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Meet The Market Managers: Dan Bennett, Cumulus Dallas

“If you want a big job, you better be able to handle the big responsibility. And it’s not just me. It’s all of my department heads. A ton is expected of us. That’s just the way it is.”

Demetri Ravanos

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I think most people in radio wish their career could look at least a little bit like Dan Bennett’s. The man has worked in the same city and same cluster, working his way up for the past 37 years.

Since 1999, he has served as the vice president and market manager for Cumulus Dallas. His cluster includes some of the company’s most valuable brands including three music stations, two news talkers, and the well known Sports Radio 1310/96.7 The Ticket, a sports radio station every bit as important to the history of the sports talk format as WFAN, WIP or any other station in the Northeast.

The well respected Dallas leader cleared some time from his schedule to connect with me to discuss the challenges of building a bench behind legendary talent, the pressures that come with being a company’s top revenue generator, and why you’ll never hear a host on The Ticket talk about a third string running back at SMU. With nearly four decades of success under his belt, when this man speaks, industry people are wise to listen.


Demetri Ravanos: You’ve been involved with The Ticket for a long time and I’ll get into the specifics of that brand, your talent, and lineup later, but I want to start by focusing on program directors. Not just at The Ticket, but all of your stations. You have six brands to look after. When it comes to filling a key role and determining who to place your faith in to lead a brand forward, what do you look for? Does the desire to be in Dallas for the long haul factor into your decision making? 

Dan Bennett: I think that’s really important, and I realize sometimes that people have other opportunities they may want to go and pursue. I think one of the advantages we have is that this is a top five market. Just the other day, they released new market sizes. We’re now number four. Once you get to a top 10 market, you don’t run into the same issues with people wanting to move up and up the way you might in some other places.           

I originally came from the programing side. So I tell all of our PDs up front that I listen to all of our stations a lot. I talk to the PDs all the time about product and content and everything else, because it’s real simple, we’re the company’s biggest market for revenue and the only way we’re going to get there is if we get ratings. You can only do so much with mediocre ratings.          

I meet with our PD’s every week. I also oversee Houston, KRBE there. I mean, I’m really in tune. When I hear outdated promos or outdated commercials or whatever, I’m texting them. When PD’s come here they know and understand that they’re working for a guy who came from the programing side. And you know, I’m really lucky because my team embraces it. I’d imagine that maybe some people out there wouldn’t like that situation, because most market managers come from sales. I’m fortunate in my career that I’ve been involved in both.

We’re here to win and I’m here to help them do that. I always tell them that I just have one rule. That is when I hear a mistake or something that isn’t right, I’ll let you know about it and don’t ever say it came from me. I don’t want the PD to call somebody and say, “Hey, Dan heard you mispronounce this guy’s name” or “Dan heard you with the date of the promotion being wrong”. What I try to do with the PD’s is I try to empower them. 

DR: So is that the way you feel you need to run the building so that you’re comfortable doing the best job that you can? Or if you had a talented programmer at any station who said, “Dan, this is one of the reasons I’m looking for something different is I need to be able to do this on my own”. Is that something you’re open to pulling back on at all? 

DB: Look, every department head, including me, has to be accountable to somebody. What you’re describing is “I don’t want to be accountable to anybody”. And that wouldn’t work. 

DR: That’s fair. 

DB: Even the best PD’s in the country cannot listen to their station 24/7. What I’m here to do is maybe catch something that you didn’t know about and then you can pick up the phone and deal with it. Again, I’m here to be your wingman, not to play a game of gotcha. 

DR: So going back to the idea that people stay with your stations for a long time, let’s talk specifically about The Ticket. I’m sure you saw not just in your city, but across the sports broadcasting landscape the emotional reaction towards Mike Rhyner deciding to call it a career. I believe we’re coming up on two years, right? 

DB: Yeah. You know, when Mike told me he wanted to hang it up, it was right around Christmas. I told him to take two weeks and think about it because I didn’t want him to have a knee jerk reaction. Rhyner is such character that he came into my office, and in that gruff voice of his, he started out by saying “Dan, I’ve been doing a lot of thinking. I’ve lost my fastball.” That was his way of telling me it’s time to hang it up.              

Mike Rhyner, co-founder of 'The Ticket' and a Dallas radio fixture since  the 1970s, is off the air

I believe we’re fair to the air talent. We’ll pay you a good salary, but you’ve got to show up and put points on the board. You know, there’s a lot of people out there that want to go to a big station and make big money. And that’s fine. But you have to do your part and deliver ratings. 

DR: Some of those guys that have delivered ratings for you, The Musers, Norm Hitzges, are going to reach a point sometime down the road where they too knock on your office door and say, “Dan, I think it’s time”. You’ve grown with these guys for so long at the radio station, does that make it harder to think about that day or do you sort of fall back on the old college athletic director stereotype of always having a list of five names available because you never know when you’re going to need to pull it out? 

DB: This is why we’re always developing people, whether that be a producer that gets to pop on the air every once in a while and next thing you know, they’re on the air or more and more and more. I mean, Corby Davidson came up that way. Danny Balis came up that way. 

Shoot, Donovan Lewis, who does the noon show with Norm, he was a board operator who worked for me on KLIF. I’ll tell you how that happened, how we put him on the air. Donovan is one of the best guys in the world and he’s funny. One day I was in the kitchen in the break room and he had about five people around him. He was telling stories and had everybody laughing hysterically. I just sat there and watched this guy who’s a board op, and I remember going to Bruce Gilbert, who didn’t want to do it at the time, and when Bruce left and Jeff Catlin came in as PD, I said “We ought to try this guy, because I think he’s got something. He does stand up in the company kitchen. Plus, he really knows and loves sports. We ought to start just putting him in”. He’s the greatest guy in the world. Everybody loves him. He’s funny and he’s smart about sports.

So we’re constantly looking, whether it is in the break room or in a producer booth or a part time guy on the weekend. Who are we developing for that day when these long term guys decide they don’t want to do it anymore? 

DR: I want to circle back on something you said earlier about being the primary market for revenue generation within the company. Last year, every company, every business went through the challenges of the pandemic. When you have the company’s spotlight on your performance, is there added pressure when the whole industry is facing challenges and everyone is trying to figure this thing out on the fly? 

DB: Well, I mean we’re the company’s number one market for revenue and cash flow. Yeah, it becomes a lot of responsibility. I’ve been the market manager since 1999. I have been here since 1984. That’s 37 years. I mean, I’m used to the pressure. If you want a big job, then you better be able to handle the big responsibility. And it’s not just me. It’s all of my department heads. A ton is expected of us. That’s just the way it is.

I think this is a really good recent example. I needed another sales manager and felt that I needed to make a change on the music side for reasons I won’t go into. I hired Dawn Girocco, she was our market manager in Los Angeles. When we sold KLOS to the Meruelo group, they didn’t keep her. My belief is when you hire department heads, do not hire beneath you. Hire at your level or somebody who is good at something that you’re not.

Dawn had been a market manager in Los Angeles and I hired her to be the director of music sales. I think that that’s how you deal with the pressure, by having really incredible department heads all around you. People fail at this when they hire beneath themselves. That’s absolutely a fact. 

DR: Do you have a vision or blueprint in your mind of what works for an advertising partner in 2021? Do you have a set of trends you can point to, whether it’s Ticket clients or clients at any of your other stations, that you can say “This is what our most successful advertisers are doing. So I know it works across the board”? 

DB: Yeah, I do. It’s the association with our talent who have been there many, many years. I mean,  the average person on The Ticket has been there for like 22, 23 years.

Getting an endorsement now is way more than a live spot on the air. Now it’s social media and many times it’s a video. It’s a pre-roll video. It’s all these other things that your business can align itself to thru a personality. It isn’t any different than a GEICO ad. Look at all the different famous people that do GEICO ads. We have really well known local people. I will tell you, our music stations have more endorsements by the talent than any music station in town.

Geico commerical is play on 1993 hit song Whoomp There It Is - Learn more  about the ad

I think our talent is the number one asset that we can offer our clients, whether it be through an endorsement, an appearance, or due to the ratings they generate on the radio station. Even if you don’t have a Norm or Donovan doing your endorsement, the fact that your spot is on during our show gives you a better shot at making sure that the commercial works. I just think our best asset is our on-air talent. I really do. 

DR: So you talked in there about the idea of an endorsement not just being the live read anymore. And that sort of dovetails into something that I’ve been thinking about a lot across the board, not just with The Ticket or your cluster. Is there any sort of consistency that has developed in terms of trying to get a new client on air? Before it was very much about the personal approach. But now I wonder how much of it is just selling the idea of radio as opposed to all digital or any sort of other new media that there are always deals and plenty of options to get in on? 

DB: Well, we sell the concept of radio, your base buy and why. It really is involved in selling it in combination with digital. We try every time we go out to combine the two. Some people buy it on that. Some people don’t. When you can take two different mediums like digital and radio and even some of the podcasts that our guys do and combine them all together, then you have a consistent message, which is important. Then you can make it all work in concert with one another, and have a better chance of being successful. I think radio is doing a better job of embracing this thing called digital, but not by selling it and abandoning radio, but by making them run in concert with one another. 

DR: Let me ask you about the social side for a minute, because part of my job with Barrett Sports Media is studying brands all over the country. I would say, looking at social, The Ticket is a little less active than most major market stations. I wonder, is that something you want to see improve or is that a strategic choice on your part? 

DB: Do you mean in terms of the advertiser and being incorporated into our social media? 

DR: Not just that. I mean just the amount of content you guys put out on social. 

DB: Well, yeah. Quite frankly, Jeff Catlin and I have talked a lot about this. I think we need to do more of it. 

We’ve got a guy that we hired on The Wolf, Jason Pulman, to do afternoon drive. It’s a heavy personality show. The guy is just entrenched in social and the amount of ratings he’s been able to generate in four months has been unbelievable. So I think that’s probably an area that we can improve and do more of. I think you’re going to see that elevated over the next three to six months.

We’re always looking at ourselves and asking, “if you were a competitor to us, how would you come at us?”. You know, we can’t get so full of ourselves that we think we can’t get beat. Everybody can get beat somehow.

DR: Honestly, that’s why the question was, is it a strategic choice? Because I’m not even sure that it is incorrect necessarily, because one of the things that I’ve been thinking about a lot over the last year is that not everybody in the industry has had success selling digital products. Maybe they’ve had success selling it as part of a package with on air. But I’ve often found myself wondering if, as an industry radio has put more focus on digital than it is ready to at this point. 

DB: You’ve got to be careful. I’ll give you a perfect start. Believe me, we are focused on digital. We’re focused on selling it. However, in the last Miller Kaplan in the market, this is the whole market, 83 percent of all the revenue was still spot revenue. So, the careful thing there is don’t take your eye off 83 percent chasing some other shiny object.

That’s why any sales presentation really needs to incorporate both. Look, social and all that, that’s great. Whatever the air talent do, that’s great, but if the content that comes through the speakers isn’t good, I mean, you can promote on social media crappy content and they’re not going to listen to it. That’s why you’ve got to watch all of it, because it’s not just one thing. It never is.

DR: I’d love your insights on the growth of Dallas as a sports radio market. You guys have remained this behemoth even as challengers have arisen. 105.3 The Fan has tightened the race, but you’re no stranger to local sports radio competition. There’s never been a moment where another sports/talk station could say ‘we’ve firmly put The Ticket in the rearview mirror’. What do you attribute that to? 

DB: One of the most important things is to always keep your feet firmly on the ground and not get full of yourself. We’ve all had bad books or books where there was a hiccup or whatever.

I do think one of the things that is dramatically changing, and I think Covid had a big effect on this, is the way people consume radio and sports radio. Many times you are listening through your phone. Most guys nowadays don’t have a clock radio on their nightstand. They get up in the morning and they stream The Ticket. The last book, 50 percent of The Ticket’s ratings were coming from streaming. A contact of mine at Nielsen said that there is no radio station in America that comes close to that.

So many of these men that listen to us had to work from home. And here we are a year later and still 50 percent is being consumed on stream. I mean, that’s changed dramatically. That’s why a station like The Ticket is total line reporting. We did that in October and it’s been a big help. 

DR: What’s funny is you talked about most guys not having a clock radio in their house anymore. I’ve got an 11 year old daughter and we have just sort of gone through the fight of you cannot sleep with your iPad and phone in your room anymore. We went out to buy her a clock radio and found very few clocks include a radio anymore. I mean, it’s so crazy that alarm clocks, it seems, are very much embracing the idea that this is not where people listen anymore. 

DB: You’re right. That’s why we’ve got to be accessible. Any of the platforms like Alexa that we’re available on, we have to be sure that we’re able to count those ratings. Before we went to total line reporting, we weren’t able to do that.             

How to Add Skills to Alexa in 3 Different Ways

Here we had a whole bunch of listening sitting over on our stream, but we weren’t able to count any of it. Of course, when you go to do that, you know Nielsen is going to charge more money. But we made that decision and it was the right one for us. 

DR: We recently ran this piece on the strategy of selling news stations and sports stations as a combo, and received a lot of feedback from all over the country that it’s now harder than ever before because there are so many advertisers that view news talk radio as the the shining example of the divide in this country. Some feel being associated with it, whether you mean to or not, means that you’re choosing sides. Are you seeing that in Dallas? 

DB: Yeah. The thing is when we had Rush Limbaugh, we would have certain, mainly national advertisers that wouldn’t want to run on his show. We have two teams. We have a news, talk and sports team, and we have a music team on our sales staff. However, if a music seller has somebody that wants The Ticket and there’s nobody calling on that account on the news/talk/sports side, they can go over and sell it.

There is a bit of that with conservative talk radio. There’s always going to be, but I think it was more of a national issue and more about Rush Limbaugh than anybody else. 

DR: Really? I’ve been critical of of news talk because I think one of the format’s failings is that for so long, programmers were just looking for the next Rush. Even though he’s no longer with us, there are still plenty of clones doing a similar show. It’s interesting to hear that for the most part, what you saw was specifically with Limbaugh. 

DB: Most of the pushback that we have gotten is from national accounts. Now, I am not going to tell you who, but we have a car dealer in this town. It’s a big one. They won’t advertise on The Ticket because of the content. 

DR: Interesting. 

DB: Yeah, they think there’s too much innuendo and guy talk and discussion about the sophomoric things that oftentimes get brought up on a sports station. They just won’t do it, and they’re a big advertiser. So, it can happen on the sports side, too, when somebody doesn’t want to be associated with something that they deem not appropriate.

I think on the news talk side, and boy, we’ve really worked at this, the biggest problem is that so many of the talent want to get on the air and jam their agenda down your throat rather than playing the hits. We had to have some pretty intense meetings with a couple of people on the air on our news talk stations. I said, “you’re jamming your agenda down people’s throats and you’re trying to change their minds”. When people are 40 or 45 or 50 or 55 years old, you’re not going to change their political sway in one way or the other. The best thing you can do to attract a bigger audience is play the hits.

Just like in sports radio, when Dak Prescott blew out his leg, that was the story. If you’re on the air in this town and you aren’t talking about what happened in yesterday’s game to Dak, you’re not playing the hits. I think a lot of these news talk shows just totally quit playing the hits, and they wanted every day to jam a political agenda, that’s part of why I think news talk struggled.

We had to make some real fundamental changes with a few of our talent to start playing the hits or this wasn’t going to work anymore. Fortunately, we’ve made a lot of progress.  

DR: You brought up the advertiser that objects to what you called the sophomore nature of The Ticket. I do feel like I need to ask you, you’ve got this great bit on The Musers of the Fake Jerry Jones that sometimes performs better than the real Jerry Jones calling into the competition. You have been with the station through its whole run. There has to be a moment that you can point to and say “that is when I knew our approach to sports radio was perfect for this market”. 

DB: I was at Susquehanna. We bought The Ticket in 1996. I’ll just say somebody in the company said, “well, we need to change those guys and talk about real sports”. And I said, “no, no, no, no, no. You don’t understand. They’re on to something, and what we’ve got to do is we have to champion it, encourage it, support it”.

Look, if you’ve ever gone to a game with a group of guys, just think back in your life. One time we took a group of clients to a Mavericks game in San Antonio. And at the time, I was probably in my mid 40s. You know, it’s a bunch of guys and everybody’s married and we’re on this trip and it was just clients. It was everything from a discussion about the game, to who’s going to go get the next beer, to “Oh my God, look at what just walked right outside of the arena!” and they’re pointing at some attractive woman.

Guys don’t sit around and just talk about sports statistics all day. They talk about every aspect of sports, which includes the camaraderie, the game, the crazy people in the stands, the next beer. I think what The Ticket tapped into is the mindset of the ideal listener. They’re not so myopic in their view about sports. The people who fail at this or the people that, get on the air and want to talk about the third team running back for SMU. Well, I’m sorry, but nobody cares. I think what our guys have done is they’ve tapped into what men really talk about.

Kind of an interesting example is my wife. She grew up with four brothers. She was the only girl. She loves The Ticket, is a P1, listens every morning. Okay, so why is that? Well, because she grew up with four brothers and understands brother humor and gets it. You know what’s interesting? When I run into women who don’t like it, many times they are women didn’t grow up with brothers.

Hosts from The Ticket's start reflect on its origins 20 years later

The Ticket tapped into how guys think, how guys act, what guys want to talk about, and they’re just really in tune with the demo. That’s why The Ticket has been a success. We aren’t so myopic that all we do is talk about serious sports, but a lot of these sports stations, that’s what they do. They don’t get it. 

What they do is they go out and hire a sports writer. Well, I can tell you, I’ve tried that. I’ll tell you, most of the time it doesn’t work. You’d be better off hiring a guy at the end of the bar who holds court every night and and talks sports. Hire somebody like that. 

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Sports Radio Advertising is a Great Alternative to Expensive Team Sponsorships

There are plenty of creative ways to tie into sports radio stations, where the fans listen daily, and the investment is often much less than team sponsorships.

Jeff Caves

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Photo of Citi Field in New York
Photo Credit: Stadium Sponsorship

Not everyone can afford to sponsor a local NFL or college football team. However, there are plenty of creative ways to tie into sports radio stations, where the fans listen daily, and the investment is often much less than team sponsorships. Here are some ideas:

Pitchmen for Hire: Leverage Local Personalities

Thousands of listeners tune in to hear local sports personalities discuss their favorite teams. Hiring these “football expert” personalities to represent your business can significantly boost your ad response. Their endorsement can help you rise above the fray and double your ad response.

Get More Bang for Your Buck: Stand Out

Tie into station activities that make your brand stand out. Sponsor the local team poll on the station’s website, host a remote broadcast the day before a big game, or sponsor a charity promotion and donate to the cause. Breaking through the clutter of commercial breaks requires creativity and involvement in station activities.

Tie into Local Teams Without Sponsoring Them

You don’t have to sponsor the local team to run a promotion about them. Consider running ads offering discounts if the team wins and even more significant discounts if they lose. Your ad rep can help you phrase these promotions to avoid legal issues. True fans listen to sports radio weekly for team-related content, so tap into that passion.

Become a Title Sponsor

Be the title sponsor for interview segments with local players. If the station is conducting regular player interviews, sponsor these segments. If shows don’t run many interviews, consider sponsoring newscasts that feature excerpts from these interviews.

Hire Retired Fan Favorites

Retired players beloved by fans can be an excellent asset for your business. They are often less expensive than current stars but still hold significant appeal. Think of players like Mike Alstott, Ed “Too Tall” Jones, or Nate Newton. These personalities can do spots or appear at your location, adding a memorable touch to your advertising efforts.

Adopt a ‘Mattress Mack’ Strategy

Make an offer based on the local team’s success, like Gallery Furniture in Houston‘s Jim “Mattress Mack” McIngvale. In 2022, he offered customers double their money back if the Astros won the World Series. Such promotions generate significant publicity and engage the local community, even if the offer is temporary.

Sponsoring a local NFL or major college football team may be out of reach for many clients. Still, numerous creative strategies exist to maximize a sports radio advertising investment. By leveraging local personalities, participating in station activities, and creatively tying your promotions to local sports teams, you can effectively break through the clutter and make a lasting impression on listeners. Engaging fans with innovative offers and memorable endorsements enhances your brand’s visibility and builds a loyal customer base.

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Caitlin Clark Media Coverage is Good for Everybody in the WNBA

By tuning in to see what Clark does, viewers are also noticing the many other great WNBA players.

John Molori

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Screengrab from ESPN's Get Up covering Caitlin Clark
Screengrab: ESPN Get Up

It’s time to talk about Caitlin Clark. The rookie guard for the WNBA’s Indiana Fever has become a legit phenomenon in the media. She has singlehandedly, and I repeat, singlehandedly put the focus on a league that has been largely ignored by mainstream sports talk shows for a quarter century.

Nobody wants to admit that one person can change a sport or a league. It is viewed as a slight to people who came before that special athlete and that special athlete’s contemporaries, but it has happened on numerous occasions, and we’ll get to that.

From a marketing and media standpoint, Caitlin Clark is a human tidal wave of interest, excitement, and anticipation. She quite literally brought tens of millions of eyes to the 2024 Women’s NCAA Basketball Tournament, and deservedly so, she will most likely earn tens of millions of endorsement dollars from a variety of corporations and their products. She has inspired congratulations and controversy, especially with her recent exclusion from the USA Basketball Women’s National team.

The reaction to Clark’s success and attention from some members of the media and WNBA players has been shocking. Tremendous commentators such as Andraya Carter, Chiney Ogwumike, and Rebecca Lobo have, at times, come off as apologists for WNBA players who are just plain jealous of Clark’s unprecedented popularity.

As ESPN’s Stephen A. Smith has explained eloquently, these critics are missing the point from a marketing and economic perspective. Clark has not only helped herself with her play, but has also brought attention and focus to women’s hoops as a whole.

By tuning in to see what Clark does, viewers are also noticing the many other great WNBA players. Clark is that rare breed of athlete who is truly changing the game, making it better and more profitable not only for herself, but for everyone involved at all levels.

On recent editions of ESPN’s First Take, Smith has gone toe to toe with Carter, Ogwumike, and Monica McNutt on the Caitlin Clark issue. The fascinating exchange between Smith and McNutt on the June 3 edition was a watershed moment in recent sports television.

Smith, McNutt, and host Molly Qerim were discussing the hard foul/shove that Chicago’s Chennedy Carter laid on Clark in a WNBA game. The course of the discussion moved toward the rise in WNBA ratings mainly because of Clark’s presence in the league.

The debate eventually came down to a back-and-forth between Smith and McNutt. Smith reiterated his longtime dedication to the WNBA and women’s sports in general. In response, McNutt said that with Smith’s platform, he could’ve been talking as much about the WNBA three years ago, long before Clark’s debut.

Smith was visibly angered and disappointed by McNutt’s comments. On The Stephen A. Smith Show podcast that same day, he defended himself and his show, saying that First Take has been at the forefront of promoting gender, race, age, and all forms of equality and respect.

Smith is 100% correct. This chap has been a champion of women, minorities, and even older media personalities, such as Christopher Russo, whom he has brought to a whole new audience on First Take. Stephen A. Smith is the Arsenio Hall and David Letterman of sports talk. When the syndicated Arsenio Hall Show hit the airwaves in 1989, he was the first late night host to bring hip-hop artists to center stage on a regular basis.

Similarly, Letterman’s “Late Night” on NBC showcased new talent in comedy and music, while bringing irreverence and originality to the tired old talk show format. Smith has done the same. He has made stars out of Ryan Clark, Mina Kimes, Marcus Spears, Kimberley Martin, and many others. He has also raised the profile of already renowned commentators such as Shannon Sharpe, Qerim, and the aforementioned Russo.

Smith has been a stalwart of equity, but that’s not what McNutt was saying. She was saying that with his audience, Smith could’ve talked about the WNBA thereby creating popularity and exposure for the league long before now.

McNutt’s jarring comment put Smith in a humbled position and really hit at his very core, but he took his game to a whole new level the very next day. McNutt was back on First Take, which right there shows the utter gumption that Smith possesses. He could’ve easily let things settle down a bit before he brought McNutt back on the show, but he didn’t. That’s classic Smith – encouraging discourse and disagreement.

When you get to the level of a Stephen A. Smith, you welcome a debating challenge. The last guests you want are sycophantic suck-ups who cowardly agree, no matter what the subject. Smith’s high point on the June 4 episode was when he said in a loud voice, “Caitlin Clark is white.”

He acknowledged the fact that it makes a difference. He also stated that black players who have been just as talented as Clark have not been given their rightful attention – also true. Regarding the perceived negative treatment of Clark by some WNBA players, Smith made it clear that they should not go easy on Clark on the court, but their mindsets need to recognize that Clark is benefitting the WNBA and putting dollars in their collective pockets.

Whether you agree with Smith or not, the fact is that this is what special players like Caitlin Clark do. They raise the level of discussion and simultaneously raise the profile of their respective sports. The WNBA is now in the A-block on highly rated shows like First Take and ESPN’s Get Up.

The league and its players are on the front burner of discussion for Smith, Nick Wright, Colin Cowherd and many other top-tier, multimedia sports debaters. This fact was straight up impossible one year ago. This is what Caitlin Clark has done.

Clark’s impact and stamp on women’s basketball is not unique. There are precedents where one person has made such a difference.

Larry Bird looked different, played different, restored a dead Celtics franchise, and made his mark in a sport that was on life support in terms of media coverage and fan interest. Bird and Magic Johnson rescued the league – a black man on the west coast and a white man on the east coast, two wunderkinds who changed the NBA forever. Caitlin Clark is Larry Bird.

Tiger Woods burst onto the PGA TOUR and won the Masters in 1997, embarking on a run that would see him change the game of golf from a competitive, performance, historic standpoint, and social standpoint. He was charismatic, focused, and yes, an African American phenom smashing records in a white-dominated sport. Caitlin Clark is Tiger Woods.

In 1965, Alabama quarterback Joe Namath eschewed the NFL’s St. Louis Cardinals and signed with the AFL’s New York Jets. He raised the profile of the league and garnered more attention and dollars than established AFL stars which made him a target. As the league’s popularity grew however, opposing players recognized his significance beyond the field. They did not go easy on him during games, just ask his knees, but they knew that his success was theirs as well. Namath was the key figure in the eventual AFL/NFL merger. Caitlin Clark is Joe Namath.

Serena Williams was smart, savvy, athletic, fashion conscious, and just plain great. Williams shattered the traditional mold and became an iconoclastic figure in women’s tennis with both her play and personae. The lineage with her sister Venus ushered in a new era in the sport. Serena attacked the game in a unique way. She was exciting and original, and lifted her sport and fellow athletes. Caitlin Clark is Serena Williams.

I am not saying that Clark will have a legendary or Hall of Fame career akin to these illustrious athletes, but the immediate impact she has had on her sport and the media coverage of her sport is similar.

As Smith so often states, Clark is “box office.” You can debate the reasons why, but you cannot debate the fact that she has supremely raised the profile and the financial prospects of women’s basketball and its players.

I understand that other WNBA players want their share of the credit for improving the league. I also understand that WNBA commentators want fairness and equity in terms of attention and the spotlight. However, both groups need to realize that Clark is the main reason that they are getting this increased exposure. On the court, be competitive against Clark and try to beat her and her team. On the air, be critical of Clark and analyze her game, but on a larger scale, understand, accept, and embrace that Caitlin Clark’s most important assist might just be to you.

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Joe Tipton Turned Sports Graphics Into a National Reporting Role With On3

“There’s definitely a competitive aspect of it, which I really enjoy actually because it just kind of keeps you on your toes.”

Derek Futterman

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(Illustration) | Courtesy: On3

In the moments when athletes make a monumental decision about their playing careers, news outlets frequently try to cover the story in a timely and accurate manner. Whether it is signing with a new team in free agency, inking a new endorsement deal or retiring, basketball has plenty of these occurrences annually. These announcements are sometimes accompanied by graphics, adding visual elements of branding and allure to the development. Joe Tipton learned the nuances of photo editing and graphic design at a young age, leading him to create images of NBA players and share them on social media. Observing a lack of interest within the space, he considered doing the same for high school players nearing college commitments.

Tipton Edits, an independent business venture that he began shortly after starting in sports graphic design, provides athletes with a free edit in which their new uniform is superimposed onto an image divulging their new team. These recruits then share the photos on social media and tag Tipton. Especially at the start of the entrepreneurial property, he viewed gaining followers as remuneration, an invaluable currency as digital media continues its swift proliferation.

“I didn’t start making the graphics at 17 to have a job in it – I was just kind of doing it on the side for fun and then just kind of [seeing] where it would go,” Tipton said. “Since I was one of the first people to make graphics for these high school players in their recruiting decisions and now transfers, and now that I’ve built up the presence online and the credibility and the reputation, a lot of them will flock to me, and I think that’s what’s so sustainable about it now.”

The transfer portal keeps Tipton busy in creating and delivering graphics to collegiate athletes moving to a new school. Remaining prepared to create an enticing visual featuring the player in their new uniform and distributing it on social media requires a commitment to the craft. Even though he was a marketing student at the University of Alabama in Huntsville, he was still trying to determine the best path forward and ended up transforming his hobby into a sustainable career.

“I was able to communicate with high-level basketball players and create something for them – and all of it free of charge – in exchange just for a tag on Instagram and Twitter, which helped propel me and grow my brand and following online,” Tipton said, “and over the years, [it] got me to where I am now.”

By designing these graphics in advance, Tipton was privy to coveted information and recognized that he could effectively reveal where players were signing. His work has been featured on various sports outlets such as ESPN and Bleacher Report and shared by NBA legends including Shaquille O’Neal and Scottie Pippen.

On3, a digital sports media brand that delivers news, analysis and insights to consumers regarding college sports, recruiting and NIL, added Tipton as a national basketball reporter after he graduated from college. Since that time, he has established himself as a distinguished journalist covering high school and college basketball.

“[I] had an opportunity to join On3 because basically what I was doing when supplying the graphic to a high school recruit and even transfers now in the portal, I am being gifted the knowledge of where a player is going,” Tipton said, “so I’m able to report that information, and that’s basically what I serve as now for On3.”

Joining On3 provided him with another platform to disseminate this information and expand his audience while assisting the company in its own growth. Shannon Terry founded On3 in 2021, and the platform has continued to expand with dedicated coverage of NIL, the transfer portal and the NFL Draft, along with adding subsidiary verticals such as On3 Elite and On3 HER.

“When it comes to the transfers and their decision making, it’s so rapid fire, and there’s so many players that enter the transfer portal because of NIL, because of instant opportunities and also the ability to play right away and not have to sit out like the previous rules stated,” Tipton articulated, “so it increased the need for what I do and just the coverage of the transfer portal in general has taken a significant leap, which is great for those who cover the portal and recruiting in general.”

Tipton earned a contract extension at On3 earlier in the year, but he has always operated with a chip on his shoulder to prove that he is more than just a graphic designer. While he is a recent graduate and continuing to shape his identity and forge relationships, he believes the process has been considerably slow to this point. Nonetheless, he remains optimistic that working with On3 will be able to propel him to the next level.

“They didn’t view me as a reporter even though I was breaking news, so especially in the earlier stages, I wasn’t getting credit for breaking the news just because I guess they didn’t view me as a reporter [or] traditional media outlet,” Tipton said. “But ever since joining On3, that’s kind of painted me in a new light, and people will look at me a little bit differently, especially with the coverage that I’m able to provide for On3 and then just the overall stories broken.”

There is an aspect of fluctuation that has become more embedded in college basketball, rendering it fundamental to verify information ahead of its circulation. For example, if a player informs Tipton that they are committing to a certain school, he will oftentimes call the coaches or athletics department to safeguard against complicating miscommunication between the two entities. In the end, he is never releasing graphics or reports without extreme confidence in its veracity.

“There’s definitely a competitive aspect of it, which I really enjoy actually because it just kind of keeps you on your toes,” Tipton said. “It’s kind of a rush as well to be able to get it out first, but the first year on the job with On3, there was an incredible amount of pressure that I put on myself to just achieve this at a high level, but there’s also a great deal of stress that comes with it because a lot of what I do is time sensitive.”

Although he has a stellar reporting record dating back to his days solely creating graphics, there are moments when other reporters or outlets beat him to the story. In these situations, the power of his brand and its identity assists in overcoming these impediments, indicative of his broad appeal and widespread reach. Establishing himself as a brand rather than being a graphic designer or reporter within a larger entity has been a key differentiator within his formative years in the business.

“I think it’s the key to sustainability and a way to separate yourself from other people, so I’m incredibly fortunate that the players believe in me, trust in me and then On3 does the same because I’m a source for the player that they can come to and trust, and we all grow together,” Tipton said. “I help grow the player, [and] I help grow On3. On3 helps grow me [and] the player helps grow me because they’re all posting my stuff, we’re posting them, so we’re all on this together, so it’s really nice.”

Tipton never envisioned himself appearing in front of the camera, but he is now doing so regularly for On3. As part of its content, he frequently discusses the latest news regarding recruitment, the transfer portal and NIL in addition to synthesizing player rankings.

“[I am] obviously only just scratching the surface of the on-camera stuff, but I think that is a strong potential avenue for me moving forward in my career,” Tipton said, “but then also my ability to break news at a high level and also the relationships that I have just when it comes to the recruiting insider portion of my job as well.”

Later this month, Tipton will see some of the players for whom he has created graphics soon enter the NBA when the NBA Draft takes place from Barclays Center in Brooklyn, N.Y. Although he has not assimilated into reporting on the NBA, he is competitive and has thought about his future work. Yet he understands that a majority of his verve is in college basketball and is focused on breaking news beyond recruiting.

“The good thing about me and kind of how I was brought up was I wasn’t raised in a family that was a fan of a specific team; in fact, my parents aren’t even sports fans at all,” Tipton said. “Sports was just not on at all growing up, so I never grew up a specific fan or a diehard of any specific program.”

Reflecting back on his journey thus far, Tipton feels that he stumbled into his career with fortuitous timing. The versatility he has developed, along with his persistence, networking and inexorable work ethic, has contributed to the growth of Tipton Edits and his role with On3.

Tipton found a way to cut through the media ecosystem, investing his time and effort into a niche that did not exist with the level of cache and emphasis that it currently possesses. The industry moves with unrelenting momentum and can seem imposing to shrewdly understand and cover, but Tipton aims to masterfully keep up while enjoying his journey to an unknown destination.

“We live in a world where, especially younger people, they’re keen on growing their social media presence,” Tipton said, “so On3, Tipton Edits and others alike are able to grow their channels, so they’re encouraged to utilize services like mine to help kind of propel their following and for it to reach a large number of people.”

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