Connect with us
BSM Summit
blank

BSM Writers

Meet The Market Managers: Dan Bennett, Cumulus Dallas

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

Demetri Ravanos

Published

on

blank

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.

blank

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

NBC Must Develop a Real No. 2 NFL Crew for Playoffs

Is the network’s only other option Jac Collinsworth and Jason Garrett?

Avatar photo

Published

on

blank

Several years ago, the NFL objected to NBC wanting to employ Mike Tirico as the lead play-by-play voice for its Thursday Night Football broadcasts. The league preferred Al Michaels because he was NBC’s No. 1 NFL play-by-play announcer and wanted the TNF telecasts to carry the same prestige as Sunday Night Football.

Following the network’s heavily-criticized broadcast of Saturday’s Wild Card playoff game between the Los Angeles Chargers and Jacksonville Jaguars, the NFL may want to impose its authority again and insist that a top-tier broadcast team call the action of an important postseason game.

The consensus among fans and media watching Saturday’s broadcast was that Michaels and analyst Tony Dungy were surprisingly low-energy for an NFL playoff game, let alone one that became so exciting with Jacksonville rallying from a 27-0 deficit for a 31-30 victory on a last-second field goal.

Such a lackluster broadcast led to questions of whether or not Michaels was now past his prime after a season of calling subpar TNF games for Amazon and what initially appeared to be another snoozer when the Jaguars fell behind by 27 points. Pairing him with Dungy, who was a studio analyst all season, certainly didn’t help.

Dungy was as basic as a game analyst could be, typically narrating replays viewers could see for themselves while adding little insight. Worst of all, he demonstrated no enthusiasm for the action, leaving Michaels to fill most of the airtime. The veteran broadcaster showed that he can no longer carry a broadcast by himself. He needs the energy and back-and-forth that Cris Collinsworth or Kirk Herbstreit provide.

So how did NBC get here?

Most football fans know that the network’s top broadcast team is Tirico on play-by-play alongside analyst Cris Collinsworth. But they had their own assignment during Super Wild Card Weekend, calling Sunday night’s Ravens-Bengals match-up. With the postseason field expanding from 12 to 14 teams, resulting in six games being played on Wild Card weekend, NBC was awarded one of the additional playoff broadcasts.

Thus, another broadcast team was needed for that second Wild Card game. Fortunately, NBC had a renowned play-by-play man already in place. Michaels finished out his final season as SNF‘s lead voice by calling Super Bowl LVI, part of a powerful one-two combination for NBC Sports coming toward the end of its 2022 Beijing Winter Olympics coverage.

Ending his legendary career with a Super Bowl broadcast would’ve been a wonderful final note for Michaels. That appeared to be a natural path when Tirico moved from ESPN to NBC in 2016. Network executives admitted that a succession plan was in mind for Tirico to take over SNF eventually. At the time, Michaels also likely thought he would retire by then.

But when confronted with the possibility of retirement, Michaels realized he wasn’t interested. He was still enjoying broadcasting the NFL. His skills were still sharp. And perhaps most importantly, he was in demand. Amazon wanted Michaels as the lead voice for its Thursday Night Football broadcasts, bringing instant credibility to a streaming venture that drew some skepticism. ESPN considered him as its Monday Night Football play-by-play man.

As it turned out, ESPN made a bold move for MNF, swiping Fox’s No. 1 NFL crew of Joe Buck and Troy Aikman. That left Amazon for Michaels, and the streaming giant paid him a commensurate salary with the top broadcasters in the industry as part of his three-year contract.

Yet Michaels wasn’t done with NBC either. After his agreement with Amazon became official, NBC announced that its relationship with Michaels would continue in an “emeritus” role allowing him to broadcast the network’s Olympics coverage and that additional Wild Card playoff telecast.

NBC can’t have been happy that most of the social media chatter afterward focused on the broadcast, rather than the game result. Especially when the discussion centered on how poorly Michaels and Dungy performed in what turned out to be a thrilling playoff game. That’s a pairing that the NFL probably doesn’t want to see again.

Michaels will likely call at least one more Wild Card playoff game for NBC since he intends to work on the 2024 Paris Summer Olympics. He’s also under contract with Amazon for another two seasons unless he decides to retire before that deal expires. So perhaps the simple solution is keeping Dungy out of the broadcast booth and giving Michaels a better partner.

But can NBC drop in another analyst who hasn’t worked with Michaels all season? Anyone would arguably be an improvement over Dungy. Is it at all possible for Herbstreit to be hired on for a one-off playoff broadcast, thus ensuring that the broadcast team will have some on-air familiarity and chemistry?

Otherwise, NBC’s only other option may be its Notre Dame broadcast team of Jac Collinsworth and Jason Garrett. (The network tried that last season with Tirico and Drew Brees, only for Brees to wilt under the harsher NFL playoff spotlight.)

The pair also called USFL broadcasts for the network, so at least there would be familiarity rather than trying to figure each other out during a telecast. Yet Collinsworth and Garrett aren’t terribly popular with viewers. And as with Brees, that crew will face intense scrutiny with a larger playoff audience.

Unfortunately, NBC appears to be stuck here. Unless the new Big Ten broadcast team of Noah Eagle and Todd Blackledge gets a shot. That might be the best option! Other than Notre Dame or USFL games, where are the other opportunities for NBC to develop a No. 2 NFL broadcast team? No one wants to put Al Michaels through Chris Simms in the broadcast booth, right?

Continue Reading

BSM Writers

Al Michaels Has Options But He Has To Make a Choice

“It does all of us in the sports industry well to remember 99% of our audience would gladly trade places with us.”

Avatar photo

Published

on

blank

I don’t ask much out of game announcers; get excited when appropriate, get the simple information correct, don’t get so caught up in your shtick you put yourself above the game. Al Michaels has been doing all those things well for the better part of half a century and few would argue that he’s not one of the best to ever do it. That doesn’t mean he can’t lose his fastball.

Before you read any longer, I am not here to say Al Michaels has lost his fastball. What I am here to say is Michaels has all too often this season seemed upset with and disinterested in the game he is calling. That isn’t entirely surprising when you consider some of the Thursday night action he called on Amazon Prime where the average margin of victory was almost nine points per game.

On top of that, the Amazon schedule had a dreadful two week stretch with Colts 12-9 win over the Broncos in Week Five and the Commanders 12-7 win over the Bears the next Thursday. It was in that Broncos-Colts game Michaels asked Herbstreit if a game “can be so bad it is good?” Herbstreit’s answer was “No”, by the way. It was the full 15 game schedule that Michaels told The Athletic’s media critic Richard Deitsch was like trying to sell a used car.

All of that is fine, the inaugural Amazon Prime season was not a smashing success. The streaming giant missed audience projections and will lose advertising revenue because of it. The lackluster schedule did not help that. But Michaels was given a second life; he was the NBC play-by-play announcer for the Saturday Night Wildcard Playoff game between the Chargers and Jaguars. It initially looked like Michaels might be the problem as five first half Jags turnovers had them in a 27-0 hole. But the home team staged a nearly unprecedented comeback for the win.

It was the performance by Michaels and, to a lesser degree, his analyst Tony Dungy that has led to criticism. Criticism might be too soft of a word, Michaels was roundly dragged for his lack of enthusiasm during the comeback and specifically on his call of the Jacksonville game winning field goal. The enthusiasm of the call of the game winner had a mid-3rd quarter of week four feel to it.

Me telling Al Michaels how to do play-by-play of an NFL game would be the equivalent of me telling a physicist how to split an atom. So, this isn’t just a Michaels criticism, few things bother me more than hearing a game announcer complain about the length or quality of a game as if he’d rather be anywhere else. It does all of us in the sports industry well to remember 99% of our audience would gladly trade places with us.

How many NFL viewers would sit in the seat Michaels, or any NFL announcer occupies, for free? They’d feel like they won the lottery if they also were getting the money those announcers are getting paid to be there. The guy that works a 12-hour Thursday construction shift just to get home and crack a beer for the NFL game probably doesn’t want to hear how tough that game is to announce.

On top of all of that, Michaels was given the gift of one of the wildest NFL Playoff comebacks you’ll ever see and, at times, sounded as if he was completely disinterested in being there. Pro tip: the best NFL announcer in those moments is Kevin Harlan (see: Miami at Baltimore from earlier this season. That has nothing to do with my lifelong Dolphins fandom). Michaels’ lack of enthusiasm was compounded by the exact opposite from Mike Tirico on the very same network for the Bengals-Ravens Wildcard game Sunday night. 

Tirico, like Michaels, has a sterling resume of play-by-play accomplishments. The difference is Tirico sounded like he was having the time of his life on Sunday night. 

To be fair, their two styles are different. Michaels has a very old school, Pat Summerall approach. Summerall, Vin Scully and Dick Enberg came along at a time when announcers were far more likely to let the pictures tell the story. More new school guys like Harlan and Tirico approach it differently.

Look, Al Michaels helped us believe in miracles. His place in the Sports Broadcaster’s Hall of Fame has long since been cemented. Being a hall of fame inductee doesn’t mean your style will forever be accepted by the masses. That leaves you with a few options; you can continue your style and accept or ignore the criticism or you can ride off into the sunset and enjoy the fruits of your decades of labor.

Al Michaels has what we all want; great options. He can choose any of them and be a winner in the game of life. It doesn’t matter if he enthusiastically embraces them, or not. 

Continue Reading

BSM Writers

Bernie Kosar Was the Victim of a Policy That Doesn’t Work Anymore

“The NFL has bigger fish to fry than Bernie Kosar. Hell, it has more pressing issues in Cleveland alone.”

Demetri Ravanos

Published

on

blank

One week ago, Bernie Kosar lost his job on the Browns Radio Network for placing the first legal sports bet in the state of Ohio. Kosar, just like Jets coach Miles Austin weeks earlier and Calvin Ridley last year, violated a league policy that forbids team employees from placing a bet on any NFL game.

The integrity of the games still matters. The belief that what we are all seeing is being fairly contested is what gives those of us that like to have a little vested interest in the outcome the desire to lay our money down in the first place. I get the league’s discomfort with a coach on the staff of a team in the middle of the playoff hunt making bets. I get its fear of the message it sends to have players making bets.

Roger Goodell and the 32 team owners are well within their rights to object to men that can potentially control the outcome of a game or postseason seeding doing anything that even appears to jeopardize its fairness. Even perceived impropriety can compromise the league’s tremendous value.

But Bernie Kosar doesn’t have that kind of influence on the outcome of a game. He is just a broadcaster and not even a game analyst. He is part of studio coverage.

I am far from the first to point this out, but in 2023, the NFL has three official sports betting partners. Just last week, it approved the first ever in-stadium sportsbook, which Fanatics is set to open inside of FedEx Field. If the NFL is comfortable enough with the reality that its fans like to bet to make those things a reality, then Kosar losing his gig is absurd. It is the result of nothing other than “well, that’s the way we’ve always done it” thinking.

Maybe Kosar was terrible on the radio and the team was looking for a reason to move on. I don’t live in Cleveland and I am not a Browns fan, so I have no idea.

How many times have we heard that NFL owners hired Goodell to “protect the shield”? I’m not even really sure what it means or when it applies anymore. If I had a vested interest in the public perception of the league, I know that I would want someone to do the PR math on this situation.

Bernie Kosar isn’t an addict that can’t watch a game without the high of winning or the emotional distress of losing everything at stake, at least not as far as we know. This was a bet made through an advertising partner, to benefit charity. He even said on his podcast this week that the purpose of making the bet was to generate some money for former players in need of help.

This is like Disney threatening daycare centers with lawsuits for painting Mickey Mouse on a classroom wall. The NFL has bigger fish to fry than Bernie Kosar. Hell, it has more pressing issues in Cleveland alone.

Surely you have seen Garrett Bush’s impassioned rant on the Ultimate Cleveland Sports Show about the obstacles facing Damar Hamlin because of how many hoops the NFL makes former players jump through in order to get some kind of pension.

On January 2, we were all united in our concern for a guy that hadn’t even completed his second full NFL season. We didn’t know if he was going to live, but if he did, we all knew that the NFL had done everything it needed to in order to protect itself from ever having to pay a dime for his medical care. Less than a week later, Bernie Kosar was fired for what amounted to a charity stunt that was meant to raise money and attention to very similar issues.

At both the league level and the team level, there was incompetence that lead to a man unnecessarily losing a gig and to the Browns and the NFL looking horribly out of touch with reality.

Are we acknowledging that people gamble or not? Are we acknowledging there are responsible ways to bet on football and are interested in generating revenue off of it or not? Because it doesn’t seem to me that the same league that just gave the thumbs up to open a sportsbook inside of a stadium is really that concerned with people that cannot affect the outcome of games betting on those games.

Has the NFL come out and said that it is going to cover every medical bill for everyone that has ever played the game? We know that this is a brutal game that leaves a physical and physiological impact on the men that played it. Why would we make it harder for someone that knows that pain to help others do something about it?

I feel awful for Bernie Kosar. Whether he needs the money or not, it is embarassing to be at the center of a controversy like this, particularly because in the NFL in 2023, there is no reason for a controversy like this to exist.

Continue Reading
Advertisement

blank

Barrett Media Writers

Copyright © 2023 Barrett Media.