Milestone moments in Major League Baseball don’t happen every day. The lead up to such an occasion is usually stressful. There is a nervousness in the organization, the fan base, of course the player is feeling it and so are those getting set to call the big event. There is a tremendous amount of pressure on the team broadcasters because, these moments live forever. This call will be a part of history, just as the accomplishment by the player will be.
I started thinking about these incredible moments, when hearing that John Sterling would return to the booth for Yankees road games. The long-time voice of the New York Yankees said he was cancelling some scheduled days off, so as not to miss Aaron Judge’s pursuit of Roger Maris’ team record for home runs in a season. Judge is also flirting with a chance at the Triple Crown. I can’t say that I blame Sterling. Seems like he should be there and now he will to witness some possible history.
There have been many huge moments in the game in my lifetime, that have also been etched in my mind thanks to the call of the broadcaster. I’m going to focus on a few of them here. Each broadcaster had a story about the lead up to the moment and some shared advice for future play-by-play announcers, who may find themselves in a similar situation.
HANK AARON 715
There are two calls of Hank Aaron’s memorable home run in 1974 that are the ones best associated with the moment. Milo Hamilton’s exclamation of “There’s a new home run champion of all time, and it’s Henry Aaron.”, resonates with many, as Aaron passed Babe Ruth that night on baseball’s all-time home run list. Hamilton’s call nailed the action as it was happening in his own style.
The other call people think of, was the one by Vin Scully, who was the Dodgers announcer when Al Dowling delivered the pitch that Aaron hit over the left field wall. Scully’s style was more eloquence than fluff. He would take the historic action on the field and make it hit home to baseball fans and non-fans alike. He put things into perspective, gave them context beyond the field.
“There’s a high drive into deep left-center field, Buckner goes back… it is gone!” Scully said. He then said nothing for about 25 seconds, as Aaron rounded the bases and joined his teammates at home plate. Scully felt that hearing the crowd cheering and fireworks going off told the story better than he could. When he broke his silence, he put the moment into the proper context of the times.
“What a marvelous moment for baseball. What a marvelous moment for Atlanta and the state of Georgia. What a marvelous moment for the country and the world.” he said.
“A black man is getting a standing ovation in the Deep South for breaking a record of an all-time baseball idol. And it is a great moment for all of us, and particularly for Henry Aaron, who was met at home plate, not only by every member of the Braves, but by his father and mother.”
Scully says he never had anything scripted for that epic home run call. “I never do that,” Scully said during an interview in 2014 on WFAN in New York. “I really concentrate on the moment… I’m afraid that if I tried to prepare, I’d be so eager to get my marvelous words out onto the air [that] I might do it prematurely and be wrong.”
With that frame of mind, there was really not a lot of pressure on the great and iconic announcer. He just let his instincts take over.
MARK McGWIRE 62
The Summer of 1998 was one of home runs. Mark McGwire and Sammy Sosa were battling it out to see who would break Roger Maris’ single-season home run record. Each would pass the mark, but it was McGwire that got there first.
Joe Buck, was the young lead play-by-play announcer on Fox’s baseball coverage. The network was set to cover the game between the Cardinals and Cubs on September 8, 1998. McGwire had already tied Maris and was looking for the record.
Buck was asked repeatedly, for months about what he would say if he was fortunate enough to be behind the mic for the record breaker.
“I had come up with, ‘There it goes. Here it is. A new single-season home run champion with 62. Mark McGwire as he floats around the bases and into the history books.’ I even had it written on my score sheet to make sure I wouldn’t mess it up,” said Buck after that Tuesday night game.
The best laid plans theory took over, because the 62nd home run was not a majestic, ‘no-doubter’ like many expected it to be. It barely cleared the left field wall at Busch Stadium and barely stayed fair. That’s a tough home run call any day of the week, but it was so magnified that night. Even Buck, who was only 29 at the time, adapted to the situation and scrapped the script.
“Down the left-field line, is it enough? Gone! There it is, 62. Touch first, Mark, you are the new single-season home run king.” Buck then laid out to let the pictures tell the story his words couldn’t.
“That home run shot was the old script-buster. Any long, drawn-out call that you had drummed up someday away from the ballpark, you could forget it,” said Buck. “That’s one of those you watch. You keep your head up, and you hope you got it right.” He did.
The 2007 baseball season had its share of moments, but maybe none bigger than one swing of Barry Bonds’ bat. Put aside whatever feelings you may have about the legitimacy of the record, instead put yourself in the position of Jon Miller who had the opportunity to call one of the biggest moments in baseball history.
He was asked about what he might say when Bonds hits No. 756?
“That’s about the 1,000th time I’ve been asked that question,” he said to the LA Times. “It all depends on the circumstances — where he hits hit, the crowd reaction. A lot of things will come into play.” Miller said at the time.
Here’s the call: “Bonds one home run away from history. And he swings! And there’s a long one, deep into the right-center field, way back there. It’s gone! A home run, into the center-field bleachers, to the left of the 421-foot marker. An extraordinary shot to the deepest part of the yard. And Barry Bonds, with 756 home runs, he has hit more home runs than anyone who has ever played the game.”
The unrehearsed call worked for him. Television voice Duane Kuiper only prepared for one aspect of the milestone home run.
“I write the number of the home run in big letters on either a piece of paper or on the counter,” he told The Oklahoman. “I always felt like the only thing you can really do to look bad is get the number wrong. If you get the number right, at least you’re off to a good start. If you get the number wrong, you can’t put that bullet back in the gun.”
PETE ROSE 4192
September 11, 1985. That was the night that Pete Rose became baseball’s all-time hits leader. He broke Ty Cobb’s 57-year-old record at Cincinnati’s Riverfront Stadium. On the call, Marty Brennaman, the long-time voice of Reds’ baseball and his partner Joe Nuxhall.
Marty: He levels the bat a couple of times. Show kicks and he fires. Rose swings…
Joe: There it is! There it is! Get down. Get down. Alright!
Marty: And there it is. Hit number 4192. A line drive single into left-center field. A clean base hit. And it is pandemonium here at Riverfront Stadium. The fireworks exploding overhead. The Cincinnati dugout has emptied. The applause continues unabated. Rose completely encircled by his teammates at first base. Bobby Brown of the San Diego Padres coming all the way from the third base dugout to personally congratulate Pete Rose. And the kind of outpouring of adulation that I don’t think you’ll ever see an athlete get any more of.
Brennaman told the Athletic in 2018 how he got ready for that call. Again,there was no scripting involved.
“I know guys that try to plan what they are going to say and make it clever and memorable,” Brennaman said. “I was never that good. I could never plan something like that and make it sound anything other than contrived.” Brennaman added, “We knew it was going to happen. It was just a question of when. I never gave it any thought as to what I was going to say when it happened. The only thing you hope for is that whatever you say captures the moment and you don’t stumble over your words because you know you’re going to hear it ad nauseam for the rest of your life.”
The vocabulary alone in the call made it memorable for sure.
CUBS WIN WORLD SERIES
This one was bound to happen, eventually, right? As former Cubs’ broadcaster Jack Brickhouse once famously said, “any team can have a bad century.” That was the Cubs, suffering from 108-years of championship drought. But things would change in early November 2016 in Cleveland. The Cubs and Indians (now Guardians) were going to a Game 7 to decide it all. Think about the enormity of the final call of this game. For Cleveland it would also end a drought, not quite as long as the Cubs’, but still in the several decades range, 68 years to be exact.
Pat Hughes is the longtime Cubs play-by-play announcer. He told Sports Illustrated on the precipice of the series, how he would handle a final call with the Cubs winning it all.
“Here are two different conclusions to a ballgame: One has the Cubs leading 11–0 and they win the game, the other has Kris Bryant belting a game-winning three-run home run for the victory,” Hughes said. “Those are two completely different feelings and our call will be dictated by how the game finishes. You don’t want to plan out something because it may not feel the actual feeling of the moment. You always have a few thoughts that go through your mind, and if the Cubs win the World Series, I will say something about them being the World Champions. But you don’t want to script it out word for word.”
Here’s how it turned out. “A little bouncer slowly toward Bryant. He will glove it and throw to Rizzo. It’s in time. And the Chicago Cubs win the World Series! The Cubs come pouring out of the dugout, jumping up and down like a bunch of delirious 10-year-olds. The Cubs have done it! The longest drought in the history of American sports is over, and the celebration begins.”
All the elements are there. The energy, the realization that the Cubs actually won a championship can be felt. One for the ages.
Andy Masur is a columnist for BSM and works for WGN Radio as an anchor and play-by-play announcer. He also teaches broadcasting at the Illinois Media School. During his career he has called games for the Chicago Cubs, San Diego Padres and Chicago White Sox. He can be found on Twitter @Andy_Masur1 or you can reach him by email at [email protected].
Meet the Podcasters: Mina Kimes, ESPN
“I think fans are smarter than ever now. Because football is such a big tent, you can find pockets of the audience with every level of knowledge and preference for analysis.”
As 2023 inches towards the finish line, so too does our Meet the Podcasters series. We have spoken with people that found success in the space after so many different journeys. Greg McElroy and Chris Jericho were championship-winning athletes. Mike Francesa and Adam the Bull dominated local radio. Bomani Jones made his name in the digital space. We end on a bonafide sports television superstar in Mina Kimes.
If you don’t believe that, just look at the deal she signed earlier this year. She gets to stay at ESPN and carve out time to work with Meadowlark Media. Those aren’t concessions given to someone their network thinks is easy to replace.
It can be tough to find time to chat as the holidays approach, so the conversation was short, but it covered a lot of ground. Why have analytics caught on with fans? Is it more fun to dissect success or to re-think failure? How do you watch a game when you have to not only understand what is happening, but figure out the best way to turn that explanation into analysis?
Obviously, I want to thank Mina and everyone else that made time to chat with me for this series. A big thank you goes to Point-to-Point Marketing as well for making these features possible. Last, but certainly not least, thanks to all of you that took the time to read even just one of these. I hope you learned a little something that you can take with you into 2024 to make your digital content more successful!
Demetri Ravanos: There is a big audience for what you do best and I sometimes wonder how much that surprises those of us that grew up in the media. Do you think the appetite for analytics and in-depth analysis is relatively new, or was the appetite always there without the right platform before the rise of digital media?
Mina Kimes: I think fans are smarter than ever now. Because football is such a big tent, you can find pockets of the audience with every level of knowledge and preference for analysis, but on the whole it really does seem to me that viewers and listeners are better informed than ever, which I’d attribute to the rise of fantasy football and the proliferation of websites and podcasts that talk about film, cap management, analytics, etc.
We see this trend playing out at NFL Live, where our nerdiest segments often capture a good deal of interest.
DR: What for you is more interesting – explaining why things aren’t as bleak as the performance may suggest (i.e., Bryce Young not having time or protection to really see what he is as a QB) or highlighting what makes the greats so great (Mahomes’ best throws, how Micah Parsons sheds blocks, etc.)?
MK: I love digging into great performances, but the first category is really compelling to me because it forces us to look beyond basic numbers and highlights (or lowlights!). That’s where I think the intersection of film and statistics is so useful – it allows us to dig deeper into tendencies and trends to explain why things are happening.
DR: When you are doing your weekend previews, what information do you prioritize? Is it storylines or is there a number or category that you try to make a staple of your analysis for everything?
MK: Once I’ve settled on which games I want to discuss, there are two things I try to zero in on: The strengths and weaknesses of each team, and how they match up.
I also make note of things I’ve observed recently (for example, if a team is leaning on a certain personnel group or formation) and then consider how it might impact the game.
DR: What about in setting those topics and discussions up? How do you watch and re-watch games, plays and moments to best understand what it is you are seeing and find the point you want to bring to the audience?
MK: When I’m watching the weekend’s games on Sunday, Monday, and Tuesday, I’m looking for interesting (good or bad!) plays, tendencies, and trends. For example, if I notice a QB is having success targeting a specific area of the field, I’ll make note of a few plays, grab the numbers later, and then, when I’m podcasting, consider how that might play out next week.
DR: One of the big differences between podcasts and legacy media is that people listening to podcasts are actively choosing you and the topic you are talking about. Does that change the way you can discuss a game or a player versus on TV?
MK: I’d say the biggest difference isn’t topic selection, but time. On TV we only have a segment or less to hit on a matchup, whereas on my podcast, I’m often talking about the same games and players, but I have 15 minutes instead of five (and I’m one of two people chatting instead of four or five).
I will add that the topic selection process at NFL Live is very collaborative, though. We know which games we need to focus on, but the way we approach discussion is driven by our interests and observations.
DR: I am always interested in the different views on this. Podcast listeners overwhelmingly say they like video now. Is that a preference you understand or does it not make sense to you?
MK: It makes sense! Because the production quality has improved so much (the kind folks at Omaha Productions have been working with me to improve the look of my show for YouTube), many podcasts really don’t look very different from sports television.
If you’re already a listener, why wouldn’t you want to watch as well, especially since you have a convenient viewing device in your hand all day? I do think there will always be people who just listen, though, because their free time for consumption is relegated to commuting (or in my case, walking a dog!).
To learn more about Point-To-Point Marketing’s Podcast and Broadcast Audience Development Marketing strategies, contact Tim Bronsil at [email protected] or 513-702-5072.
Demetri Ravanos is the Assistant Content Director for Barrett Sports Media. He hosts the Chewing Clock and Media Noise podcasts. He occasionally fills in on stations across the Carolinas. Previous stops include WAVH and WZEW in Mobile, AL, WBPT in Birmingham, AL and WBBB, WPTK and WDNC in Raleigh, NC. You can find him on Twitter @DemetriRavanos and reach him by email at [email protected].
Michelle Smallmon Didn’t Stumble Into Mornings on ESPN Radio
“The humanity and the relatability is what’s going to really bring people in.”
It all started with an accident. While vacuuming her apartment just two days before the first episode of her new national ESPN Radio program, Michelle Smallmon tripped over an air purifier cord. As a result of the maladroit blunder, she fell face first into her coffee table and hit the inside of her eye on a drinking glass.
When Smallmon looked into the mirror, she immediately saw that her eye was bleeding and swelling up and was in a state of disbelief, although she was not surprised that this happened to her because of her inherent clumsiness. The black eye that came out of all of this turned out to be an advantageous opportunity for the program, which opened its first hour on the air with this circumstance.
Smallmon works alongside Evan Cohen and Chris Canty weekday mornings on UnSportsmanLike, the new ESPN Radio morning show that leads off a refreshed national programming lineup. Since the program is also simulcast on ESPN2, there are cameras on inside the radio studio at the Seaport District-based radio studio, granting viewers of the premiere episode an opportunity to see Smallmon’s black eye for themselves. The incident, however, provided a means for the new hosting trio to introduce themselves and showcase their personalities in an atypical fashion by recalling a calamitous occurrence from the onset.
“We have to be ourselves,” Smallmon said. “People are coming for the sports, and hopefully with our opinions and our information and the knowledge that we provide, they’ll stick around, but they’re going to remember us for who we are. The humanity and the relatability is what’s going to really bring people in.”
Once the hosts of UnSportsmanLike were finalized, Smallmon met with Canty and Cohen to determine their collective philosophy for the program. At the crux of their conversation was how sports is supposed to be an enjoyable part of people’s days, making it important to be genuine with the audience and celebrate the festivities.
“I just think that audio provides a really great way for people to weave us throughout their day and it’s something that they can come back to, and I just feel like the audio space continues to grow,” Smallmon said. “So that is really exciting to me that there are so many different avenues for us to explore in the audio space.”
Smallmon and her colleagues understand that their program that was once anchored by Mike Golic and Mike Greenberg in the mornings for 18 years, who created a show that proved to be an enduring facet to sports radio as a whole. Today, UnSportsmanLike is competing for mindshare and attention span in a dynamic media ecosystem where people can consume various types of content by equipping myriad methodologies. The mission to serve the sports fan anytime, anywhere requires the hosts engage in deft preparation and fealty towards the audio vertical, never taking their positions for granted and understanding the privilege in being able to communicate en masse on the air.
“Any time anybody elects to listen to you, they are giving you a vote,” Smallmon said. “They’re choosing you [and] they are saying, ‘I want to spend a part of my precious time with you,’ and particularly in the mornings because we’re the first people that get the opportunity to talk about the games from the night before or to give our opinion on certain things.”
While Smallmon may have stumbled into an enthralling storyline to open the program and captivate the audience, she did just the opposite in landing a spot within the coveted morning drive daypart. Through years of indefatigable persistence and calculated risk-taking, she positioned herself to garner such a chance when the network was in the midst of developing a new lineup.
Despite having a successful morning show in St. Louis, Mo. on 101 ESPN that was finishing with high ratings and bolstering streams of revenue, Smallmon found herself yearning to live in a sprawling metropolis. Because of this, she started visiting her friends in New York City once per month and gradually became enamored with the locale, prompting her to meet with co-host Randy Karraker, program director Tommy Mattern and Hubbard Radio market manager John Kijowski to express her intent to leave the station.
“They have always been my biggest champions [and] they encouraged me every step of the way,” Smallmon said. “They were like, ‘This is going to be a tough transition for us because the show’s going so well, but we care about you as a person more than we do an employee, and if this is your dream and something you think you have to do, we’ve got your back.’ I will always and forever be indebted to them for not only finding a way to help me do that, but for supporting me and checking in with me every step of the way.”
When she was young, Smallmon frequently traveled to St. Louis with her father to attend sporting events, cherishing every chance she could to see a live game. Throughout her childhood, she watched football on television and remembers seeing sideline reporter Melissa Stark interview the players, prompting her to think about working in sports. Quotidian tasks were transformed into beacons of flourishing sports knowledge, catalyzed by her father’s creativity with abecedarian activities such as sorting and folding laundry.
Yet Smallmon concentrated in premedical studies at the University of Illinois, matriculating to try and become a dermatologist. Early on, she realized that she was not dedicated enough to pursue a profession in the field, resulting in a meeting with her advisor about her future plans. Upon being asked her ideal career path, Smallmon demonstrated interest in covering the basketball team with the goal of appearing on College GameDay as a features reporter in the future.
Amid an economic crash, Smallmon was able to land a job as a production assistant at KSDK, a local television station with which she had interned as a college student. Smallmon worked on the outlet’s morning show, Today in St. Louis, arriving at the studios around 3:30 a.m. every day to prepare and execute the broadcast.
Although her shift ended at 2 p.m., she would put in extra effort to stay later and interact with sportscaster Frank Cusamano and sports director Rene Knott, volunteering her time and trying to be productive. In displaying her aspiration to work in sports, she was eventually offered a position in the department, which first started with shooting and editing high school events.
“Most of the work that was done in sports was leading up to the 5 and 6 o’clock newscast until they took a big break before 10 p.m.,” Smallmon said. “I would use that time to just absorb as much as I could, watch the guys at work and try to make myself useful.”
Drawing inspiration from the aforementioned Stark, Smallmon had seen various women working and thriving in sports television; however, this was not the case in the sports radio format. Despite being familiar with the medium, she had never considered going on the air until Knott asked her to be a co-host of his new weekend show on 101 ESPN.
After some time, she received a note from an executive inquiring if she would be interested in applying for an open producer position available at the outlet. Even though she applied thinking she would not receive the job – a thought compounded when she discovered the producer role was for the program hosted by Bernie Miklasz – Smallmon made it to the final round of interviews. Speaking with Miklasz directly, he articulated that while he thought she was a good fit for the role, the other candidate had more qualifications and previous experience.
“I looked at him and I said, ‘Well, if that person is as great as you say that they are and have this much experience, they will have no problem finding another job when you hire me to be your producer,’” Smallmon averred. “I left there and I was like, ‘Man, I blew that.’”
Much to her surprise, Smallmon was hired and ended up working with Miklasz in the role for three years. In speaking with him and observing how he interacted with other people, she learned industry nuances and esoterica that made her even more adept at the role. Smallmon was eventually moved to The Fast Lane in the afternoons with Randy Karraker, D’Marco Farr and Brad Thompson, possessing a mentality of how to best position the show for sustained growth and success.
Smallmon took her skills to ESPN Radio in 2015 when she moved to Bristol, Conn. to work as a producer. The first stint with the network prepared her to excel on UnSportsmanLike, collaborating with hosts such as Ryen Russillo, Danny Kannel and Jorge Sedano, but she always felt a magnetic pull back towards St. Louis. Once Russillo was officially slated to leave ESPN, Smallmon was in talks with the company about different paths she could take and weighing her options. In the eleventh hour, Smallmon received a fortuitous call from Miklasz, who conveyed that he was thinking about changing up his show and wanted to know if she had any interest in co-hosting the program.
“It just felt like all of the cards were falling into place at the right time for me to make that move, and I’m a person that likes to take chances and challenge myself, and I don’t ever want to live with regrets,” Smallmon said. “I thought, ‘Maybe hosting and being on the air is not going to be for me; maybe it’s always going to be production, but I’d like to know.’”
Once she returned, Miklasz offered to change the name of the program to incorporate Smallmon, an entreaty that she declined because of fear that it would disrupt what was a known entity to listeners in the locale. Upon his exit from the station two years later, Smallmon started hosting with Randy Karraker, who implored her to add her name. Even though she never sought out to find the spotlight, she capitulated to the request once her co-host explained why it was important as not only an identifying factor, but also as the first female to be a full-time host on the station.
“I would hear from so many female sports fans across the area and parents whose daughters listened to the show and whose daughters paid attention to the show because someone who looked like them occupied that seat,” Smallmon said. “I really realized how important it was for me to establish myself in that way.”
As Smallmon made the move from St. Louis to New York City, her parents surmised she was recklessly upending her life. Subletting an apartment from a mutual friend in the city, she was working under a usages deal at ESPN Radio where she would deliver overnight updates and host SportsCenter All Night. Smallmon was grateful for the support of her parents and asked them to give her a year, during which she would work hard to land a full-time job in the city. Three hundred and sixty-six days later, Smallmon took to the air with a black eye to commence UnSportsmanLike, officially meeting her end of the bargain.
“It’s hard to explain to people how strange our job is,” Smallmon said. “The three of us sit in a windowless room and talk to one another for four-plus hours a day, so just by nature of spending that much intimate time with someone, you get to know them really well really fast.”
The workday for the morning episode begins the day prior several hours after the conclusion of the previous broadcast, independently reading articles, following sports news and reviewing games. In the preceding afternoon, the program holds a content call where everyone pitches ideas before an early rundown is sent out and added to throughout the day.
While the game of the night is on, Smallmon is in constant communication with her thoughts before getting sleep and preparing for an early wake-up call. There is a pre-show meeting to review the rundown before the four-hour morning show begins at 6 a.m. As soon as the on-air light is extinguished, the process starts again so the hosts are ready for it to illuminate again in 20 hours.
“It’s really a full-time commitment, especially during football season, to do a job like this,” Smallmon said, “but when you’re lucky enough to get the opportunity to host a show of this magnitude, you’ve kind of got to make it your life in a lot of ways.”
When she takes her seat behind the microphone in the morning, Smallmon believes that two of the most talented people she has ever worked with are sitting by her side. In her view, she needs to be at the same level as them on the program and effectuates that through her preparation and by bringing different perspectives to the air.
“I have zigged and zagged and occupied different roles throughout my time,” Smallmon said. “It’s really just been surprising opportunities that I have emerged and that I’ve really been grateful to have and that I want to take advantage of, but I don’t really think about the future and my motivation is not really driven by what’s next; it’s driven by the present.
For now, Smallmon is focused on attaining success in New York City and hopes to participate in the program for as long as possible. Down the road though, she knows that her career will entail a second return to St. Louis when she wants to be back in the community she loves and closer to her family. The gratitude she has in being able to regard the city as home is conspicuous and authentic, and those in the locale continue to listen to her on 101 ESPN for two hours each morning ahead of the station’s local morning program.
“My only goal right now is to make UnSportsmanLike the best show that it possibly can be, and if that is the case, hopefully we have an amazing run with the show,” Smallmon said. “That’s the goal is to make it as amazing as it possibly can be and ride that wave for as long as we possibly can.”
Smallmon never envisioned herself working in radio but now finds herself as a trusted voice in the mornings on a simulcast program within the network’s on-air lineup. Through it all, she has remained true to herself while exhibiting an evident commitment and passion for the craft, valuing every chance she has to go on the air.
“People will always say things to me like, ‘Oh, are you going to be the next Erin Andrews?,’ or things of that nature,” Smallmon explained. “And I say, ‘No, I’m going to be the first and only Michelle Smallmon,’ because the edge that I have over everybody else is that I’m me. There’s nobody else that’s me, and so if I can just be myself and be authentic every day and do that, anybody else can.”
Derek Futterman is a contributing editor and sports media reporter for Barrett Sports Media. Additionally, he has worked in a broad array of roles in multimedia production – including on live game broadcasts and audiovisual platforms – and in digital content development and management. He previously interned for Paramount within Showtime Networks, wrote for the Long Island Herald and served as lead sports producer at NY2C. To get in touch, find him on Twitter @derekfutterman.
Desmond Howard Unnecessarily Threw Pete Thamel Under the Bus on College GameDay
College football fans can be a crazy bunch, most of them are crazy in the sense they are doing stupid things that give you a good laugh but, every fan base has a lunatic fringe. Each fan base is more than willing to point out the lunatic fringe in the fanbase of their rivals but often are slow to acknowledge their own offenders. That doesn’t mean they don’t exist in any program that has any significant fanbase. The lunatic fringe affected College GameDay Saturday, and Desmond Howard didn’t help the situation.
As a fan, you can accept it as true or bury your head and assume you are the one singular program that has somehow avoided having a fringe lunacy.
Michigan is certainly a significant football program with a massive fanbase. Just the sheer number of Michigan fans tells you there is going to be a larger than normal number of fans that might fall into the category of “fringe lunatic”, it is just how the odds work.
That suggestion was made by ESPN during Saturday’s College GameDay which originated from Ann Arbor, Michigan. Just in case you are completely unaware of the biggest story in college football this season, during Saturday’s Ohio State-Michigan game, Wolverines coach Jim Harbaugh was serving the final game of an agreed upon Big Ten Conference suspension. The game also happened to be the biggest game of the season so far, a virtual play-in game for the College Football Playoff.
The suspension of Harbaugh was the result of allegations that Michigan staffer Connor Stalions was running an “off the books” sign stealing operation and that Stalions was a little too closely connected with Harbaugh for the Big Ten’s comfort.
Stories like these only become mainstream by reporting and ESPN’s Pete Thamel was on the frontlines of that reporting. It should be said that, just because something is reported by ESPN, FOX, or CBS, doesn’t automatically make it true. Likewise, just because something reported about your team may not paint them in the best possible light, it doesn’t make it untrue. That was the gray area ESPN’s College GameDay found themselves in Saturday; one of their top college football reporters in the very midst of the fans that are upset with his reporting.
Thamel joins GameDay on site every week, normally delivering the breaking news on injuries and coaching changes, fairly normal stuff. He delivers his reports, not on stage, but among the actual team fans who are gathered behind the set for all the cameras to see.
Except Saturday when Thamel was not among the masses but inside the more controlled confines of Michigan Stadium.
Honestly, Thamel being inside the stadium, rather than among the crowd, would not have seemed at all odd to me until Michigan’s Heisman Trophy winner and GameDay analyst Desmond Howard made it awkward in this exchange:
Howard: “We’ve been doing this 12, 13 weeks and Pete’s always been in the crowd giving his reports, I’m like, ‘What the Hell’s Pete in the stadium for?’ That kind of just threw me all off, I’m like, ‘Put your big boy pants on and do it in the crowd like you normally do it.’”
Rece Davis: “He’s got some from the lunatic fringe, some ‘friends’. We’re just taking care of him.”
Howard: “We’ve got security. We’ll be ok. These guys are nice out here. These are nice fans. They’re not going to do anything.”
Davis: “It only takes one. That’s all.”
Howard: “He’ll be ok. Put the big boy pants on.”
I have no idea how many credible threats Thamel has received but there was, apparently, enough concern for ESPN to move him into an area that could be more easily secured.
Desmond Howard, though, seemed upset that ESPN doing that painted the fan base of his old school in a very negative light. I would make the case that even the most ardent GameDay viewers wouldn’t think it odd that Thamel was inside the stadium rather than among the crowd. Howard’s insistence on Pete not wearing his “big boy pants” only drew further attention to the fact Thamel was not in his normal spot.
Desmond Howard came off sounding like he was under some sort of pressure, personally created or applied from Michigan interests, to point out there was no reason Thamel should have any concern about Michigan fans. In doing so, Howard came off as something he’s never been accused of being, a poor teammate. The best way to handle the situation for ESPN would be to completely ignore the fact there was a change in Thamel’s location. In the event ESPN thinks anyone would notice, highly unlikely as it may be, just create a simple cover story.
To Thamel’s credit, he seemed content to not be the focus of this addition to the story, it was only Howard’s awkward interaction that brought it to light. It was completely unnecessary and only made everyone involved look a little worse.
In his NFL career, Desmond Howard averaged only one fumble per season, Saturday in Ann Arbor, he added another.
Ryan Brown is a columnist for Barrett Sports Media, and a co-host of the popular sports audio/video show ‘The Next Round’ formerly known as JOX Roundtable, which previously aired on WJOX in Birmingham. You can find him on Twitter @RyanBrownLive and follow his show @NextRoundLive.