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No Play by Play Rights? No Problem!

“Just because you don’t own the game, doesn’t mean you can’t own the story!”



Play by play rights are always a popular conversation, especially in the sports radio business. Millions of dollars are spent to become the signature home of a local sports team because the association with a local team in your market can provide an immediate boost to your station’s ratings, revenue and promotions.

The Boston Globe once reported that WEEI’s 10-year radio rights agreement with the Red Sox cost roughly 200 million. The New York Daily News once suggested that the deal to move the Yankees to WFAN cost the station 15 to 20 million per year for 10 years. Most recently in Canada, Rogers Sportsnet signed a landmark 12- year 5.23 billion dollar deal for NHL rights, and the price continues to climb with other deep pocket groups like Facebook, YouTube, Amazon, and DAZN interested in sports rights.

Big sporting events can do something that almost no other content can do – attract a large audience comprised of many different types of people. But looking at these dollar amounts and company names can really make your head spin! Not every company can afford to compete. It takes deep pockets and major resources, and the stakes are extremely high!

Maybe you work for a company that can’t play that game. Maybe your company doesn’t have a market position strong enough to lure a big team away from its staple home of 20 years. That puts your brand in a tougher position, especially in a competitive market.

Just because you’re not a rights holder though, doesn’t mean you can’t play the same game. There’s nothing stopping you from making it sound like you own the team. In fact, it opens the door to many possibilities.

And it starts with imaging.

There are simple and effective ways to make your imaging sound like you own the team, that won’t cost you millions. 

-Topical imaging relating to the team. If there’s a major trade, injury or news about a player – write a promo and get it on the air, asap! Use audio clips of your on-air talent talking about the breaking news. Wrap up the promo with some in-game audio or listener reaction. Constantly update this promo throughout the day with fresh audio and reaction and get a couple in rotation.

-Update fresh quick sweepers including player, coaching and caller reaction. Example: Be ”The source for better Cardinals coverage.” – let the rights holder station run its generic HOME OF sweepers, while you’re delivering topical engaging imaging.

– Create donuts and scripting around various game scenarios and breaking news. Have your morning show producer fill those donuts with game audio, coach interviews, and listener reaction. Some simple examples:

”Antonio Brown is leaving Patriots fans feeling a little dirty (insert audio –   listener reaction reflecting how they feel seeing Brown on the field) As Sunday’s game inches closer against the Jets, will Brown make a week three appearance? (on-air talent clips debating if he will play or not) React and talk about it right here (insert quick caller reactions) On your exclusive home for Patriots Monday and Friday…Boston’s Sports Station, WEEI”

Offensive collapse! (insert game clip) as the Cards drop their 3rd straight! (insert more game audio and reaction). Can the Cardinals stay alive in a winner take all Game four (insert audio clip) or will the DC Martinez crew drive the final nail in a Cards Cinderella story? (insert reaction from coaching and/or listeners)…react and talk about it right here, on your source for the BEST playoff Cardinals coverage…101, ESPN!

Right away, you’re owning the after-party. Listeners are tuning in to get your exclusive perspective. Integrate their participation and your station’s participation into these forms of branding, and you’re going to make great strides in becoming the destination for “local team” fans! Just because you don’t own the game, doesn’t mean you can’t own the story!

So, the next time a local team plays a game that you don’t have the rights to, watch or listen to it. As you follow along, identify the key stories that people will care about and start writing/producing like you own the franchise! Give your brand an edge over the competition by using great topical local team imaging. It’ll help you own the weekday conversation.

EXCLUSIVE TO BSM READERS: Contact Justin today and he’ll hook you up with free sports imaging SFX just for reading this article! He can be reached by email by clicking here.

Justin Dove is the owner/operator of Core Image Studio Inc – a production boutique specializing in custom sound design and audio branding for sports radio:

BSM Writers

Being Wrong On-Air Isn’t A Bad Thing

…if you feel yourself getting uncomfortable over the fact that you were wrong, stop to realize that’s your pride talking. Your ego. And if people call you out for being wrong, it’s actually a good sign.




In the press conference after the Warriors won their fourth NBA title in eight years, Steph Curry referenced a very specific gesture from a very specific episode of Get Up that aired in August 2021.

“Clearly remember some experts and talking heads putting up the big zero,” Curry said, then holding up a hollowed fist to one eye, looking through it as if it were a telescope.

“How many championships we would have going forward because of everything we went through.”

Yep, Kendrick Perkins and Domonique Foxworth each predicted the Warriors wouldn’t win a single title over the course of the four-year extension Curry had just signed. The Warriors won the NBA title and guess what? Curry gets to gloat.

The funny part to me was the people who felt Perkins or Foxworth should be mad or embarrassed. Why? Because they were wrong?

That’s part of the game. If you’re a host or analyst who is never wrong in a prediction, it’s more likely that you’re excruciatingly boring than exceedingly smart. Being wrong is not necessarily fun, but it’s not a bad thing in this business.

You shouldn’t try to be wrong, but you shouldn’t be afraid of it, either. And if you are wrong, own it. Hold your L as I’ve heard the kids say. Don’t try to minimize it or explain it or try to point out how many other people are wrong, too. Do what Kendrick Perkins did on Get Up the day after the Warriors won the title.

“When they go on to win it, guess what?” He said, sitting next to Mike Greenberg. “You have to eat that.”

Do not do what Perkins did later that morning on First Take.

Perkins: “I come on here and it’s cool, right? Y’all can pull up Perk receipts and things to that nature. And then you give other people a pass like J-Will.”

Jason Williams: “I don’t get passes on this show.”

Perkins: “You had to, you had a receipt, too, because me and you both picked the Memphis Grizzlies to beat the Golden State Warriors, but I’m OK with that. I’m OK with that. Go ahead Stephen A. I know you’re about to have fun and do your thing. Go ahead.”

Stephen A. Smith: “First of all, I’m going to get serious for a second with the both of you, especially you, Perk, and I want to tell you something right now. Let me throw myself on Front Street, we can sit up there and make fun of me. You know how many damn Finals predictions I got wrong? I don’t give a damn. I mean, I got a whole bunch of them wrong. Ain’t no reason to come on the air and defend yourself. Perk, listen man. You were wrong. And we making fun, and Steph Curry making fun of you. You laugh at that my brother. He got you today. That’s all. He got you today.”

It’s absolutely great advice, and if you feel yourself getting uncomfortable over the fact that you were wrong, stop to realize that’s your pride talking. Your ego. And if people call you out for being wrong, it’s actually a good sign. It means they’re not just listening, but holding on to what you say. You matter. Don’t ruin that by getting defensive and testy.


I did a double-take when I saw Chris Russo’s list of the greatest QB-TE combinations ever on Wednesday and this was before I ever got to Tom Brady-to-Rob Gronkowski listed at No. 5. It was actually No. 4 that stopped me cold: Starr-Kramer.

My first thought: Jerry Kramer didn’t play tight end.

My second thought: I must be unaware of this really good tight end from the Lombardi-era Packers.

After further review, I don’t think that’s necessarily true, either. Ron Kramer did play for the Lombardi-era Packers, and he was a good player. He caught 14 scoring passes in a three-year stretch where he really mattered, but he failed to catch a single touchdown pass in six of the 10 NFL seasons he played. He was named first-team All-Pro once and finished his career with 229 receptions.

Now this is not the only reason that this is an absolutely terrible list. It is the most egregious, however. Bart Starr and Kramer are not among the 25 top QB-TE combinations in NFL history let alone the top five. And if you’re to believe Russo’s list, eighty percent of the top tandems played in the NFL in the 30-year window from 1958 to 1987 with only one tandem from the past 30 years meriting inclusion when this is the era in which tight end production has steadily climbed.

Then I found out that Russo is making $10,000 per appearance on “First Take.”

My first thought: You don’t have to pay that much to get a 60-something white guy to grossly exaggerate how great stuff used to be.

My second thought: That might be the best $10,000 ESPN has ever spent.

Once a week, Russo comes on and draws a reaction out of a younger demographic by playing a good-natured version of Dana Carvey’s Grumpy Old Man. Russo groans to JJ Redick about the lack of fundamental basketball skills in today’s game or he proclaims the majesty of a tight end-quarterback pairing that was among the top five in its decade, but doesn’t sniff the top five of all-time.

And guess what? It works. Redick rolls his eyes, asks Russo which game he’s watching, and on Wednesday he got me to spend a good 25 minutes looking up statistics for some Packers tight end I’d never heard of. Not satisfied with that, I then moved on to determine Russo’s biggest omission from the list, which I’ve concluded is Philip Rivers and Antonio Gates, who connected for 89 touchdowns over 15 seasons, which is only 73 more touchdowns than Kramer scored in his career. John Elway and Shannon Sharpe should be on there, too.

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BSM Writers

Money Isn’t The Key Reason Why Sellers Sell Sports Radio

I started selling sports radio because I enjoyed working with clients who loved sports, our station, and wanted to reach fans with our commercials and promotions.

Jeff Caves



Radio Sales

A radio salesperson’s value being purely tied to money is overrated to me. Our managers all believe that our main motivation for selling radio is to make more money. They see no problem in asking us to sell more in various ways because it increases our paycheck. We are offered more money to sell digital, NTR, to sell another station in the cluster, weekend remotes, new direct business, or via the phone in 8 hours. 

But is that why you sell sports radio?

In 2022, the Top 10 highest paying sales jobs are all in technology. Not a media company among them. You could argue that if it were all about making money, we should quit and work in tech. Famous bank robber Willie Sutton was asked why he robbed twenty banks over twenty years. He reportedly said,” that’s where the money is”. Sutton is the classic example of a person who wanted what money could provide and was willing to do whatever it took to get it, BUT he also admitted he liked robbing banks and felt alive. So, Sutton didn’t do it just for the money.

A salesperson’s relationship with money and prestige is also at the center of the play Death of a Salesman. Willy Loman is an aging and failing salesman who decides he is worth more dead than alive and kills himself in an auto accident giving his family the death benefit from his life insurance policy. Loman wasn’t working for the money. He wanted the prestige of what money could buy for himself and his family. 

Recently, I met a woman who spent twelve years selling radio from 1999-2011. I asked her why she left her senior sales job. She said she didn’t like the changes in the industry. Consolidation was at its peak, and most salespeople were asked to do more with less help. She described her radio sales job as one with “golden handcuffs”. The station paid her too much money to quit even though she hated the job. She finally quit. The job wasn’t worth the money to her.

I started selling sports radio because I enjoyed working with clients who loved sports, our station, and wanted to reach fans with our commercials and promotions. I never wanted to sell anything else and specifically enjoyed selling programming centered around reaching fans of Boise State University football. That’s it. Very similar to what Mark Glynn and his KJR staff experience when selling Kraken hockey and Huskies football.  

I never thought selling sports radio was the best way to make money. I just enjoyed the way I could make money. I focused on the process and what I enjoyed about the position—the freedom to come and go and set my schedule for the most part. I concentrated on annual contracts and clients who wanted to run radio commercials over the air to get more traffic and build their brand.

Most of my clients were local direct and listened to the station. Some other sales initiatives had steep learning curves, were one-day events or contracted out shaky support staff. In other words, the money didn’t motivate me enough. How I spent my time was more important. 

So, if you are in management, maybe consider why your sales staff is working at the station. Because to me, they’d be robbing banks if it were all about making lots of money.  

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BSM Writers

Media Noise: BSM Podcast Network Round Table



Demetri Ravanos welcomes the two newest members of the BSM Podcast Network to the show. Brady Farkas and Stephen Strom join for a roundtable discussion that includes the new media, Sage Steele and Roger Goodell telling Congress that Dave Portnoy isn’t banned from NFL events.

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