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The Producer’s Playbook: Relationship Building

“The low risk/high reward model offered in appropriately utilizing social media to expand your professional network will yield significant results.”

Chrissy Paradis



This is a lesson that could easily be applied to guest booking, and will absolutely be included in that portion—however, the focus here is the relationships that you have created from within the vast network of resources that make up the sports media production community itself.

This is a competitive industry, but your relationships with others in the sports media world are the most undervalued and overlooked resource available to sports producers. I like to remind myself that you can learn something new from any and every one. Jackie Joyner Kersee definitely said it more eloquently: “I maintained my edge by always being a student; you will always have something new to learn.” 

Jackie Joyner-Kersee Biography: Olympic Athlete

This is a philosophy that is fundamental to your personal and professional growth. 

The sports media industry has two or three degrees of separation, maximum, inside its small community, making it imperative to put yourself out there and be willing to connect with others in the industry (remember this when an encounter with a program director at a BSM Summit leads to a job opportunity years later). 

There are so many wonderfully talented people I have been able to rely on for an honest opinion and career advice in general. The low risk/high reward model offered in appropriately utilizing social media to expand your professional network will yield significant results. 

So, I thought it would be fitting to kick off the The Producer’s Playbook series by reaching out to three amazing producers to ask what advice they had for others in the industry. Use their advice below as a reference for the next time you’re feeling stuck, conflicted or looking for motivation—the wisdom shared by these three will inspire you to open up Facebook and join Barrett Sports Media’s Sports Producer group.


Jon Goulet, producer of The Herd with Colin Cowherd on Fox Sports Radio, FS1 and iHeartRadio shares the importance of opening the line of communication with hosts even more.

Jon Goulet (@JonGoulet) | Twitter

“Don’t be afraid to push back on your host.  If you aren’t getting into arguments or disputes somewhat regularly with the host then you aren’t doing your job right.  Hosts like producers that agree with everything that they say.  They respect producers that make them and their shows better.”


Roy Bellamy, one of the brilliant producers on the ESPN Radio team, producer of The Dan Le Batard Show with Stugotz shares his advice for sports producers and has some tips for how to stand out from the competition.

Roy Bellamy (@roybelly) | Twitter

“It’s a business that’s all about who you know. So that means the way to put your foot in the door is to be seen and to be heard on a consistent basis. Emails, demos, going out to remotes constantly, being at industry conventions, going to radio remotes, etc. Look into joining groups like the National Association of Black Journalists or whatever group that appeals to you. Gain a mentor. Someone that will offer sage advice that you may have looked over,” says Bellamy.  

“Anything that you can do to have your face stand out from the crowd and your voice above all others…you do. By any means necessary, be a pest.


Dustin Swedelson, producer of The Wrap with Patrick Meagher on Mad Dog Sports Radio on SiriusXM, weighs in with his advice for producers, what they need to bring to the table and their role in sports radio.

Dustin Swedelson on Twitter: "On @TheWrapRadio right now… "

“Be a chameleon. Every host is different in their approach. Part of your job is to balance them out. Some hosts are very creative and may need you to be more structured. Others are organized but may need you to bring unique segments to the table. Some have great opinions but need you to add  interesting guests to the conversation.

If they’re serious you can help inject some fun. If they’re funny then you can add some seriousness. Whatever your host does best you should try and compliment them in areas that don’t come naturally for them,” Swedelson explains.

“This could be a daily challenge or it could be long term and part of your relationship. The key for you as a producer is to always work on all these skills so that when the time comes for you to need to ‘change your color,’ it happens easily.”

You can connect with all three of these talented guys on social media—follow them on Twitter @JonGoulet, @roybelly and @dustinswedelson for additional examples of their style, wisdom and humor. 

BSM Writers

Being Wrong On-Air Isn’t A Bad Thing

…if you feel yourself getting uncomfortable over the fact that you were wrong, stop to realize that’s your pride talking. Your ego. And if people call you out for being wrong, it’s actually a good sign.




In the press conference after the Warriors won their fourth NBA title in eight years, Steph Curry referenced a very specific gesture from a very specific episode of Get Up that aired in August 2021.

“Clearly remember some experts and talking heads putting up the big zero,” Curry said, then holding up a hollowed fist to one eye, looking through it as if it were a telescope.

“How many championships we would have going forward because of everything we went through.”

Yep, Kendrick Perkins and Domonique Foxworth each predicted the Warriors wouldn’t win a single title over the course of the four-year extension Curry had just signed. The Warriors won the NBA title and guess what? Curry gets to gloat.

The funny part to me was the people who felt Perkins or Foxworth should be mad or embarrassed. Why? Because they were wrong?

That’s part of the game. If you’re a host or analyst who is never wrong in a prediction, it’s more likely that you’re excruciatingly boring than exceedingly smart. Being wrong is not necessarily fun, but it’s not a bad thing in this business.

You shouldn’t try to be wrong, but you shouldn’t be afraid of it, either. And if you are wrong, own it. Hold your L as I’ve heard the kids say. Don’t try to minimize it or explain it or try to point out how many other people are wrong, too. Do what Kendrick Perkins did on Get Up the day after the Warriors won the title.

“When they go on to win it, guess what?” He said, sitting next to Mike Greenberg. “You have to eat that.”

Do not do what Perkins did later that morning on First Take.

Perkins: “I come on here and it’s cool, right? Y’all can pull up Perk receipts and things to that nature. And then you give other people a pass like J-Will.”

Jason Williams: “I don’t get passes on this show.”

Perkins: “You had to, you had a receipt, too, because me and you both picked the Memphis Grizzlies to beat the Golden State Warriors, but I’m OK with that. I’m OK with that. Go ahead Stephen A. I know you’re about to have fun and do your thing. Go ahead.”

Stephen A. Smith: “First of all, I’m going to get serious for a second with the both of you, especially you, Perk, and I want to tell you something right now. Let me throw myself on Front Street, we can sit up there and make fun of me. You know how many damn Finals predictions I got wrong? I don’t give a damn. I mean, I got a whole bunch of them wrong. Ain’t no reason to come on the air and defend yourself. Perk, listen man. You were wrong. And we making fun, and Steph Curry making fun of you. You laugh at that my brother. He got you today. That’s all. He got you today.”

It’s absolutely great advice, and if you feel yourself getting uncomfortable over the fact that you were wrong, stop to realize that’s your pride talking. Your ego. And if people call you out for being wrong, it’s actually a good sign. It means they’re not just listening, but holding on to what you say. You matter. Don’t ruin that by getting defensive and testy.


I did a double-take when I saw Chris Russo’s list of the greatest QB-TE combinations ever on Wednesday and this was before I ever got to Tom Brady-to-Rob Gronkowski listed at No. 5. It was actually No. 4 that stopped me cold: Starr-Kramer.

My first thought: Jerry Kramer didn’t play tight end.

My second thought: I must be unaware of this really good tight end from the Lombardi-era Packers.

After further review, I don’t think that’s necessarily true, either. Ron Kramer did play for the Lombardi-era Packers, and he was a good player. He caught 14 scoring passes in a three-year stretch where he really mattered, but he failed to catch a single touchdown pass in six of the 10 NFL seasons he played. He was named first-team All-Pro once and finished his career with 229 receptions.

Now this is not the only reason that this is an absolutely terrible list. It is the most egregious, however. Bart Starr and Kramer are not among the 25 top QB-TE combinations in NFL history let alone the top five. And if you’re to believe Russo’s list, eighty percent of the top tandems played in the NFL in the 30-year window from 1958 to 1987 with only one tandem from the past 30 years meriting inclusion when this is the era in which tight end production has steadily climbed.

Then I found out that Russo is making $10,000 per appearance on “First Take.”

My first thought: You don’t have to pay that much to get a 60-something white guy to grossly exaggerate how great stuff used to be.

My second thought: That might be the best $10,000 ESPN has ever spent.

Once a week, Russo comes on and draws a reaction out of a younger demographic by playing a good-natured version of Dana Carvey’s Grumpy Old Man. Russo groans to JJ Redick about the lack of fundamental basketball skills in today’s game or he proclaims the majesty of a tight end-quarterback pairing that was among the top five in its decade, but doesn’t sniff the top five of all-time.

And guess what? It works. Redick rolls his eyes, asks Russo which game he’s watching, and on Wednesday he got me to spend a good 25 minutes looking up statistics for some Packers tight end I’d never heard of. Not satisfied with that, I then moved on to determine Russo’s biggest omission from the list, which I’ve concluded is Philip Rivers and Antonio Gates, who connected for 89 touchdowns over 15 seasons, which is only 73 more touchdowns than Kramer scored in his career. John Elway and Shannon Sharpe should be on there, too.

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BSM Writers

Money Isn’t The Key Reason Why Sellers Sell Sports Radio

I started selling sports radio because I enjoyed working with clients who loved sports, our station, and wanted to reach fans with our commercials and promotions.

Jeff Caves



Radio Sales

A radio salesperson’s value being purely tied to money is overrated to me. Our managers all believe that our main motivation for selling radio is to make more money. They see no problem in asking us to sell more in various ways because it increases our paycheck. We are offered more money to sell digital, NTR, to sell another station in the cluster, weekend remotes, new direct business, or via the phone in 8 hours. 

But is that why you sell sports radio?

In 2022, the Top 10 highest paying sales jobs are all in technology. Not a media company among them. You could argue that if it were all about making money, we should quit and work in tech. Famous bank robber Willie Sutton was asked why he robbed twenty banks over twenty years. He reportedly said,” that’s where the money is”. Sutton is the classic example of a person who wanted what money could provide and was willing to do whatever it took to get it, BUT he also admitted he liked robbing banks and felt alive. So, Sutton didn’t do it just for the money.

A salesperson’s relationship with money and prestige is also at the center of the play Death of a Salesman. Willy Loman is an aging and failing salesman who decides he is worth more dead than alive and kills himself in an auto accident giving his family the death benefit from his life insurance policy. Loman wasn’t working for the money. He wanted the prestige of what money could buy for himself and his family. 

Recently, I met a woman who spent twelve years selling radio from 1999-2011. I asked her why she left her senior sales job. She said she didn’t like the changes in the industry. Consolidation was at its peak, and most salespeople were asked to do more with less help. She described her radio sales job as one with “golden handcuffs”. The station paid her too much money to quit even though she hated the job. She finally quit. The job wasn’t worth the money to her.

I started selling sports radio because I enjoyed working with clients who loved sports, our station, and wanted to reach fans with our commercials and promotions. I never wanted to sell anything else and specifically enjoyed selling programming centered around reaching fans of Boise State University football. That’s it. Very similar to what Mark Glynn and his KJR staff experience when selling Kraken hockey and Huskies football.  

I never thought selling sports radio was the best way to make money. I just enjoyed the way I could make money. I focused on the process and what I enjoyed about the position—the freedom to come and go and set my schedule for the most part. I concentrated on annual contracts and clients who wanted to run radio commercials over the air to get more traffic and build their brand.

Most of my clients were local direct and listened to the station. Some other sales initiatives had steep learning curves, were one-day events or contracted out shaky support staff. In other words, the money didn’t motivate me enough. How I spent my time was more important. 

So, if you are in management, maybe consider why your sales staff is working at the station. Because to me, they’d be robbing banks if it were all about making lots of money.  

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BSM Writers

Media Noise: BSM Podcast Network Round Table



Demetri Ravanos welcomes the two newest members of the BSM Podcast Network to the show. Brady Farkas and Stephen Strom join for a roundtable discussion that includes the new media, Sage Steele and Roger Goodell telling Congress that Dave Portnoy isn’t banned from NFL events.

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