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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.”

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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. 

BSM Writers

Media Noise – Episode 54

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Demetri Ravanos welcome Jeremy Evans and Tyler McComas to the show this week. Topics include emergency programming, the streaming future of ESPN, and why the holidays is a good time to think about your upward mobility.

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BSM Writers

Breaking News Turned A Quiet Sunday Into The Busiest Week Of My Career

“We’ve set records at the station and listenership isn’t going down anytime soon. Plus, our social media following has boomed since Sunday morning.”

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It started off as a completely innocent Sunday, which, you married men know, meant an afternoon Target trip with my wife. Earlier in the day, I was texting with Demetri Ravanos about the grind of doing sports radio during football season. That also included talking about Oklahoma’s loss in Bedlam to Oklahoma State. OU’s loss the night before meant I wouldn’t be doing a pre or post-game show on conference championship weekend. Football season was essentially coming to a close for me. 

West Side Rag » Openings & Closings: Alexis Bittar, Target (Early Opening),  Bareburger, Cafe 71, Spear

And then it hit. First it was a text from Cody Stoots of ESPN 97.5 in Houston. I’m good friends with Cody and respect his knowledge of college football, so it surprised me when he texted, “Oh no. Bummer about Lincoln. Coaching searches are fun though!”

Wait, didn’t Cody hear Lincoln Riley adamantly say he wasn’t going to LSU just hours before? He’s a smart guy. What’s he talking about? 

I checked Twitter on a hunch. That’s when the madness officially started. I immediately knew it was true. We rushed out of Target. My crazy Sunday was just getting started. I cut an instant reaction video for my station’s Twitter page, where we have a sponsored segment called Sooners in 60. It’s a social media video that entails analysis and updates on everything OU. I uploaded it shortly after detailing my initial shock that Lincoln Riley was headed to USC. I couldn’t believe it. It was a complete shock to everyone. 

As I kept my eyes on Twitter, I realized a reaction video wasn’t enough. That’s when Josh Helmer and I decided to record a 15-minute podcast on the breaking news. So via cell phone and in the front seat of the car, I gave my thoughts on the shocking development. But just as quickly as it uploaded, we realized we needed to do more. Our listeners deserved that. 

Management at the station came together and realized we needed to get on the air. Granted, the postgame show the night before didn’t end until midnight, which meant Helmer and I would have to jump right back on the air, but this was too critical of a time to not be active. Especially since other stations in the market were rallying and getting people on the air. I had been looking forward to a calm Sunday, but I couldn’t be on the sidelines for this. Helmer didn’t want that either. We found a time that worked and decided we’d stay on the air until the bosses told us to stop.

At 5:30pm on Sunday evening, we hit the 94.7 The Ref and Sportstalk 1400 airwaves without a real plan. Sure, we’d take calls, but this was a show about natural reaction and how we felt in the moment. So as Helmer bumped us in with “California Love” we unleashed our anger towards Lincoln Riley’s decision. 

It’s an easy way to create compelling content in that moment. You’re playing to the audience and they’re deeply interested in the story. Helmer and I wanted to be real and genuine, which meant addressing the crazy rumors around Riley’s departure, and slamming him for some of the things that were starting to emerge. We were given total freedom by management, trusted to react as strongly as we saw fit. So we did. And so did a ton of callers and even other co-hosts at the station that hopped on. It was the most exciting 90 minutes of radio I’ve ever been a part of.

We looked up and it was 7:00. We couldn’t believe how quickly the time had gone by, but we had to shut it down, because the Cleveland Browns were playing the Baltimore Ravens on our airwaves in just 20 minutes. We’re the Oklahoma flagship for the Browns so honoring our commitment to our partners was important. That being said, we could have continued the show all night. The live, raw reaction was incredible.

We signed off and received a text from our owner, thanking us for hopping on with short notice. After giving up a Sunday to help with coverage, that simple message was greatly appreciated. The day of work was over, but we knew an incredible week was coming our way.  It was about to become a dream content scenario for talk show hosts in a crazed college football market.

Monday morning came with great news from management. The emergency show on Sunday night received the highest streaming numbers in station history. They were tracked from our app. The first real coaching search at OU since 1998 was starting to show its benefits. 

So, as a station, we did what everyone else would do. We decided to capitalize. Recently, our station launched a merch store that has t-shirts, beanies, hoodies, etc.. Each have our logo on it, as well as special items that center around show hosts and OU game results. In all of the madness, former OU head coach Bob Stoops stepped in as the interim head coach for the upcoming bowl game. He’s always been beloved by the fan base, but this was next level loyalty. And we decided to make a t-shirt about it.

‘Bob’s Got Our Back’ is what the t-shirt reads with a visor at the bottom. I created it via the Canva app in my car in the station parking lot before our Monday morning meetings. As you can imagine, they’ve sold very quickly. 

Monday’s day of radio was filled with anger towards Lincoln Riley, and excitement about who the next head coach will be. There was even a press conference that featured Stoops firing up the fans and ensuring everyone the program was going to be just fine. Sure, just two days before, an epic game between in-state schools broke out, but there was barely a mention of it. The bigger story had overtaken the actual game. It seemed like everyone in the state was listening to sports talk radio on Monday. I can’t speak for the other two stations in the market, but our listenership was so high, we maxed out the number of online listeners we could have via our app. We scrambled to find a way to expand the number of people that could listen to our stream at the same time. Thank God we did. 

The past few days have been awesome. Sure, it’s meant endless time on the phone and exchanging texts with various people to try and chase the story, but any sports radio host during a coaching search should absolutely love the attention. We’ve set records at the station and listenership isn’t going down anytime soon. Plus, our social media following has boomed since Sunday morning.

The exciting part is that this story isn’t just a two-day fling. Anger towards Riley hasn’t stopped, nor will it, anytime soon, and the search for the next head coach has brought an incredible amount of interest. Madness happened on Sunday afternoon and it won’t stop until a new head coach is hired.

Lincoln Riley Named New USC Football Head Coach - USC Athletics

Ok, now I have to go. I think Brent Venables or Matt Rhule is about to be named the next head coach at Oklahoma. And yes, we have a t-shirt ready to go if that happens. 

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BSM Writers

How Do You Break The Ice When A New Player Or Coach Comes To Town?

“How do you introduce yourself? What approach should you take? What’s the first thing you should do?”

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It’s a season of change in many sports these days. College football coaches are changing teams. The NFL will surely have some coaching vacancies of its own soon enough. Don’t forget it’s also free agency time in baseball.

Lincoln Riley's hiring a relief for those who cherish USC - Los Angeles  Times
Courtesy: LA Times

With all of that said, it’s also a crazy time for broadcasters. We need to start figuring out who the new players and coaches are and how to get to know these people as soon as we can. It’s as much about meeting the new folks as it is getting to know who they are in their jobs and as people. How do you go about this process? 

Working in the industry as long as I have, it’s almost a given that every few years, it’s out with the old and in with the new. When you work in Chicago it seems to happen more often than that. Sometimes, from a broadcast perspective, the change is good. Other times it can be a little more difficult to deal with. I’ve been witness to both. But what matters at the beginning is you need to do your best to understand the change and adapt to the new way things may be done. 

How do you introduce yourself? What approach should you take? What’s the first thing you should do? Well, it’s not that simple. Every case is quite different. Gathering information that will be useful to you is the best way to start the process. There are more than a few ways to accomplish this feat. 

One of the first steps I would take when working in baseball was to contact fellow broadcasters that may have interacted with the new player or manager. The team announcing crews usually have the best insight into the nuances and personality of the person you are wanting to meet. They will have knowledge of how that player or manager likes to be approached. Is the player routine-oriented? Does he/she like to get the media business out of the way first, or do they want to wait until they’ve prepped for the game? That is the kind of critical information to have to develop a healthy respect for one another. 

I also wanted to know from other broadcasters what their impressions of that player or coach were. Is this the kind of person you could joke around with or not? Was this a person that would open up to you, if they got to know and trust you? I would store this information in the back of my head, just so I was prepared. Even if a broadcaster told me to stay away from a particular guy, I would always try to find out for myself. I gave that new person the benefit of the doubt until they either proved the information about them was wrong or spot on. 

Another method to introduce yourself to the new guy/girl was to make sure I was at the team’s first media availability. Whether it be a fan fest or just an introductory press conference, it’s important to have that person start recognizing your face and name. 

I recall talking to one player that joined a team I worked for in particular at a fan convention. The informal setting of these events allows you to get some time with the new players and managers. In a casual conversation with this player, I wanted to find out when was the best time to approach him for pregame interviews. He told me that if he was seated at his locker facing away from the stall, feel free to approach. I’m so glad I was armed with that information, because I saw several fellow media members get turned away, when he wasn’t ready. I always tried to respect those wishes. The season went smoothly and he was a great ‘go to’ guy when needed because of that relationship we forged. 

If you’ve been in the business a long time, you probably know a few of this new player’s former teammates. Many likely played for the team you broadcast and with the access you’ve had, introductions can be made or arranged. It’s always a better ‘in’ or ‘edge’ in the beginning of a relationship to have that extra cache of being introduced by one of that player’s peers. Most of these players respect one another and if you’re deemed ‘cool’ or ‘good’ by one, others will give you that chance to at least prove them wrong. 

Max Scherzer Interview | Scherzer Talks About Joining the Dodgers - YouTube

Every once in a great while, a team will put on a ‘meet and greet’ for a new coach or manager. It’s a way for those that regularly cover that particular team to get to know a new leader in a very informal manner. I recall one such time an NFL team put together a lunch for those that regularly covered the team to meet the new head coach. It was a completely off-the-record gathering, filled with stories and a lot of pizza too. The unfortunate thing was, the guy we met that day was only himself for about 3 months, then he became ‘the coach’ and the relationship changed. Still, it was a unique idea and approach to allow some of the media, he would be seeing on a daily basis to have a chance to relax and break bread. 

Change is never easy to deal with, especially after establishing long relationships with previous players and coaches. But it is a fact of whatever game you’re covering, things are going to change and you must have the ability to change along with it. If not, you could get left behind and out of the information loop.

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