Over the last five weeks, I’ve been entertained to no end by The Last Dance on ESPN. The behind the scenes looks, the memories and the greatness of Michael Jordan have been right there on my TV screen for me to revisit and remember fondly. Thankfully, I was old enough to really appreciate these teams and MJ the player.
I was fortunate to cover bits and pieces of the final two championships, but was not around the team all the time. My seat was anything but front row, but there were a few people that had terrific seats for more than one of the titles. The broadcasters saw every game, every play and lived these moments at home and on the road. They were on the team planes and had access to the players. These guys lived it.
Neil Funk who is retiring at the end of this season (if there is a resumption) after 28 years with the Bulls saw it all. Starting on the radio broadcast and eventually shifting to the television chair. He told NBC Sports Chicago’s Bulls Talk Podcast that he enjoyed the look back through the lens of “The Last Dance”.
“First of all, I think it’s very well done and at times its riveting to watch it. Even though I went through that you know traveling with the team and being around them all the in that last year.”, he told NBCSC. “The one thing about this documentary that it is kind of bringing all that stuff back to you as you sit here. Sometimes you forget about Michael’s greatness and the greatness of those teams.”
Wayne Larrivee worked Bulls television games on WGN-TV starting in 1991. He agreed that the documentary was an accurate portrayal of the actual events.
“I would say very much so. There were some things that they showed that we didn’t know. I thought they did a really good job with that,” he told me via phone. “There were some things they showed that I had forgotten about, like Rodman’s trip to Las Vegas in the middle of the season, I had kind of lost track of that over the years.”
So, the season seemed to play out as depicted, but what wasn’t universally agreed upon was how the show portrayed the star, Michael Jordan. There were those thinking he looked tyrannical, some said they admired him more. The broadcasters had their thoughts.
Funk was happy to see Jordan showing a different side of himself during the documentary.
“It was nice to see him sitting down and kind of opening up. You mention the fact he might have been concerned that people would perceive him in a way that maybe wasn’t flattering to him.”, Funk told NBC Sports Chicago. “That IS what made Michael different and what made Michael great. I don’t think he has to worry about that in the least, that’s part of what made him Michael Jordan.”
According to Larrivee the portrayal was fair because it was truthful.
“He was portrayed as he is. He’s a tough competitor and he is a great leader. He was portrayed as a leader. People don’t understand things about leaders sometimes,” Larrivee said. “I thought they portrayed Michael and Scottie very accurately. Michael was the tough cop and Scottie was the good cop, the nice guy. Michael would knock you down and Scottie would pick you up.”
You could tell there was a respect for Jordan among the broadcasters that were around him most often. Larrivee continued in a comparison of MJ and today’s players that tells an important story.
“I will say this about Michael as compared to today’s athletes. Michael had this belief, ‘Listen I show up and play every game. I don’t take vacations, I don’t take nights off, they pay to come see me play and for a lot of people it may be the only time they get to see me play in person,’” Larrivee told me. “Today you have this thing called “load management” that would never happen with Michael Jordan. If he’s healthy he’s going to play the game. He understood that aspect of the game.”
Relationships with the players are key to being able to do your job. But, when one of the players is Michael Jordan how do you handle things? He’s arguably the greatest player of all-time and people are always wanting his time.
“I had learned early on, because when I was in Philadelphia I was with Julius Erving, so I had learned that if you didn’t bother them with kind of silly stuff, they were going to respect you and appreciate the fact you weren’t bothering them all the time,” Funk told NBC Sports Chicago. “Unless it was something where I absolutely had to go to him and say hey Michael would you do this interview or whatever it might have been…I tried to stay away from that unless it was unavoidable. When I did go to him, he was generally receptive because I didn’t bother him a lot.”
Larrivee took that same approach to Michael, but seemed to have a leg up on the competition.
“The relationship I had with him (MJ) went back to before I was doing Bulls’ games. Tribune Company (then the owner of WGN-TV and Radio) had another division in it. They used to televise the City Championship game in Chicago. They paired Michael and me together one year,” said Larrivee. “This is before the Bulls started to win championships, but Michael was still wildly popular. They snuck him into the UIC Pavilion. I’ll never forget our production meeting, with Michael sitting on a toilet seat, eating KFC and we were all talking about what we were going to do at the open of the game. During the National Anthem where they dimmed the lights, they snuck Michael in from the back to our seats, then the lights came on and people saw him and went wild.”
Even the broadcasters knew it was the end of the line as did the players in 1998. So, what else can you do but enjoy the ride right? I mean how many times can get that lucky to cover a team that annually wins championships? Larrivee wasn’t going to miss a single chance to soak it all in.
“Tim Hallam (Bulls Senior Director of Public & Media Relations) and I would sit there at center court as the Bulls were warming up getting set to play the game and look at Michael Jordan and say ‘hey, let’s make sure we don’t take this for granted, because we’re never going to see the likes of this again’.”, Larrivee said. “We would do that almost every 2, 3 games and sit back and say don’t take it for granted, it won’t be like this forever. That’s kind of the way it was. We did savor it and it was a big deal that Last Dance, all the way through.”
Funk was just impressed with what the team accomplished in that final championship season, comparing it to another of the titles.
He told NBC Sports Chicago, “I would go back to the third championship in the first three peat and use that as kind of a template for the last one. It seemed like they were running on fumes and Michael was running on fumes. We know how hard it is to win one, then to win two and then the near impossible task of trying to win three. I think the last one of the second three peat, was the hardest of all of them. They’re all hard. That third one especially with all that was swirling around them, the age of some of the players, injuries, that had to be the most difficult to accomplish.”
There are certain calls on the radio or television that take you back. These famous calls remind you where you were, what you were doing, who you were with and even what you were wearing at the time. Funk had one of the all-timers with his description of the last shot Jordan would ever take in a Bulls uniform.
“Michael against Russell, 12 seconds, 11, 10 Jordan, Jordan a drive, hangs, fires, scores! He scores! The Bulls lead 87-86 with 5 and 2 tenths left, and now they’re one stop away. Oh my goodness!”
“That call, of all that I did, that one I’ll always remember only because it was the last one.”, Funk told the Bulls Talk Podcast. “That was kind of the end. So, I’ll never forget that one.”
Indeed, it was the end. The team was broken up the following year. Tim Floyd was brought in to coach a cast of no-name players in a shortened season. The Bulls were just a shadow, a small shadow of their former selves. But the broadcasts had to go on.
For the professionals the Bulls had behind the mics, the play on the court changed nothing about how they got ready for games. Larrivee told me that the show must go on and he didn’t have any trouble gearing up for the 1999 Bulls.
“It’s an NBA game, it’s a big-time game, it’s on a Superstation WGN-TV. Now the spotlight wasn’t as great on us at that time. You know you feel that. But it does not preclude the way you prepare for that game or the approach you take to the game going in.”, Larrivee told me. “We are professionals, but we’re also people so yes, there is a little bit less to it when it’s not a big moment or a big game. At the same time, that doesn’t mean you take it any lighter. I prepared the same way that following year as I did during the Last Dance.”
Tom Dore, who also called Bulls basketball on television during the great runs of the 90’s, obviously knew that ’99 was going to be a lot different. He explained to Sports Illustrated the new challenges of that season.
“How do we get people to say, ‘You should still come and see this? That you need to watch our games.’” Dore told SI. “The key is just you’re looking for anything positive to talk about. And then Mike Tyson hit you with another one to the gut. And then Muhammad Ali hit you with a left to the temple. And then Joe Frazier hit you with an uppercut. That’s what it was like.”
As we take a final look back at the Last Dance, the last word belongs to Larrivee who had an interesting take on how things came to an end.
“I think there’s a romantic quality to this. The Bulls win their third in a row. But it’s tradition that the champion gets to go out on his or her sword and when you break up a team like that after a championship they didn’t get out on their sword. They didn’t get a chance to be dethroned.
“They went out as champions, they were never beaten, there’s something special about that. I know Michael to this day regrets that they didn’t get a chance to go for a fourth (in a row). He feels very strongly they would have won another one. I don’t know if they could have mustered it again, but they never got a chance to. Thus, here they are 22 years later we remember them as they were.”
A special group for sure. A special treat for all of us. Five Sunday nights of pleasure during this crazy pandemic. Whether you liked how it was done or didn’t, a tip of the hat to those responsible for bringing it to us. The Last Dance was one to remember.
The Craig Carton/FanDuel Deal Is Undeniably A Good Thing
“Since returning to WFAN, Carton has been very upfront about who he is, what he has done and how he is trying to do better.”
Craig Carton is destined to forever be a polarizing figure in the world of sports media. Long before he was arrested, he had plenty of detractors that considered him less of a talk show host and more of a shock jock. Add to it a conviction for his role in a Ponzi scheme that defrauded investors in order to pay back gambling debts, and it is clear that the guy’s approval rating will never hit 100.
There are understandable reasons not to like a guy and then there are grudges. Grudges don’t have to be personal. They don’t have to spring from some sort of affront. They can easily be born out of feeling like someone has figured out a way to live a life above the rules and free of consequence for their awful actions.
Grudges can (and often do) blind us to reality. I think that is a big part of what is happening when people point to Craig Carton’s new deal with FanDuel and say that there is something wrong with it.
If you missed the announcement last week, Carton is joining FanDuel as the company’s first “responsible gaming ambassador.” He will create content about gambling responsibly and also work with FanDuel engineers to create AI to spot problem gambling patterns. The deal gives Craig Carton a seat at the table with one of the biggest mobile sportsbooks in shaping their responsible gaming policy. Isn’t that a good thing?
I probably cannot convince you to view the guy in any particular light. When it comes to former inmates being rehabilitated and getting a second chance, we tend to be very dug in with our opinions, whatever may influence them.
Undeniably, Carton did a bad thing. Swindling people out of huge chunks of money is always bad. In America, it somehow seems worse. As costs of living increase and wages remain flat, every dollar is accounted for and allotted to something for most of us. The guy should be ashamed of himself. And here’s the thing: he clearly is.
Since returning to WFAN, Carton has been very upfront about who he is, what he has done and how he is trying to do better. Hell, what other station in America dedicates any time at all, even just a half hour on the weekend, to issues of addiction and recognizing problem habits? This deal with FanDuel seems perfectly in line with his previous attempts to atone.
You don’t have to like Craig Carton, but you do need to acknowledge that everything he has done in terms of highlighting his problem with gambling and offering help to those that he sees a little bit of his own struggles in has been sincere. There is no reason to believe it isn’t.
Under the terms of the deal, not only will Carton advise and create content for FanDuel, but the company will also make sure Hello, My Name is Craig finds a bigger platform. You can be cynical and say that this is just part of a bigger deal between FanDuel and WFAN parent company Audacy, but FanDuel’s Chief Marketing Officer, Mike Raffensperger explained that it is good for the gaming industry to promote betting responsibly.
“I think what we recognize we needed is to add some humanity as to how we get this message across,” he said when explaining why Carton was the perfect face for this campaign.
We see it every time we post a story about sports betting. Someone will comment that it is an evil practice and that the advertising has made sports radio disgusting. The reality is that it is no different from alcohol. For most people, it is harmless. Plenty though, cannot handle it. Still, you tell me the first time you hear an ad break on sports radio or see a commercial break during a game without a beer commercial.
If you really believe sports gambling is evil and want people to stay away from mobile or physical sportsbooks, who do you think the ideal person to be delivering that message is?
You can go with the puritan approach of tisk-tisking strangers and telling them they are flawed people that are going to Hell or you can have a guy that has literally lost it all because of his addiction out front telling you “I know I cannot place a bet and here is why. If that sounds familiar, maybe it is time for you to seek help.” It seems pretty obvious to me that the latter approach is exactly what Raffensperger is talking about – using humanity to reach the people they need to.
Craig Carton committed a crime. A court of law said he had to pay for that both with restitution to his victims and with jail time. He served his time. Deals like this one with FanDuel make it possible for him to stay on schedule with the restitution payments. Even if you think he is unforgivable, that should make you happy, right?
It is admittedly strange to see a mobile sportsbook hire a “responsible gaming ambassador.” I would argue though that it is only strange because it isn’t something we have seen before. Be skeptical if you are the “I’ll believe it when I see it” type, but I don’t see why anyone wouldn’t want to congratulate and celebrate both Craig Carton and FanDuel.
Sports Radio America: The Starting Point When There Is No College Radio
“If we want to replace talent with talent, we have to develop talent at the lowest levels much more than asking for requirements at the highest levels. Every industry needs their farm-system.”
It is a laboratory. A place to make mistakes. A spot to make friends. The hub of many communications schools. College radio stations are the pipeline by which young, aspiring broadcasters, engineers and producers carve their path to the pros. Broadcasters from around the United States credit college radio for helping them get to where they are today, and view it as a conduit for the next generation of talent.
“I can’t speak highly enough about my college experience doing radio,” said Evan Wilner, senior radio producer at ESPN and former member of WRHU-FM at Hofstra University in Hempstead, N.Y. “I realized in college that I am much better at fixing things rather than talking while other people tried doing something about it. Every place I’ve been, I feel like I’ve been ahead of the game because of the experience I got in college.”
Wilner’s story is far from unique among professionals in broadcasting today, and proves valuable in ascertaining the role college radio plays in preparing broadcasters in their journey. Travis Demers, the radio play-by-play voice of the N.B.A.’s Portland Trail Blazers, shares a similar sentiment regarding the opportunities college radio afforded him, and how it helped him work in the industry he had a nascent passion for.
“In sixth grade, I was listening to WFAN, and when I realized I wasn’t going to be a professional baseball player, I started [radio] right away as a college freshman.”
Demers attended LIU Post in Brookville, N.Y. beginning in 1999, and eventually served as the sports director of WCWP-FM. In his time at the station, Demers was given numerous opportunities to broadcast football, basketball and lacrosse games on campus, eventually leading to an internship, and corresponding full-time job, at ABC Radio in New York City.
“Everything I could do specifically with sports is what I was trying to do right from the start,” reminisced Demers, “and I was fortunate enough to do that.”
Dan Zangrilli, who serves as a play-by-play announcer at West Virginia University and host of the M.L.B.’s Pittsburgh Pirates’ pre- and post-game shows on 93.7 The Fan, got his start in college radio at Clarion University in Clarion, P.A. The 4,000-watt WCUC 91.1 FM was Zangrilli’s place to get practice broadcasting live basketball games, and hosting a morning talk show.
“I had free reign; it was basically like my easel,” elucidated Zangrilli. “I started out as a freshman and became the sports director, and ascended to the general manager position by my junior year. That’s just such invaluable experience to be immersed in every aspect of the radio industry, and I wouldn’t trade that place for anything.”
In a media landscape full of changes accelerated by the onset of the COVID-19 pandemic, the lifespan of college radio as a subset of the industry is at greater risk of being classified as ephemeral than ever before, a harrowing realization that one former operations manager for a mortgage company had in Memphis, Tenn. had just over a decade ago.
Ayokunle Spencer, a graduate of the University of Memphis and former paralegal, was working for the Rawlings Company in Louisville, Ky., when he happened to overhear a conversation that forever changed his life. One of his co-workers was apprehensive about how his daughter, set to graduate from the University of Louisville, would leave as the school’s radio station would be shut down due to a lack of funding. At the onset of the 2008 economic recession, college radio stations were slashed from budgets around the country, stymying the development of prospective talent and rendering vagabonds heavily involved, and invested, students. Forsaken from the ability to develop the skill set and collect the air checks needed to land a job in the industry, Spencer decided it was time to make a concerted effort to resuscitate an ostensibly-dying concentration of the evolving medium.
“When the need presented itself… we [tried to] put something together [to give] people opportunities to sharpen the skills, and develop the next broadcast talent,” said Spencer. “We posted on the message boards at the colleges and, in about a year’s time, there was an influx of different students we were getting a chance to work with.”
Sports Radio America was founded by Ayokunle Spencer in 2008 as a digital broadcasting network intended to give college students attending universities without a campus radio station the chance to polish their on-air skills and perfect their craft. A member of the jazz-format WUMR while attending the University of Memphis, Spencer had previous experience in pitching up-and-coming hip-hop and R&B artists to local radio stations, including the likes of All-Star and Yo Gotti, through his promotional company and record label, Dynasty Digital Entertainment. Progressive in his thinking, Spencer was one of the first to stream radio broadcasts on the Internet, assisting Bishop G.E. Patterson in the dissemination of a small, A.M. religious station to the masses.
“Radio was always a passion for me as a kid,” said Spencer, “but I always took steps towards that passion before the University of Memphis. I felt, at that time, I was more at the forefront of what was going to come next. I wrote a paper that the Internet would be the place for media in thirty years, and twenty-five years later, I think I was dead on with that one.”
Conceived by means of necessity, Sports Radio America is a haven for young talent, broadcasting live games and talk radio shows on the Internet. The outlet, though, became more of a potpourri of commentators and journalists alike in order to help them evolve to the dynamic world of mediated communication.
“What it started out to be isn’t necessarily what it is now, although I want to get back to those roots of working with highly-talented students and getting them prepared for the next stage of their careers,” said Spencer. “Other journalists that were leaving FOX or ESPN, or older guys that had gotten kicked out of their radio stations because they didn’t know anything about digital, they ended up here. It kind of became a collage of different broadcasters and media personalities from around the U.S.”
As Sports Radio America celebrates its 10-year anniversary, Spencer remains focused on positioning the media venture ahead of the pack, cogently aware of industry changes and best practices to help its broadcasters land jobs and the company prosper after unforeseen circumstances over the previous year-and-a-half.
“We just came through COVID, and in terms of advertising, all that stuff was crushed,” explained Spencer. “We are kind of almost in a rebuild mode now. We give people the opportunity to create something new, build up your audience and see if something works.”
Once Sports Radio America’s popularity began to grow around the country, the broadcasting outlet, to avoid being overwhelmed with participants, began interviewing and selecting talent to join them. Throughout his professional career, Spencer has had an innate ability to evaluate talent across all industries, something he calls “a God-given gift.” In his current role, which he compares to a professional football scout, one of Spencer’s jobs is to find the best people to join Sports Radio America, and help them get to where they want to go.
“The way my brain processes information, I can just tell certain people in certain things are creative enough to meet industry standards and excel,” said Spencer. “In sports radio, I evaluate voice, how interesting they are in being able to hold a conversation, the topics they pick out, etc. It’s really the only gift I think I actually have.”
Spencer has been successful in helping aspiring collegiate-level industry talent get the experience they need, with his organization serving as the pipeline many colleges have come to eliminate from their campuses. His method of evaluating talent aligns with principles employed by current hiring managers and industry professionals, such as Nick Cattles, host of The Nick Cattles Show on ESPN Radio 94.1 in Virginia Beach. Cattles highly values relatability and uniqueness in his evaluations of talent, along with if they are able to keep a listener actively engaged in their program.
“I think hosts around the country are better off when they allow themselves to be an open book,” said Cattles. “I always listen, probably more intently, to somebody who is willing to give the ‘secrets’ so to speak as opposed to somebody who is more guarded. The cool thing about radio is that there are so many talented people, and there is no one way to do it right. You try to find people who can do it their own way with the passion and the work-ethic that you can invest and believe in.”
Hardly esoteric in understanding, radio, and media altogether, is changing, and seismically in that matter. With today’s reliance on digital platforms for distribution, programs are, evidently, being adapted to fit the proclivities of the listening audience, including a shortening total attention span.
In a recent study by Microsoft, the average human being has an attention span of eight seconds, down a whopping four seconds over the last twenty years. This figure, which is shorter than that of a goldfish, is a direct byproduct of the principle of instant gratification, and the evolution of technology to enable its propagation. The inability to sustain focus has become an endemic in today’s society, and mediums of communication have had to adjust to fit this dynamic psychological paradigm.
Furthermore, consumers of mass media are more apt than ever before to selectively filter information; that is, specifically choosing what to concentrate on. As a result, media, in all of its forms, is less concentrated in scope, being narrowed to appeal to the target audience. The conflation of methodologies, simultaneously existing within a preponderance of content and a widening definition as to just who is considered to be a journalist, challenges the fundamental precept of what media is entirely. So how is radio adapting in this new landscape? By expanding its means of dissemination.
“It’s much more multi-faceted, social media-oriented and digital as opposed to [it being] siloed, [as it was] when I got into it,” said Brad Carson, operations and brand manager of 92.9 FM ESPN and Audacy Memphis Sports. “It used to be that you were a radio guy. Now in 2021, you are getting people that are entertainers. The latest joke is, ‘Hey, here’s our latest talent with one million TikTok followers.’ I think you can get people on a radio station or on our Audacy platforms from all walks of life. It’s a much more inexact science than [ever before].”
Spencer, whose progressive thoughts on the media landscape are openly conveyed in conversation, believes the introduction of streaming to be a considerable advancement that can play across multiple platforms. Unsurprisingly, he was ahead of the game at Sports Radio America, basing the online platform on this technology.
“The market for audio is always going to be there. The question is what medium we are going to use to deliver it,” said Spencer. “Everything will probably be streaming by 2030. I think that there will still be the public channels on the airwaves, but the majority of media will be consumed [via] streaming because [it is] a more accurate [platform] to measure who is listening. Whatever the next area of audio is, we will probably start it here first.”
Based on my conversations with these industry professionals, it is safe to say that Ayokunle Spencer, Brad Carson, Travis Demers, Evan Wilner, Dan Zangrilli and Nick Cattles attribute their college radio experience as one of the reasons they possess the skills to succed in their current jobs. Being able to have the flexibility to make mistakes, try new things and establish long-lasting professional relationships are invaluable to ambitious young broadcasters, and all evolving broadcasters for that matter. Belonging to a college media outlet is undoubtedly something many students savor, with many largely basing their choice of college on the quality of the media outlets if they are so fortunate. However, not all ambitious young broadcasters are equally privy to the same resources.
Not all ambitious young broadcasters are able to provide sufficient previous experience when trying to secure an internship or a job.
Not all ambitious young broadcasters are privy to changing industry trends, nor do they have the resources to render them an understanding as to how to achieve their goals.
Not all ambitious young broadcasters have a place to be mentored, and mentors willing to leverage valuable industry connections that could lead them to an internship or a job.
For Ayokunle Spencer and his team at Sports Radio America, lessening the discrepancies between those with the ability to easily make connections and expend resources, and those looking to establish or collect them, has always been at the forefront of their mission — and they intend to keep shrinking the gap.
“I am surprised there aren’t more places like this where people can develop their skills before they reach the big-time,” expressed Spencer. “If we want to replace talent with talent, we have to develop talent at the lowest levels much more than asking for requirements at the highest levels. Every industry needs their farm-system.”
Covid Is A Convenient Excuse For Lowering Our Standards
“I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show.”
I was probably four hours deep into my all-day football binge on Saturday when I started to think about the overall quality of what I was seeing. This isn’t a column about whether college football is secretly better than the NFL. This is about our industry.
While you may not notice a difference in the presentation on CBS’s top line SEC broadcast or on FOX’s Big Noon Saturday game, it is clear how few resources are being allocated to some of the games further down the networks’ priority list. ESPN doesn’t even send live broadcasters to its Thursday night college football game for instance.
Covid-19 was the beginning of this. It forced every business in the broadcast industry to re-evaluate budgets and figure out how to do games when travel and the traditional set up of broadcast booths simply were not on the table.
This isn’t a problem limited to game coverage either. Plenty of hosts still are not back in their radio studio. Plenty of guests on ESPN’s and FS1’s mid day debate shows are still appearing via Skype and Zoom connections. It is as if we have started counting on our audience not expecting quality any more.
I want to be perfectly clear. I get that this pandemic isn’t over. I get that in many cases, networks and stations are trying to avoid overcrowding studios and in some cases, make accommodations for top-level talent that refuse to get vaccinated. “It’s survival mode,” is the answer from corporate.
Do we still need to be in survival mode though? We are 18 months into this pandemic. The majority of Americans are vaccinated. The ones who aren’t are actively making a choice not to do what they need to in order to put on the best possible show they can.
I am sick of hearing lag and noticeably different levels of soundproofing between two hosts on the same show. I am sick of seeing hosts on crystal clear HD cameras in a high tech studio talk to someone on a dirty webcam that can’t be bothered to even put in headphones so they don’t sound like they are shouting down a hallway.
A good example is the late Highly Questionable. I really liked that show when it was done in studio. I liked a lot of the ESPN talent that popped up on the show even after Dan Le Batard left. I couldn’t watch any more of the show than the two minute clips that would show up on Twitter. I didn’t want to see Bomani Jones behind a giant podcast mic. The low res camera that turned Mina Kimes’s house plant into a green blob gave me a headache. The complete disregard for quality made a decent show hard to watch.
There was a time when the accommodations we made for Covid-19 were totally necessary. Bosses and broadcasters did whatever they had to to get a show or a game on the air. At this point, I am starting to wonder how much of the concessions are necessary and how much are the result of executives that “good enough” is the new standard.
It is totally reasonable to argue that in an age where microphones and editing software are cheap, slick production doesn’t carry the weight it once did. That is true for the podcasters and TikTokers that are creating content in spare bedrooms and home offices. If you’re ESPN or FOX or SirusXM, that slick production is what sells the idea that your content is better than what people can make at home on their own.
It’s soundproof studios, 4K cameras and futuristic graphics packages that make the standard setters in the industry special. Maybe your average Joe Six-Pack can’t put it into words. He just knows that a lot of home-produced content sounds and looks like play time compared to what he sees or hears on a network.
Sure, the anchors are the signature of SportsCenter’s heyday, but it was the stage managers, producers, and other behind-the-scenes staff doing their jobs that really made the show thrive. Those people cost money. The details they took care of may be something 90% of viewers will never notice. They will just know that they are watching a really good show. Those difference makers cannot do their jobs to the best of their abilities if everyone is being piped in from a different FaceTime feed.
In the early days of the Covid-19 pandemic we did whatever we had to. As broadcasters, we made compromises. As an audience, we accepted compromises. We were desperate for familiar entertainment and if Zoom is what it took to get it, that was just fine. There was no cure, no vaccine, things were scary and we were all anxious not knowing how long it would all last.
More than 18 months later, things may not be back to normal, but we are considerably less desperate. There are signs of normalcy in the world. Make the commitment to bring back the standard that won you so many fans in the first place.
Sports Online22 hours ago
Dan Dakich Joins Outkick, Rips ESPN, Matt Jones
Sports TV News2 days ago
Adele’s ‘Hello’ Used To Hype NBC’s Patriots-Bucs Sunday Night Game
Sports TV News2 days ago
Jay Williams Off ESPN’s NBA Countdown
Sports TV News12 hours ago
Pablo Torre: Tony Kornheiser Refused To Participate In PTI Doc