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Landry Locker Takes Something From Everyone

“I think different talent needs different things. In my case, and I don’t like admitting it, I probably sometimes have needed a little bit of a kick, a little bit of tough love, a little bit of discomfort.”

Brian Noe

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Sports radio has always been a big part of Landry Locker’s life. When he was growing up in the Dallas-Fort Worth area — Grapevine, Texas to be exact — Landry’s dad used to have sports radio on in the house as background noise. How awesome is that? You’ll hear that an athlete like Steph Curry has basketball in his veins. It works the same way with Landry; sports radio has been in his blood from an early age.

Landry hosts In The Loop on SportsRadio 610 in Houston. His program director, Armen Williams, says that Landry digs into the audio vault more than anyone he’s ever worked with. It’s interesting to hear why audio is so important to Landry’s approach to sports radio.

He also describes the PDs he’s worked for, the lowly Texans, replacing the rush of doing radio, and tapping the brakes on self-criticism. Enjoy!

BN: From listening to sports radio in Dallas when you were a young kid, what have you taken from those years that you still apply to today?

LL: Pretty much everything. Sportsradio 1310 The Ticket started in the mid-90s. My dad was the kind of guy, before my parents got divorced, who would have sports radio on in the house as the background noise. When that started, The Ticket and all of that, that was a big influence just because it was 24/7. It’s always been something that I’ve gotten into whether it’s I want to hear what so-and-so has to say after the game, all of the reaction and all of that type of stuff. It’s always been a big part of my life, especially when The Ticket came around during the Cowboys’ second Super Bowl run.

BN: Is there anything in terms of a host’s style, not that you’re copying it, but you look and say I like what that guy does, and maybe subconsciously, that’s gone into your approach?

LL: I take something from everyone, even growing up, or the people that I’ve worked with in the business throughout my career. I think you take stuff from everybody. Different styles, there’s not really anyone that I try to be, but I think you can learn from certain people. I would say The Ticket, not to take yourself too serious. I think you could learn from guys who are real sports guys, old school, just how to do your research and be on top of your stuff.

I’ve worked with Randy Galloway when I was in Dallas and Ben and Skin. I kind of model myself after those guys kind of being loose; being sportsy and non-sportsy at the same time. Ken Carman and Anthony Lima in Cleveland, I was with them for like five months. I had a brief stop in Cleveland. I think the creativity of those guys I take in. I really just try to take in something from everybody, old school, new school, all that, and just incorporate it into what I do on a daily basis.

BN: Why was the Cleveland stint so short?

LL: The Cleveland thing was just a good opportunity because it was a chance to branch out and I really like Andy Roth, their program director. I think he’s a really, really, really good PD. I like Ken and Anthony. It was when their show first started. When I got there it was more so — and Ken and I are still good buddies — but Cleveland wants you to be from Cleveland. It is 100 percent from Cleveland.

When some jackass from Texas comes in there and is talking about LeBron James or something like that — there are some cities where that works. There are a lot of transplants in Houston and there are a lot of transplants even in New York. Sometimes you can go do that; Cleveland’s not the city for that. No matter how well I worked with Ken and Anthony, the shelf life was kind of limited on how much you could climb up.

Nick Wright actually got his job to go national, so I became the producer of the morning show here. They gave me immediate reps on air. I just took that experience as much as I could, the six months in Cleveland, and brought it here. But you know how it is in Cleveland; you could say the smartest thing in the world, but if they check your ID and they see that you’re not from Ohio, you can basically go to hell. It doesn’t matter what you said. That’s not a knock on ‘em. That’s why it’s so popular there. That’s why it’s one of those cities where you go in the gas station, they’ve got The Fan on there. They’re ready to get it, but I could basically solve the cure for cancer and they don’t give a rat’s butt what I’m saying in Cleveland. I understood that from the jump.

BN: Is Dallas like that at all?

LL: I don’t think Dallas is like that because if you just look at the lineup, a lot of the guys from The Ticket, there’s a guy from Wisconsin in Bob Sturm. There’s a guy from Cleveland in Dan McDowell. There’s just guys from other places. RJ Choppy originally went to college at Tennessee, then he went to New Jersey. Shan Shariff was in Maryland, Kansas City and all that stuff. Houston has a lot of transplants. You do want to know what you’re talking about and you do want to have a grasp of history.

There’s a legendary tale about Nick Wright when he came to Houston from Kansas City that I just always admired, even when I didn’t even know anything about Nick Wright. When he had his job interview with Gavin Spittle, who’s the PD now in Dallas, Nick had like four pages, front and back, basically he’d written out the sports history of Houston. It went from the Oilers to the Rockets, all that, and it was handwritten. It wasn’t just printed out. When I came here, even when I went to Cleveland, I would try to follow that. They are open in Houston and Dallas, but you have to show that you respect the history and have a grasp of it. Then you just have to perform on the air.

BN: You’ve had a few different program directors from Jeff Catlin to Andy Roth and Armen Williams. What are the similarities and differences between those guys?

LL: Well, Jeff’s a hard-ass. Jeff Catlin is an ass-kicker. The one thing that I can take from Jeff is that he’s no nonsense. If you deserve to be cussed out, you’re going to get cussed out. If you screw up, he’s going to let you know. He is going to let your work speak for itself. He’s going to welcome feedback and he’s no nonsense. No nonsense Jeff Catlin. Being the ultimate professional, no nonsense, is something I took from Jeff.

Andy’s just a hard worker who is one hundred percent engaged in programming. Whether you’re on at 6am or 10pm; if you play a sound clip and you don’t credit FOX Sports or you don’t credit ESPN, Andy is going to let you know about it. He’s going to give you feedback and it’s going to be transparent. It can get a little bit intense with Andy, but it’s always going to be honest and he cares about the on-air product. And he’s going to work his ass off.

Barrett Sports names Roth top sports director | Briefs |  clevelandjewishnews.com

Armen is a guy who has a lot of the same qualities as both of those guys. It’s kind of like a mix of both. I think the thing that Armen has on those guys is he’s been in radio for life. He’s a guy who was working at radio stations when he was young. He’s a guy who was working in promotions. He’s a guy who was a producer. He’s a guy who went and became a PD. I think Armen is just about that radio life and he’s kind of a combination of all those guys.

Armen’s also very, very good at imaging and very, very good at creating the notion that the station is on the right topic. I think he has that grasp down very, very good to where what do we need to be talking about? Sometimes we’ll go in to commercial and imaging will be so new it’s like dang, how did he flip that so quick? I think Armen is kind of a combination of those two. There’s been a lot of guys I’ve worked with and I’ve picked all their brains and they all provide a little bit of something. 

BN: If there’s one thing a talent needs most from a PD, what is it?

LL: I think different talent needs different things. In my case, and I don’t like admitting it, I probably sometimes have needed a little bit of a kick, a little bit of tough love, a little bit of discomfort. I think it kind of depends. I think some guys probably need airchecks a little bit more. I think some guys need to be coddled. I think some guys need to be kicked in the butt.

It’s like when someone asks you what’s the key to a good show, I don’t know because there are so many different styles. But I think different guys need different stuff. I think the most important thing is that you need a PD who’s able to treat people differently, almost like a coach. I think you need a PD that’s going to be able to have a grasp of what each guy needs. I’ve been fortunate to work with PDs who’ve been able to do that.

BN: Working with a highly respected talent like John Lopez, who has teamed with Nick Wright and a few others, what’s one of the main things that you’ve taken from him as a talent?

LL: I’ve been very fortunate to work with John because I think that when you’ve been doing it as long as he has — I call him the OG for a reason — there’s a better chance that guy is going to have a little bit of jerk in him, and he’s going to tell you it’s his way or the highway. John has allowed me to not take over, but put my creative spin on it, and he kind of plays off me. I know a lot of times it can be annoying for him. John is like a unique guy in that he’s been doing it as long as he has, but he’s pretty carefree and as long as you develop his trust, he’s going to play off of you.

There’s immediate credibility that comes with somebody who’s been around as long as Lopez has. The likability, the experience, and just the open-mindedness, I’ve been very fortunate with John Lopez. I’ve seen some guys in his situation who will just lay out. They’re not going to do anything. I could ask Lopez hey, give me a list of 10 blah, blah, blah, and he’ll do it. He’s just a lot more open-minded than a lot of people that have been doing it as long as him have been. He has that credibility. He has that likability.

BN: So the Texans stink as you know. And you’re the flagship station at 610. What’s that like to do a balancing act?

LL: Well, we don’t have to. It’s really actually kind of crazy; they are very, very fair to us. You wouldn’t know that we were the flagship with the way we talk. They understand the situation and they’ve let us criticize them as much as possible, which is rare. I know there are other teams in town that don’t allow that. I’ve seen some teams do it, but they really, really do let us be honest and transparent about it. I haven’t had to endure any walking the line or anything like that.

We’ve talked about anything and everything and they’re very fair. We’ve talked about how bad David Culley is at managing games. We’ve talked about the culture problems. We’ve talked about Nick Caserio not winning trades. I mean I can’t lie.

I want to say something good about them; it’s just there’s nothing. They don’t have any good young players. They’ve traded all their draft picks. They’re the worst team in the league. The coach is making brain fart after brain fart. There’s culture issues. There’s trust issues. I want something, they’re just not giving it to me. I haven’t gotten any calls for things that I’ve said or anything. It sucks to cover a team this bad, but they let us do our job for sure.

BN: Armen told me that you dig into the audio vault more than anyone he’s ever worked with. He said you call it going into the lab. Why is it so important to you?

LL: I think that it’s part of the story. I think especially in NFL-centric cities where it’s a week-long buildup, if David Culley said that he trusts the culture after Week 1, and you can remember that and go back to after you lose eight straight games, I think it’s important. I think it’s part of the story and I think you’re not dependent on a team being good. Audio is a big part of what we do. When someone sends a cut sheet, I listen to every single clip and I’ll trim it. If there’s a Sunday press conference or something like that and they say yesterday, I’ll take out the word yesterday just so that it’s timely.

In Buffalo or wherever, like a good city, they can just depend on breaking down each game. But if you’re building up the story and you’re talking about David Culley said this, or David Johnson said that, or I can remember way back in the day when so and so said this, let’s compare it to that, I just think the build-up doesn’t get old and the story doesn’t die. I have a photographic memory where I’ll remember something that someone said like 15 years ago. I think it adds to the intrigue just what is being said and I’m not dependent on the team being good.

NFL: David Culley wishes he'd taken 3rd down over punt

BN: When you finish a show do you look back like, ahh man, I didn’t think about playing this one clip or I didn’t think about saying this one thing? Are you built like that, or are you just kind of like hey man, the show was pretty good, we’ll get ‘em tomorrow?

LL: Sometimes I’ll get done with the show and be like man, that sucked. I’ll be like that was terrible; I should have done this, this, this, this. I think you kind of have to stop doing that at a certain point. I don’t ever think you should do a show and just say it’s over, move on. But I used to beat myself up to where it was basically like you can’t sleep and you think you stink and all of that type of stuff.

I do sometimes wonder if we left some meat on the bone. Other times I’ll think it was good and I’ll listen back, and I’ll be like man, that sucked. That really wasn’t that good. That’s probably the most uncomfortable thing for me is listening to myself, but I have to do it. I’m still kind of my own worst critic, but you do have to kind of tap the brakes a little bit when it comes to criticizing yourself. Still be aware but you do have to tone it down a little bit because I would just beat myself up and not even be able to enjoy the rest of my day.

BN: Do you have any particular goals that you’re working toward?

LL: I think eventually I would like to get in drive time. I like having the midday, but I’d like to get into drive time, try to figure that type of thing out. I just want to continue to build credibility. I want to be the guy that people go to in Houston where if something happens, if Deshaun Watson gets traded, it’s hey we’ve got to hear what Landry Locker has to say about that. That’s really the goal.

As far as going national, stuff like that, I like local radio. I think local radio is the best. This is the second time I’ve quoted Nick Wright; Nick was asked about radio and he said local radio is not going anywhere because it’s really the place that you go to figure things out about your squad. It’s a service, it’s part of the community, so I really like the local thing. I just want to continue to get better, branch out, and be as good at this as possible and expand as the business continues to grow.

BN: When it comes to the most fun you’ve had in all your days of doing radio, where were you and what was it about that situation that was so fun?

LL: Man, I feel like I wish I could just point to one thing, but I get such a rush doing shows, even in different roles, that it’s like I can’t even really answer that question. I had a very fun time when I got my first on-air segment; that was with Ben and Skin back in Dallas. They called it the Locker Room. It was so exciting. The first time you get to host that show, that was fun. Cleveland when the Cavs won the championship and I was with Ken and Anthony. When the Astros won the World Series here. Reaction Mondays are just amazing to me because you’re reacting to the game, the fans are feeding off the energy. 

There’s really just not one time that I can point to and say — and I’m not trying to be corny or anything like that — but I just think the full rush of putting together a four-hour show, talking to sports fans which are the most passionate, there’s not really one thing I can point to. I wish I could, but there’s just so many good times. It’s hard to list what the one would be.

BN: I agree with you about local radio, I don’t think it’s going anywhere, but let’s just say it did. Or there are cuts or whatever and you’re no longer in radio. It’s almost like an athlete who says what am I doing now that my career is over? What would you do after your radio career to try to get the same rush?

Mangled communications tower behind TxDOT Abilene being demolished,  replaced | KTXS

LL: Yeah, I don’t know. That’s one of those things where you just have to have the perspective. I have had that disappointment when ESPN 103.3 got bought out and Catlin said “I think you should try to branch out and figure something else out.” I have tasted it before. I don’t know what I would do. I don’t know what I’m really good at. I have no idea what I would do without it. I try not to think about it too much but man, a lot of guys have had to answer that question. I’m just blessed to not have to answer that question right now at the very least. It’s a scary thought to think about not doing this.

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Eavesdropping: Busted Open on SiriusXM

“If Cody would have won at WrestleMania 39 there would have been cheers. But what you got because of Cody’s victory last night was tears.”

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Graphic for Eavesdropping: Busted Open Radio

The day after the Super Bowl, it’s always fun to hear sports radio in the two towns which had teams in the game. In that same vein, I tuned into Busted Open on SiriusXM the day after WrestleMania weekend.

Host Dave LaGreca, who plays the role of the fan on the show, was joined live from WWE World by co-hosts Tommy Dreamer, Mark Henry and Bully Ray. The fan exhibit was not open to the public at the start of the show, but fans entered the picture after the first hour.

The first hour of this particular show went about as fast as a radio show can possibly move. As soon as the show started the hosts immediately got into making fun of Bully Ray, who had been a surprise guest-referee in a match during WrestleMania night two, for how he looked in the referee uniform.

“Allow me to be the very first to admit those stripes don’t look the best on me,” the WWE Hall of Famer replied to the jokes.

Mark Henry jumped in to say, “It was kind of just what WrestleMania needed. To have the ECW influence on the show, great representation for the brand and showing respect to Paul Heyman as well.” Heyman had been inducted into the WWE Hall of Fame during the weekend and was celebrated not only for his WWE contributions but as the creator of ECW, which was based in Philadelphia, where he first worked with Bully Ray who was then known as Bubba Ray Dudley.

“I had people backstage in WWE telling me ‘We have never seen you smile that much in life ever,’ said Bully Ray “…I jumped at the opportunity. Too much fun.  Last night was the first WrestleMania that I got to appreciate…the level of stress that came with [when you are performing in the matches] you’re not able to take it all in…it’s really not fun because it’s so stressful.”

Bully Ray said he could feel the pop as he was introduced and really enjoyed getting to “smell the roses for the first time.”

LaGreca could no longer hold it in. He cut off the talk about his co-host participating in WrestleMania and moved on to the heart of the matter. In the main event the night before, Cody Rhodes had ended the run of Roman Reigns as the Undisputed Universal Champion after more than three and a half years. More importantly to the hosts and fans alike, the story of Cody Rhodes building to this moment was one they all agreed was one of the great moments in WrestleMania history.

Of course, WWE loves surprises and on the second night of this year’s WrestleMania, they had plenty in store. The Rock had already come back to be a part of the WrestleMania 40 storyline and then during the Sunday main event, John Cena and The Undertaker came out as surprises.

Bully Ray gave a great description of what he was doing as the main event was happening. He said he was with Damian Priest, who had earlier in the evening won the WWE World Heavyweight Championship, and while they didn’t plan to watch the main event live, when it started, they thought they needed to see it. “We ran through the halls and go out into the arena,” he said. “Guys, when the gong hit for The Undertaker, the both of us turned into 12-year-olds…we were jumping up and down…lost it, loved it.”

Mark Henry said, “We reacted the same way. I cannot imagine what that must’ve felt like in person.” Bully Ray replied, “When you can hear the pop in a stadium, you know the pop is big.”

LaGreca said, “There wasn’t a lot to get excited about with night number one, but night two was just hit, after hit, after hit. And that main event, with all the stories that played out and had a conclusion during that match…You couldn’t have played that out to a better conclusion than what we saw last night.”

The hosts then listened to an audio clip from the previous year, where the day after WrestleMania some fans, including LaGreca, were extremely disappointed that Cody Rhodes did not beat Roman Reigns and “finish his story” then. At the time, Bully Ray had said there was a bigger picture story WWE would build that would show Cody fighting hard times much like his father, ‘The American Dream’ Dusty Rhodes had gone through. Mark Henry agreed.

LaGreca said he was “eating some crow” but then admitted it’s all part of it where the emotion gets so high, and he pointed out that people were actually crying when the main event ended.  “If Cody would have won at WrestleMania 39 there would have been cheers.  But what you got because of Codys victory last night was tears,” LaGreca said. “This is an end of one story, but more importantly the beginning of a new story.”

LaGreca came back from a break and reverted immediately back to what the difference was in Rhodes winning the title in 2024 versus having done it in 2023. “It went from a great moment…to maybe one of the greatest WrestleMania moments of all time last night,” he said.

There was strong insight given out by all of the former wrestlers at different times during the show, and they also pointed to things a casual fan may not have picked up on. One of those happened when you heard ring announcer Samantha Irvin get genuinely emotional in announcing Rhodes as the new champion.

“We’re not used to hearing emotion in a ring announcer’s voice, so Samantha Irvin brought something special and extra to the table in that announcement,” said Bully Ray.

Tommy Dreamer added, “It was the most perfect imperfection ever and it made that moment even more real…it was something that will be remembered through the annals of time.”

As the hosts continued to talk about the emotion of the night, Henry said, “It felt like WE won.” This gave Bully Ray the chance to sum it all up as he said, “The key word that you just said, WE. Cody made you feel like you were a part of his struggle. You were a part of his story.”

Henry went on to say, “I felt like last night, for the first time, that I could almost cry for Cody. I honestly felt emotional seeing him become the face of this new era, the ‘Triple H’ era….Wrestling is a feel business and if you don’t feel it then it’s not worth really putting on television. I felt that [last night] and I know every fan felt that.”

The hosts continued to give insight as they discussed a gift given to Cody Rhodes by WWE executives backstage and a spot where a table broke before it was supposed to and how smoothly the performers pivoted. Having Henry, Dreamer and Bully Ray on the show allows for a lot of this type of discussion where they can give perspective from having been in the ring.

Later LeGreca is asked if he would rank this WrestleMania up there with WrestleMania 17, widely considered the best of all time. LeGreca said if night number two stood on its own he would say it was better, but perhaps not if you consider both nights. The panel as a whole agreed it was definitely up there as one of the best and Henry noted it will be the highest grossing, so that is one way to judge which was the best.

“There were very few holes in that show,” Dreamer said.

While the first hour was rapid fire and had a ton of great reaction to all of the highlights of the night before, the show took a bit of a turn in the second hour. As the crowd became a part of the show it seemed to change the demeanor of the hosts a bit, especially LaGreca who seemed to be playing to the crowd rather than the listening audience. He yelled out “We did it!” talking about Cody Rhodes winning and then led a “Cody! Cody! Cody!” chant that didn’t go over well to those not on site.

Then there was a very strange guest appearance by WWE superstar Liv Morgan which seemed to bring the show to a halt. Later, Kevin Owens was live on the show and his appearance made a lot more sense as he participated in WrestleMania and had thoughts to share about others who performed and the storylines which were created. Owens helped bring the energy of the show back up and you could tell as a listener how passionate he is about wrestling and what took place during WrestleMania 40.

The programmer in me would remind the hosts not to do the show for their hardcore fans only, as they have to assume people are coming in and out of the show. They had incredible content in the first hour with really strong opinions from their experts, but there was never any resetting or going back to what was talked about, which I thought was a bit of a miss.

With that said, if you are a wrestling fan and you didn’t feed off the energy and excitement the hosts had for what they had witnessed the night before, something is wrong with you. Busted Open Radio was an excellent listen as a follow up to what was a memorable WresleMania weekend.

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Andrew Catalon is Prepared to Meet the Moment

“You get excited like a fan would – you inform – but ultimately the game is the show, and you’re just kind of there to supplement what we’re watching.”

Derek Futterman

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Andrew Catalon
Courtesy: John Paul Filo, CBS

The city of Pittsburgh is known for its propensity to build, serving as the point of widespread adoption of steel-making that revolutionized the construction industry for perpetuity. Situated at the conjunction of the Allegheny, Monongahela and Ohio rivers, the locale is fixed at the pathway of innovation and splendor where what may seem impossible can expeditiously render itself into reality. Even though Andrew Catalon did not forecast it beforehand, he found himself at the intersection of fantasy and reality at PPG Paints Arena during a game within the NCAA Division I Men’s Basketball Tournament. The No. 14 Oakland Golden Grizzlies were closing in on an all-time upset of the No. 3 Kentucky Wildcats, and time was waning on the clock.

Catalon has called many upset victories behind the microphone across a variety of sports since starting his work as a play-by-play announcer. Just one year ago, he delivered an enduring call of No. 16 Fairleigh Dickinson defeating No. 1 Purdue in the first round of the tournament. Fans can purchase T-shirts with Catalon’s verbiage of “FDU Believe It?!,” commemorating what is regarded as one of the greatest upsets in the history of the sport and demonstrating the impact of his words. The key to it all is to remain focused on the action taking place on the court in order to deliver an accurate and apropos soundtrack to the moment.

“I’d say the biggest lesson I’ve learned with some of the upsets over the years is not to get ahead of yourself,” Catalon said. “It’s a long game, and there will be time at the end to explain the significance of it, but before that, you’ve got to call the game and stay within that moment.”

Throughout his broadcast career, Catalon has broadcast 300 college basketball games and usually does not think about hypotheticals; however, the FDU-Purdue matchup happened to represent a rare exception in that paradigm. After all, a FDU victory would represent just the second time in tournament history that a No. 16 seed defeated a No. 1 seed in the bracket. The only other time it had happened was in 2018 when No. 16 UMBC beat No. 1 Virginia, and the moment as delivered by play-by-play announcer Jim Nantz continues to stand the test of time.

“I knew it’d be replayed [and] I wanted to be prepared in that moment, but I also think that being spontaneous and just kind of going with the flow also makes for a good final call,” Catalon said. “Last year I did have that ‘FDU Believe It?!’ kind of in the back of my mind as the game went on, but for Oakland this year, it just kind of came out.”

Once Kentucky guard Antonio Reeves clanked a desperation three-point attempt long off the rim, Catalon exclaimed that Oakland had completed “a March memory of a lifetime.” From there, he let the crowd and marching band tell the story accompanied by a dichotomy of jubilation and despair. Part of what makes that possible is the understanding from color commentator Steve Lappas of how to approach the moment, something that has been built through the countless repetitions he and Catalon have had broadcasting games together. In fact, Catalon estimates he can count the number of college basketball games he has announced without Lappas on his hands.

“I know what he wants to say or when he wants to get in, and he knows when I want to get in and what I want to say, and that just makes it so much better,” Catalon said. “So look, there’s nothing better than having a consistent partner, and I credit CBS for that; they have kept us together.”

Reaching these types of moments requires comprehensive preparation, research and informed observation to understand the teams and accurately report and expound on the surrounding storylines. For a typical March Madness game, Catalon watches the previous matchups for the teams he has coming up on his schedule and reviews his boards from years prior.

“I don’t want to be the guy that just parachutes in having never seen a team before, and I think fans can detect that, so my prep is always to get up to speed so that a viewer of a team doesn’t think that, ‘This guy hasn’t watched us play,’ or, ‘This guy doesn’t know what we’re all about.’ That would be a huge disservice to the viewer and to the fan, and that’s always what I try to accomplish in my prep.”

Catalon has sought to prove that he can come through in the clutch during his time working in sports media, bringing a consistent approach to his craft no matter if it is among the strident crowd at a college basketball arena or the subdued greens of Augusta National. Over the course of the week, he has been on-site to call the 88th edition of The Masters golf tournament from Augusta, Ga., a revered tradition that takes place annually with its coveted green jacket and several other lucrative prizes hanging in the balance. With the inherent spirit of congenial competition subdued yet effervescent, storytelling takes center stage with a keen foresight and cognizance of the moment.

“There’s a lot more teamwork involved,” Catalon said. “You think about a broadcast – we have 7-8 announcers as opposed to two or three for a football or basketball game – and that’s another big part of camaraderie and partnership is spending time with that golf crew so that when I pinch hit for Jim Nantz, it’s seamless. I don’t want them to think that, ‘Okay, we’re in a different broadcast because Jim’s not here.’”

Nantz has been hosting coverage of The Masters since 1989 and has become synonymous with the tournament itself, authoring its slogan, “A tradition unlike any other.” Catalon understands the responsibility he incurs when taking the air from Augusta and is living out a longtime career aspiration of calling golf. Leading up to a pivotal shot or tournament-winning putt, he works to effectively contextualize the situation and let it play out in the environment.

“No one can fill Jim’s shoes and I’m not trying to,” Catalon said, “but I want to make sure that that team knows that I’m doing my homework and that they can count on me to deliver in the big moment.”

From the time he was an undergraduate student at Syracuse University, Catalon knew that he had a penchant for sports media and began gaining repetitions at WAER, the student-run radio station. Calling football, basketball and lacrosse games, he developed professional friendships and gained a broader understanding of the industry itself. Being situated in the broadcast booth, he developed ideas of how to approach a game and an ability to translate the feats of athleticism and achievement into succinct, nuanced phraseology.

“There’s no doubt that all the reps that I got in college at WAER have certainly helped me not only get a job, but also for a lot of the stuff that I do now,” Catalon said. “I still make my boards the same exact way I did in college. I handwrite everything with different colored markers and pens, and I just retain the information better.”

Before Catalon was calling sporting events though, he had not settled on play-by-play announcing as his primary career path. Instead, he applied to work at WVNY, a local news television station in Burlington, Vt. and was later hired over the phone as its sports director. As a result, Catalon moved to the city without ever seeing the station and remembers immediately being part of the regular workflow.

“It was a whole new world of learning how to run a department and kind of how to be mature,” Catalon said. “When you’re that young, you learn a lot of lessons, and it was an unbelievable experience. I couldn’t have asked for a better first job out of college.”

Three years later, WVNY announced that it was closing its news department and was consequently laying off several of its employees. Catalon was among the job cuts, a devastating outcome that prepared him to move back home. Yet he received assistance from his colleagues, specifically WVNY news director Peter Speciale, and helped him land a new job as a weekend anchor on WNYT in Albany, N.Y. two months later. While he was in the capital city of New York, the outlet allowed him to seize other industry opportunities to augment his versatility, including freelance play-by-play announcing for SportsNet New York (SNY) and CBS Sports Network.

“They were incredible to allow me to do all these opportunities,” Catalon said. “Very rarely did I have to say ‘No.’ They were very accommodating with my schedule, and I owe them a huge debt of gratitude because they allowed me to do all those things while I was still a full-time employee.”

Carr-Hughes Productions in Saratoga Springs, N.Y. gave Catalon the chance to voice over a curling show in their studios, and he eventually expanded his portfolio to include luge and equestrian. In 2007, NBC was looking for new curling announcers, leading Catalon to be recommended and calling a curling exhibition in Rockefeller Center. The next year, he contributed to Olympics coverage for the first time, calling handball games remotely from the network’s New York studios.

When the games were in Vancouver, B.C. in 2010, Catalon traveled to the city to call curling matches. It was there where he met award-winning sports anchor Fred Roggin, who was hosting coverage of the sport for NBC. During a dinner they had over the three weeks they were working together, Roggin shared an observation he had made about Catalon with him that fundamentally altered the trajectory of his career.

“He’s like, ‘Hey, I know you love doing the local news,’ and that’s what he did; he said, ‘but I really think that you’ve got what it takes to be a play-by-play guy, and I think that you should focus on that,’” Catalon remembered Roggin telling him. “Hearing that from him – who had been in the business for so long and who was doing what I wanted to do – I really valued his opinion, and I would say after that Olympics, I really turned my attention to focus on play-by-play.”

Catalon officially joined CBS Sports full time as a play-by-play announcer in 2013, but he had been steadily assimilated into the role with several opportunities years earlier. The first National Football League game he broadcast came in 2011 in an AFC matchup between the Buffalo Bills and Cincinnati Bengals when he was asked to fill in for Bill Macatee. As has turned out to be happenstance for Catalon, the game ended in the final seconds when Bengals kicker Mike Nugent struck a 43-yard field goal for the win.

“When you’re in a close game and there’s strategy talk and you have those opportunities, you’ve got to step up and nail it,” Catalon said. “I think that I showed them in that game that I could handle a close game, NFL big stage. And after that, more and more opportunities came, but every one I treated like it was my last, and I knew that I had to do a good job to prove it to them that I could do this on a full-time basis.”

As the years went on, Catalon continued to garner more opportunities and worked to further refine his commentary to appeal to a national audience. While there are differences in the profile of a football game and golf tournament, he understands that it is his job to accentuate and describe the moments over the course of action. Through it all, he seeks to be relatable, informative and entertaining to his audience in disseminating an accurate account to pair with the video.

“I try to be the guy that you’d want to have a beer with if you’re at a restaurant watching the game,” Catalon said. “You want to come across where you’re not overbearing. You get excited like a fan would – you inform – but ultimately the game is the show, and you’re just kind of there to supplement what we’re watching.”

Catalon had been working with James Lofton on NFL games for several seasons, but CBS Sports revealed various changes across its announcing teams ahead of the 2023 regular season. As the play-by-play announcer on a new broadcast team featuring two analysts – former running back and WFAN afternoon host Tiki Barber; and former quarterback Matt Ryan – and reporter AJ Ross, Catalon spent time familiarizing himself with his new colleagues and building rapport applicable to the broadcast. Weekly dinners and several rounds of golf was part of this assimilation process and led to an enjoyable season with the broadcast team.

“I think because of that, we bonded as a group a lot faster than maybe I have with other partners in the past just because we had no choice but to kind of get up to speed quickly,” Catalon said. “Matt did a tremendous job in his first year, and Tiki is phenomenal as well and AJ is one of the best out there, so I feel lucky that I was with this group, and it was definitely one of the more fun seasons I’ve had on CBS.”

In calling three different sports throughout the year that require different preparation and travel, Catalon frequently has a packed schedule. With this heavy workload, he has a vocal coach to ensure he is doing what is necessary to keep his voice strong. Catalon is proactive to safeguard against losing his voice, something that can occur more readily during March Madness because of the volume of games he is calling in short proximity.

There are occurrences where it takes some time for his voice to bounce back, and he remains prudent, so he is able to perform his job. Aside from his role to the fans, Catalon is working hard for his family and wants to make them proud.

“It’s not easy for any announcer who travels like we do to be away from their family and to miss weddings or kids’ soccer games,” Catalon said. “You have to understand when you get into this business that there’s a lot of things that you’re going to miss, and you have to have an understanding family along the way, and I’m lucky that I have one.”

Although there is no guarantee Catalon will be present for another stunning upset or overtime winner, he looks at his assignments and breadth of work with gratitude and awareness of his career windfalls. If such instances do happen in the forthcoming assignments though, viewers can rest assured that they are hearing a veteran who knows how to punctuate the climax and conclude the story unfolding in real time.

Even though he is not the author of the event itself, he is among its documentarians who writes the manuscript within a library that aims to stand the test of time. The final buzzer represents a deadline of sorts as he crafts the parlance in real time, embedded with the vernacular of the moment. 

“NFL, college basketball and golf – three of my favorite things – and CBS has all three,” Catalon said. “So I’m so lucky in this job, and I can’t tell you that there’s something I haven’t done that I want to do. I just want to keep doing what I’m doing now.”

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The ’70-20-10 Rule’ for Advertising Budgets

No one wants to be the business that holds onto the past and gradually declines.

Jeff Caves

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Graphic for 70-20-10 Rule
Credit: PennyCallingPenny.com

The ’70-20-10 rule’ is a widely accepted concept in business. Google, Coca-Cola, and other big brands manage their resources in a specific ratio to stay cutting-edge and grow. The idea is that 70% of a company’s investment should go to the core business, 20% to new developments, and 10% to new and untested ideas. If you are trying to maximize your ad budget and don’t know how to fit in all the opportunities, try this method. Here is a look at an annual advertising budget of $120,000. The clients’ best months of the year are November and December. Here is how the 70-20-10 rule could be applied to maximize returns while minimizing risks.

70%: Proven Strategies – $84K

The foundation of your advertising budget should be built on proven strategies that consistently deliver results. Allocate 70% of your budget to these safe bets. These are proven campaigns that you know will work from history or borrowing tactics from industry-trusted sources. In general, these are ad campaigns on proven platforms, such as radio, TV, Google and Facebook. Advertisers should use these tactics 12 months a year to provide a consistent return. This will establish a solid foundation for your advertising strategy while minimizing risk. Spend $7,000 each month on proven winners.

20%: Competitor Tactics – $24K

To unlock higher returns and explore new opportunities, allocate 20% of your budget to advertising initiatives that you have never tried before, but maybe your competitors are using successfully. These activities could include OTT commercials, TikTok or email marketing. You could handle these chores yourself or ask a trusted media partner, like your TV or radio rep, to assist you with their locally based digital department. It is sometimes easier to rely on trusted partners when exploring new spending in areas you are unfamiliar with. Since the best time of year for this business is November and December, this $24,000 should be spent in these two months to maximize results. Attacking the busiest time of the year with an extra $24,000 in advertising can yield the best outcome. Testing new initiatives when business is slow is like trying to sell parkas in July. Good luck. 

10%: Out-of-the-Box Ideas – $12K

Trying new concepts is critical to long-term success in advertising. Allocating 10% of your budget to experimental tactics that encourage outside-the-box thinking may lead to results you can’t quickly gauge or have a long-term benefit. Support a local cause or sports team. Generate buzz by handing out mini fans at the local summer fair. Put your ads on car dashboard monitors with QUU from your local radio rep. Spend the money wherever it makes sense for the tactic you are buying; fall, summer, or morning and afternoon drive times. Go with the flow and see if it pays back. These tactics can set you apart from your competition and endear you to audiences. Here is the latest on QUU.

Read and React

Try adapting the ’70-20-10 rule’ to your specific business and goals. Regularly evaluate the performance of your advertising efforts, measure ROI, and be open to adjusting your allocations based on sales AND metrics. Every business wants to be an early adopter of money-making new ideas. No one wants to be the business that holds onto the past and gradually declines. The road is littered with brands that didn’t evolve: Blackberry, Blockbuster, MySpace, etc. Mix up your ad spend with the proven, borrowed, and new to achieve sustainable growth in the long run.

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