-signing with Cleveland. The information Shams had on that story literally influences how many people would wager. Yet the reporter with access to vital information, chose to withhold it. That creates division with the public. Some will be happy they didn’t invest in King James returning to Cleveland. Others will be furious that the insider they trust most wasn’t transparent with the public and cost them.
The same applies to the public buying tickets, merchandise, investing in television/streaming packages, etc.. If for instance my made up example of LeBron tipping off Shams that he might retire early was real, isn’t that information important to a 76ers fan who is considering buying tickets, a jersey, an upgraded television/streaming package to watch LeBron play? Who deserves the blame if a reporter and a media brand hold back key information and people learn those details later?
In Closing
When you consider that leagues now do business with betting companies and own stakes in the media companies that cover them, it creates concern that they will pursue and expect greater control. When reporters publicly acknowledge withholding important information and congratulate teams for keeping stories quiet, they expose a serious problem in sports journalism. Nobody in the sports media business who values the truth should feel good about reporters failing to report the Kyle Shanahan or LeBron James stories in real time.
The good news is that the door is wide open for competing outlets to lean in to reporting. Reporters who have a desire to uncover the truth, have more platforms and access than ever to make their names by relaying what they learn. The bad news is that the ones we love and trust most are giving us reasons to question if they work for us or the people they cover.
Barrett Media produces daily content on the music, news, and sports media industries. Sign up for our newsletters to stay updated and get the latest information right in your inbox.
I listened to a conversation with Jamie Dimon, the Chairman and CEO of JPMorgan Chase. He discussed how AI will improve our lives and accomplish amazing things, such as curing cancer. However, the interviewer posed a critical question that resonates with many in broadcasting today: what about the people who will lose their jobs to AI? Dimon responded without hesitation, stating that displaced workers will need to pursue training for jobs that AI cannot do. Those positions include skilled trades like HVAC, welding, plumbing, carpentry, and electrical work.
Consider the financial reality. An electrician in New York who belongs to the union (Local 3) earns a base salary of approximately $133,000 annually, before overtime. Most union electricians in New York earn around $200,000 annually when overtime is included. Furthermore, benefits include health, dental, and vision care, plus a 401K and pension plan. I have hired countless people in radio over forty years, and honestly, very few made that kind of money. Additionally, that union electrician enjoys significantly more job security than most radio positions.
Alternative Career Paths
It makes sense to consider a different career path instead of pursuing on-air roles. I was a disc jockey in Detroit during the 1980s. I loved music, and the workload felt manageable. I’d complete a four-hour shift, voice a couple of spots, and head home. While I was a good format jock, I realized early on that I would never host a morning show in New York or Los Angeles or become top talent. Consequently, I decided to pursue a programming career instead. I dedicated my time to listening to great radio stations, networking with industry professionals, and learning Arbitron methodology. And studied how to achieve maximum rating credit. I made many mistakes along the way, yet I learned from each one. Though I was never the smartest person in the room, I outworked most others in mastering the craft. I was blessed with some remarkable successes. The career change paid off.
When it comes to entertainment, the very best achieve massive success. Most, however, struggle or fail. Taylor Swift is worth billions, while others perform for tips in mediocre bars. ESPN will pay Pat McAfee millions while firing lesser talent to meet budget constraints. iHeartRadio released morning shows in many markets yet continue to pay Elvis Duran and Bobby Bones substantial sums. Consider Howard Stern: he is only working one day per week starting in September, yet he continues to earn more than anyone else in the industry.
Making Yourself an Asset
Perhaps today is the day to stop worrying about the next round of reductions in force (RIFs). Instead, choose a new career path, or alternatively, find ways to make yourself more valuable to your current employer. Ask yourself: are you winning in your target demographic for your daypart? Even if you are #1, you can do more. Jon Zellner of iHeartRadio pointed out at the Barrett Media Summit that endorsement spots—where talent builds a client relationship—are least likely to be canceled by advertisers. Therefore, consider going out with your sales department and generating revenue. Ultimately, success depends on financial contribution. If your name is attached to dollars, you become an asset.
A large social media following also holds significant value. Bru from Audacy performed better than Argentina at the World Cup Final while filming in the stadium for Michelob Ultra, resulting in valuable social media endorsement opportunities. If you are on-air talent, why not learn music scheduling software? You could support your brand manager, who is likely programming multiple stations simultaneously. Additionally, volunteer to work with the promotion team. This effort helps make your station and personal brand more visible and successful in your market. Every department at every station is understaffed. Raising your hand and taking initiative makes you more integral to the business.
Understanding the Real Problem
Many in the radio industry blame layoffs on those heading media companies. However, Bob Pittman is not responsible for your potential job loss. Over $20 billion in debt was incurred when private equity overpaid for Clear Channel (now iHeartRadio) in 2008. I know this firsthand—I was there. The people responsible for that ill-advised deal departed long ago. Bob has spent years attempting to dig out of this financial hole. Substantial reductions were, and remain, necessary. While Ryan Seacrest’s voice remains nationwide, many local shows were cut. iHeartRadio eliminated talent they deemed no longer important.
If you want to avoid the next round of cuts—and yes, there will be more—you need to make yourself more valuable to your employer. Or perhaps consider leaving show business altogether for the job security offered by union electricians. Local 3 does offer excellent benefits.
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Nothing is ever a straight line when it comes to navigating a career path in any line of work. There’s no manual to truly prepare anyone for the twists and turns that lead to their destination. Oftentimes, that destination changes by choice or by force. For Ron Slay, following a standout career at the University of Tennessee, he embarked on a 13-year professional basketball career that took him across Europe and other parts of the world.
Little did he know that 23 years after leaving Knoxville, Slay would become part of one of the most successful afternoon drive programs in sports radio, based just down the road from where he once dominated the floor for the Volunteers.
“Media was nowhere near on the radar for me. I’m glad it opened up,” said Slay.
The Tennessee Sports Hall of Famer is one-third of the highly successful 3HL on Cumulus Media’s 104.5 The Zone in Nashville. For the past five years, Slay, along with co-hosts Brent Dougherty and Dawn Davenport, has been a guiding voice for Tennessee sports fans every afternoon.
A Second Act Pivot
Following his playing career, Slay searched for his next step. His goal was to remain in the game by shifting his focus to coaching. However, despite inquiring about opportunities for some time, he received little feedback. Then, after participating in a media tour for former athletes returning to campus to complete their degrees, Slay became interested in pursuing a career in radio.
“I started working in the shadows at 950 WAKM. They gave me an opportunity to do a drive time hour in Franklin, Tennessee with no commercials,” explained Slay. “For two years, I was doing an hour of sports talk straight talking. This was how I was being baptized into the industry.”
Slay departed WAKM when the COVID-19 pandemic hit in 2020, shifting his focus to podcasting. He launched the Boom Boom Room podcast on Facebook, which led to early morning appearances on 99.1 The Sports Animal in Knoxville. Over time, Slay said he wanted an outlet where his voice could reach a larger audience.
“My brother Ramon Foster always told me that if there’s an opening, I’m going to tell them to come and get you,” says Slay. “A year goes by, and then a slot opened up to volunteer for at the Zone. I filled in for about five months on every show on The Zone, then it took off and they offered me my first contract. Never looked back.”
In April, Slay signed his second multiyear extension with 104.5 The Zone, ensuring he continues building on the success of the past five years.
“I’m loyal to a fault at times, but I’m huge with loyalty. I thought the opportunity The Zone gave me with 3HL, it was only right to continue on,” said Slay. “Being part of a team, you know when you have something special. This is one that feels special top to bottom. It was a no brainer, and I was extremely excited to stay home and keep my talents at The Zone.”
Building Legacy At Home
Slay is a proud Volunteer. Born and raised in Tennessee, he has become a representative of the state’s rich sports culture. He said he couldn’t envision himself doing sports radio in another market or with another team. That same passion he’s also become a witness to by listeners more times than he can count.
“The interactions that we get out and about around town. I get all types of walks of life coming up to me. I can’t believe all these types of people listen to the show,” noted Slay.
3HL succeeds because of its inclusive approach. The show features three people with different backgrounds, upbringings, genders, races and life experiences. That diversity allows the hosts to engage in meaningful conversations while still having a laugh or two along the way.
Slay believes the show’s makeup is essential to its success, allowing listeners from the barbershop to the boardroom to find someone they relate to.
“That’s what separates us and makes our program special. When you put us in the same room, it comes across the airwaves but also out and about,” said Slay. “You want to have a voice for everyone that’s listening. Old, young, kids, white, and black. We have that dynamic for sure, and that was my pitch coming in. If you allow it, we had an opportunity to do something special here in the city with homegrown talent that can pull in a new listener every day.”
Despite any show’s makeup, chemistry is what ultimately defines it. Each personality brings unique strengths and perspectives to 3HL. Making it work requires trust, accountability and coaching. For Slay, his basketball background and years of playing under accomplished coaches laid the foundation for how he approaches sports radio.
From airchecks to social media, Slay credits Brand Manager Paul Mason for helping shape his growth. Equally important, he said, is the trust among the show’s hosts to have honest conversations with one another.
“Paul does a great job with all of us. He has relationships with us both individually and as a team. He has no problem picking up the phone and be open with constructive criticism. That’s laid the foundation for what we have with 3HL,” explains Slay. “Now, we’re to the point where we can coach ourselves as a team and pull no punches with each other. That’s the trust we’ve grown into having with one another.”
That open communication also reflects Nashville itself, according to Slay. While the city is synonymous with country music, it is equally passionate about its sports teams and the opinions surrounding them. Even as professional sports have grown in the city, college athletics remain deeply rooted in its identity.
“Nashville is full of pride and opinion. The pride of wanting to be represented, and the opinion that everyone has with sports,” said Slay. “You grew up in sports here regardless of if you went to college or not, because there was such a buzz. Now, the city has become a melting pot with more opinion coming in and everyone wants to share it. That’s why people have been flocking to The Zone for some time now.”
Aiming For More In Music City
Even in his mid-40s, Slay remains a relative newcomer to the industry. Just five years into his full-time role at 104.5 The Zone, his success has created additional opportunities. In recent years, he has added analyst duties with ESPN and SEC Network, contributing to their college basketball coverage.
While many former athletes gravitate toward television or launch independent podcasts after their playing careers, Slay has seen firsthand what sports radio can provide.
“Personally, I like the competition and challenge of sports radio. If you jump into media with just your name, it’s only going to get you to the room. What are you going to do when you get there? What serves you is the work,” says Slay. “Sports radio is all about doing the work every single day, and you still get to scratch that itch by being a part of the biggest moments in sports. It’s a different stage, but the lights are just as bright.”
Despite his success in both radio and television, Slay still hopes to one day fulfill his coaching aspirations.
“It would take a lot to move me from what I’m doing. I’m not giving it up, but I love this space [radio],” said Slay. “I only had one coach hit me back to have a conversation. That was Bruce Pearl. He’s the only coach that called me back, but it just so happened I was already in the media space with The Zone when we found time to talk. Bruce is my guy, always will be.”
Slay’s path to sports radio was never part of the original game plan. He envisioned life on the sidelines as a coach, not behind a microphone leading one of the nation’s top afternoon sports talk shows. Yet that’s often how the best careers are built—not by following a script, but by recognizing opportunity when it appears and putting in the work to maximize it.
Five years after arriving at 104.5 The Zone, Slay has become far more than a former Tennessee basketball star with name recognition. He’s developed into one of sports radio’s emerging personalities, earning the trust of listeners, teammates and management through preparation, authenticity and an unmistakable passion for the craft. Whether coaching eventually calls or not, he’s already found another team where he belongs. Judging by the continued success of 3HL, Ron Slay’s next chapter in sports media appears to be only getting started.
CBS News made headlines again this month, and 60 Minutes sits right in the middle of it. Bari Weiss added four new correspondents to the program’s roster, and the mix says a lot about where she wants to take the broadcast. Ross Douthat, Sebastian Junger, Gianna Toboni and Trevor Phillips make up the new class, and only two of them come from a traditional TV reporting background.
That imbalance is the story here, in my opinion. Toboni and Phillips have logged real time in front of cameras, chasing stories and building the instincts that live and taped broadcast work demands.
Douthat and Junger haven’t. Douthat spent his career at The New York Times writing opinion columns. He has said openly that he feels awkward on camera. Junger built his name as an author, best known for The Perfect Storm.
None of that makes them bad hires on its own. But it does raise a fair question: can a writer become a broadcaster just because someone decides they should?
A Tough Ask, Wrapped in Good Intentions
Weiss hired an executive producer without TV experience. Now she’s leaning on writers and podcasters to carry one of the most storied names in broadcast journalism. That’s not necessarily a mistake — but it’s a leap.
Mitch Hedberg had a great bit about this exact tension, comparing it to a cook who worked hard to master the kitchen, only to get asked if he can also farm. The skills don’t always transfer, no matter how good someone is in their original lane.
Douthat is a sharp writer and a rigorous thinker. Junger has produced work that shaped how a generation understood war and disaster.
Neither fact guarantees either man can carry a 60 Minutes segment the way past correspondents once did. Broadcast storytelling asks for a different set of instincts — pacing, presence, the ability to draw a subject out on camera rather than on the page. Those instincts are built through repetition, not talent alone.
Still, I want to be careful here. And fair.
Unorthodox Isn’t the Same as Ill-Fated
Unorthodox and ill-fated aren’t interchangeable, even though people often treat them that way. Ill-fated is only applied in hindsight, after a decision has already gone wrong. Unorthodox just means a choice breaks from the norm, and plenty of unorthodox choices in media history have paid off. Weiss might be onto something. Toboni and Phillips give the new class real reporting depth, and their presence suggests Weiss isn’t abandoning broadcast fundamentals entirely.
Even so, legacy programs carry more risk than most. 60 Minutes begins Season 59 with its brand resting on a very specific kind of credibility. Viewers expect polish, precision and a correspondent who can hold a room without ever losing control of it. Asking four newcomers, two without any broadcast background, to hit that mark right away is a significant bet.
Weiss clearly wants to reshape the program, and that’s fair — it’s her job. CBS News hired her to make exactly these kinds of calls. My concern isn’t the ambition. It’s the assumption that talent in one medium automatically carries over to another. Sometimes it does. Sometimes it doesn’t. Audiences notice the difference fast.
The next several months will tell us a lot. Every new segment featuring Douthat, Junger, Toboni, or Phillips will get measured against the correspondents who came before them, fairly or not. That scrutiny isn’t going away, and neither is the pressure it puts on Weiss’s early tenure at CBS News.
I don’t know yet whether these hires will look smart a year from now. Nobody does. But I do know the magnifying glass is already out, and 60 Minutes rarely gets a quiet season to figure things out. Weiss’s CBS News tenure may end up defined by how this particular gamble plays out, for better or worse.
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The most valuable thing we all have is time. Every second of every day has value. People often reflect on how they’re spending their time. Others look for shortcuts to create more of it. In sports radio, everything is based on time. That’s why I was tickled pink when WFAN’s Boomer Esiason contemplated the value of his time live on the air, determining how much it would cost SiriusXM Mad Dog Sports Radio to secure his services on a weekly basis.
Every football season, programmers and talent debate who can best fill airtime to maximize appointment listening. Local beat reporters, columnists and national pundits all put a price on their time. Time is rarely free anymore, just as tickets to attend NFL training camps are no longer complimentary in many markets.
The concept of appointment listening—does it still exist? If it does, are weekly football guest spots still the best way to create it? Using Esiason’s example, would subscribers spend their valuable time listening to Esiason join Chris “Mad Dog” Russo to discuss the latest NFL storylines?
And is it worth SiriusXM paying for that appointment?
Pick Your Spots
There are plenty of ways to draw attention to your program or station during the NFL season. Weekly contests, hot topics, unique promotions, live events and specialty programming are just a few. For as long as I can remember, the weekly paid guest spot has always been a challenge. Especially with budgets consistently shrinking, it has become more difficult each year to identify who is truly worth the investment.
Many times, it’s a giant swing and a miss. Rarely does the fee produce metrics that satisfy programmers, management, and executives. Want to book newsmakers? Think again. Why would someone who breaks news for another company save it for your paid radio appearance in a local market? It’s just not happening.
Instead, sports radio stations need to think differently about who they target for weekly appointment listening this football season.
Using Chris “Mad Dog” Russo’s situation as an example, will the majority of the WFAN audience Esiason attracts switch to SiriusXM instead of tuning in for live and local conversation with Craig Carton and Chris McMonigle? Is that 20 minutes worth the six-figure investment Esiason floated for the NFL season?
Do I honestly think Esiason would demand that amount? No. Would he generate a significant number of new SiriusXM subscribers willing to pay for access to hear the content live or on demand? Not likely.
So, is the juice worth the squeeze? That’s the question many programmers ask when deciding whether to pay for weekly football guests.
Three Step Process
Instead, here are three things every smart programmer should consider before spending budget on paid weekly guests.
The first consideration is return on investment. Time is money, and if it doesn’t make money, it doesn’t make sense. If you’re going to invest in paid talent, there needs to be a sales strategy behind it. The goal is to generate a return on that investment, just as you would with any business decision. If you’re not bringing in at least four to five times what you’re paying for the appointment for the season, it’s not worth the expense.
The second is investing in the relationship with the talent. Every guest has a following. There’s a reason they were interested in appearing on your station, and it isn’t just the paycheck. It’s also the audience they’ll reach.
AM/FM radio continues to be the most widely consumed audio medium in the country. Yes, even in 2026, especially for sports fans during football season. The goal should also be to grow your own audience through social media and on-air promotion. If a guest is appearing, stations should require that paid talent to promote the appearance to their own following on any platform they own. It’s a two-way street. The station provides access to its audience to expand the reach for the paid talent, while the guest expands the station’s reach.
If sharing is caring, make sure the talent knows your brand cares—and that the feeling is mutual.
The third, and perhaps most important, is making the segment worth the listener’s time. Far too often, talent fall into a routine and deliver the same Q&A every week. That’s lazy, boring, and not worth the listeners time.
These should be conversations that create opportunities for listeners to lean in while also involving the audience. Appointment listening only exists if listeners believe the time they invest is worthwhile. It can’t be the same song and dance every week. There needs to be proper teasing, social promotion, planning, execution and a payoff that leaves listeners wanting more.
Then, after the segment airs, remind the audience of the experience that was had and why they should come back. Use on-air promos, social clips and natural conversations between talent throughout the week to reinforce the value of the appointment.
Reviving The Appointment Listening
If appointment listening still exists, there needs to be a steady build toward a crescendo. It isn’t easy, and it’s a challenge every programmer faces.
In an era where listeners have endless options and every second competes with podcasts, streaming, social media and live sports, time has become radio’s greatest currency. The stations that treat it that way—by creating compelling conversations instead of predictable interviews and memorable moments instead of routine segments—will continue to create appointment listening.
Because the truth is simple. It doesn’t matter the guest or the amount of money you pay them, listeners will always invest their time when broadcasters prove it’s worth the investment.
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Group contesting on the radio right now? It has become audio wallpaper.
Every spring and fall, the exact same contest with the exact same thousand dollar prize gets run the same way across half the stations in the country. Listeners hear a robotic keyword, text it in, and move on. Ultimately, nobody gets excited, nobody remembers which station gave the money away, and the promos sound like legal disclaimers instead of entertainment. (But do they need to?)
We have taken a thousand bucks and made it mean next to nothing.
If we want contesting to actually drive ratings and build brand loyalty, we have to stop treating group cash like a chore. Instead, we need to start dressing it up.
The 4 Percent Trap and the Jerry Clifton Rule
Promotional mastermind Paige Nienaber recently pointed out a brutal reality that every programmer needs to sit with: radio has historically suffered from a pathetic 4 percent participation ceiling.
Consider this fact — only four percent of our total audience ever bothers to enter our contests. That means 96 percent of our listeners are completely ignoring the biggest promotional budget items in our buildings.
Paige poses a simple challenge: what if we work the problem backward? What if we ask ourselves what it would take to get just 5 percent of the audience to care?
Currently, we are nowhere near that goal because group contests have turned into invisible background noise. Paige shared an example of monitoring a major market in Texas where three competing stations from three different companies were all running “The $1000 Pay Day” at the exact same time. Zero differentiation. Zero creativity. Just three brands shouting the exact same generic phrase into the void.
Paige brought up a golden lesson from his 20 years working with programming legend Jerry Clifton. His core mantra was simple: “The only real reason to do contests is to make promos.”
Think about that. Essentially, contesting is about creating jubilation on the air. Paige points out that The Price Is Right would have been canceled after two episodes if contestants did not jump up and down, scream, and lose their minds when their names were called. Where is that jubilation on the radio right now?
Same Budget, Better Theater: The SRJ Model
This is where Shitty Radio Jock (@shittyradiojock on IG) brought a killer, zero cost concept to the table during our recent DM exchanges.
Notably, SRJ pointed out that jocks and local program directors do not need a bigger budget to fix boring contests. You just need to change the presentation.
Instead of promoting the exact same generic thousand dollar text-to-win contest for ten weeks straight, take that same thousand dollar budget and re-skin it every single week:
Week 1: “Every day this week, we are giving you Free Gas for a Year.”
Week 2: “This week, win Free Groceries for a Year.”
Week 3: “Every afternoon, win a New iPhone Every Day.”
Week 4: “Win Free Movies for a Year for You and Your Family.”
As SRJ highlighted, the contest rules, the daily budget, and the official cash payout remain identical. ($1,000 in cash, as stated in the promotional rules.) However, the theater of the mind changes completely.
Instead of hearing a dry corporate announcement about a thousand bucks, the listener immediately pictures something tangible. It fits their actual life. Hearing “Free Gas for a Year” triggers an emotional response that “Win $1000 Cash” simply cannot touch, even though the check written at the end of the day is for the exact same amount.
Getting Weird with Theater of the Mind
Paige Nienaber backs up this exact philosophy with some of the most creative, high engagement contest re-skins in radio history:
Mix in Canton took their thousand dollar prize and framed it as “Win $1000 in Pumpkin Spice Lattes.”
A Beasley station ran “Win $1000 in Tacos.”
Alpha Media’s 99.7 DJX in Louisville set the gold standard by running “Win $1000 in Ceramic Cats… or the cash equivalent.”
Paige wrote the promos for that Ceramic Cats campaign, and it pulled the highest engagement numbers across Alpha Media. Ultimately, why did it work? Because it made people laugh. It stood out on the dial. It gave listeners a reason to talk about the station. The contest cost the exact same grand, but the execution turned generic cash into a memorable station moment.
Real-World Execution: Create an Environment for Ideas
At the radio stations I work with every day, we put this exact philosophy into practice. Rather than running a plain text-to-win keyword contest, we turned it into “What’s in Alan Jackson’s Suitcase?” to give away a trip to his final concert. Similarly, to celebrate the opening of the first local location in our area, another station re-skinned the prize as “Chick-fil-A for a Year.”
The prize budget did not change, but the local flavor and excitement did.
A personality should always feel empowered to pitch creative angles to their program director. Correspondingly, a program director needs the freedom to package those prizes in ways that resonate with their specific community. First, check the overarching contest rules to see what flexibility you have. If the rules do not explicitly allow for a re-skin, pick up the phone and ask.
We can do better than 5%!
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There’s a moment in every great radio shift where the jock has no idea what’s coming next. No net. No map. Just instinct, momentum, and the hope that the audience is along for the ride. Tim Virgin has been chasing that moment for thirty years. These days, he’s catching it in two cities at once.
Virgin does afternoons at K-SHE 95 in St. Louis — one of the oldest rock stations in the country — while also handling afternoons at The Drive in Chicago, where Keith Hastings and Keith Lawless oversee operations. It’s the modern version of radio survival: be versatile, be essential, be everywhere. Yet in person, Tim Virgin is completely at ease with the chaos of it all. He doesn’t seem stressed by the juggling act. He doesn’t look burned out. Instead, he looks like someone who finally figured out what he was supposed to be doing all along. The reason became clear the moment I brought up motorcycles.
The Ride That Explains Everything
When Virgin lights up talking about bikes, you understand him as a broadcaster almost instantly. “Having nothing around you when you’re moving — it’s like the no-net thing,” he said. “And I think that’s what I love about radio. I can go down the road and not know what’s about to happen. It’s a freedom.”
He grew up watching his uncles — bikers both — and absorbed something that never left. Going fast without a guaranteed destination isn’t recklessness. It’s a philosophy. On radio, it’s a competitive advantage. Virgin doesn’t script his shifts. He doesn’t believe in exhaustive show prep for its own sake. Instead, he thinks two or three songs ahead, calls audibles fifteen minutes before the break, and relies on instinct to find the story. He admits that when he tries to over-prepare, the magic disappears.
“When I do that,” he said, “I become too… it just sounds like it’s not what I do.”
What he does instead is organized chaos — and he thrives in it. Not many people can do that. Most people’s delivery is so tied to one format’s cadence that changing the channel means changing the person. Virgin changes the channel and stays himself. This distinction sets him apart from countless others in the industry.
“Every station has its own cadence,” he explained. “And your delivery on different kinds of music has to change. But you keep Tim Virgin the same way.”
Navigating Format Changes Without Losing Your Voice
He acknowledged that the adult hits detour cost him something. His rock fans didn’t quite know what to do with him. He didn’t love the format. However, he never stopped being a broadcaster — and when he landed back in rock, the rust came off fast. There’s something to be said for a jock who’s willing to move between formats without losing his voice. Virgin sees it as an advantage rather than a liability. It forced him to understand how music shapes delivery, how audience expectations shape content strategy, and how to adapt without abandoning who he is.
“I think I’m blessed,” he said, “because I did a lot of different formats. I think it’s kept me alive.” Most personalities get locked into one box early in their careers. Rock or top 40, morning drive or afternoons, syndicated or local — Virgin has refused that box. He’s played adult hits and heritage rock. He’s worked mornings and afternoons. Importantly, he’s navigated market changes and format shifts without disappearing. That flexibility has value that extends far beyond any single station or format.
Program director Marty Link and group oversight from Tommy oversee K-SHE now. Virgin credits them — and the entire St. Louis cluster — with giving him permission to be himself again after years of playing it safe.
“I’ve never been this happy in radio,” he said. “I’ve never felt it come so true — if you just show people that you’re the same cool guy they want to have a beer with, it’s funny how that works.”
The numbers back it up. He’s been pulling 25 – 54 male numbers that he describes simply as “wild.”
The Sales Component Nobody Wants to Talk About
Here’s where Tim Virgin says something that every talent in this business needs to hear — and that most program directors are too polite to demand. The motorcycle passion isn’t just a personality quirk. It’s a revenue driver. When Virgin arrived in St. Louis, a Harley dealership — Green Mount Road Power Sports — was already a station relationship, but it wasn’t clicking. A couple of sales reps had taken runs at it. The account was going nowhere.
Virgin went in himself.
“I grabbed a salesperson, Lori, and I said, just let me do this,” he told me. “And I said to the client: I’m not here to sell you. I’m here to be a person who’s asking for a collaboration with you. I want to collaborate. I want to place a home where I can talk about bikes.”
Done. Sold. On the spot.
“You listen to me do those commercials,” he said. “Even I listen back and go, man, I want to go buy a Honda. And it doesn’t even have to be a Harley.”
That’s the power of authentic passion in a live endorsement read. It cannot be faked. A salesperson can describe what a jock is passionate about. The jock can actually make you feel it. And in 2025, in a room where revenue justification is louder than ever, the difference between those two things is an account saved or lost.
Redefining Talent as a Revenue Asset
Virgin is blunt about what that means for air talent broadly: “Personalities really need to get over not going on calls. I gotta sell myself now. A salesperson can’t sell you as good as you can sell you. Eight times out of ten, if I’m there, we get it.”
That’s not a brag. That’s a template. And it’s a conversation that doesn’t happen nearly enough in programming meetings across the country. Too many program directors treat talent as purely on-air assets. Virgin treats himself as a revenue partner. He understands that in 2025, when format fragmentation has made every listener a choice rather than a default, a personality who can walk into a dealership and close an account isn’t just making that station money — he’s making himself indispensable.
The lesson extends beyond automotive. It applies to any client relationship where authenticity matters. It applies to any revenue conversation where a personal connection beats a media kit. Virgin has built a career on understanding that fundamental truth, and he’s willing to put in the work that most talents won’t.
Social Media, Brand Integrity, and Knowing When to Say No
Virgin admits he’s not a natural at social content. He’s working on it. He’s getting help. But what matters more to him is not chasing every trend that crosses his feed or saying yes to every brand deal that hits his inbox just because there’s a check attached.
“I’m very conscious of my brand,” he said. “I’ve turned down money. I’ve turned down a lot of money. Because if it doesn’t feel authentic, it doesn’t matter what the number is. The audience will know.”
That’s harder than it sounds. In an era where every on-air personality is expected to be a personal brand first and a broadcaster second, where Instagram becomes a revenue stream and TikTok becomes a career necessity, the discipline to say no feels almost radical. Virgin has watched colleagues get caught in the trap of chasing sponsorships instead of chasing excellence. He’s watched the quality of their on-air work slide as a result.
Protect the Brand
“If I’m doing something on social that doesn’t align with what people hear in the afternoon, it confuses things,” he explained. “The brand has to be one thing. It has to be clean. It has to make sense.”
His approach is straightforward: be the same person on TikTok that you are on K-SHE 95. If that’s boring to some people, fine. If that doesn’t get a million followers, fine. The audience that matters — the ones tuning in at 2 p.m. on a Thursday, the ones buying Harleys because they believe Tim Virgin believes in Harleys — that’s the only metric that counts.
It’s a philosophy that runs counter to the industry’s current obsession with viral moments and algorithm optimization. But it’s also one that might be exactly what the format needs right now.
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