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Bob Sturm Isn’t Trying to Replace Mike Rhyner

“I almost got to my 48th birthday without having to leave the noon to 3 o’clock slot, which is far and away the greatest lifestyle timeslot there is. Now I have to miss dinner a little more but there’s a lot of good in this.”

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It’s never easy to follow a legend. 

Phil Bengtson had to follow Vince Lombardi. Ray Perkins had to follow Bear Bryant. Tim Floyd had to follow Phil Jackson. And now in Dallas, Bob Sturm is trying to follow Mike Rhyner in afternoon drive at The Ticket.

Ok, maybe that’s a little overzealous of a comparison, but if there was ever a legend to be replaced in Dallas, it’s certainly the Old Grey Wolf. But Sturm isn’t overly concerned with trying to follow a legend.

1310 The Ticket announces Bob Sturm as replacement for Dallas ...

Does he realize the situation he’s in? Absolutely. But his main focus is continuing the excellent track record 1310 The Ticket has put out since its inception. He’ll help accomplish that by doing the one thing he can control: Being himself on the air.

Tyler McComas: So how would you evaluate the first six months of the show?

Bob Sturm: I think it’s gone pretty well. We weren’t bad to begin, but it was just so weird for all of us. It’s just, 20 years, man. You know everything about each other, you’ve heard all the stories and you know the body language and the likes and dislikes. Now, you scrap that and go in a whole new direction with someone that you don’t know their backstory as well.

Luckily I know Corby, but we had done very little radio together and therefore it was a rather new experience. I think we sound 1 million times smoother, already, but I realize but it took Dan and I like five years to not sound like we suck. Now, we were also in our mid-20s, so this experience will go a lot faster, but overall it’s been a fresh and new experience that I’ve really enjoyed.

TM: What was your initial reaction when Mike Rhyner retired? 

BS: I think it was a shock and a bummer when Mike was retiring. It was a head spinning moment in a sense that they wanted me to try and fill Mike’s chair, which is absurd. Also, to leave Dan McDowell who’s my best friend on the planet, because we’ve been through so much together since 1999, I didn’t want him to feel like I was breaking up the team. I also didn’t want Corby to not get the future of the show that he wanted, because I don’t think it was necessarily his first thought to just move me up there. I think he had to warm to the idea.

I really just didn’t want anyone to feel upset, but at the same time, I did want to step up and answer a challenge, especially if the bosses thought that was the key to making the station strong. They’ve been very good to me for a long, long time, which includes hiring me from market No. 166 in 1998. I kind of feel, for the most part, they’ve never really asked me to do anything near this big, in terms of me leaving my comfort zone. Look, nobody wanted Mike to retire and I kind of wish we could all stay the same age like Peter Pan and keep the lineup the same. But things evolve and this is how it works.

I almost got to my 48th birthday without having to leave the noon to 3 o’clock slot, which is far and away the greatest lifestyle timeslot there is. Now I have to miss dinner a little more but there’s a lot of good in this.

The only bad thing is risking leaving a show I think was great, for a show that’s unknown. The early results are good, although I think a lot of people miss Mike. That’s normal. I think it’s a really talented team here at The Ticket and I think you could do the pairings in many, many different ways and end up with good shows. I do think Corby and I will be doing some really good stuff. 

Also, let me just add this thought. I think it was important for us to get into the same location. So when Covid hit, we all did shows from our homes and some of the shows tried to figure out ways to get into the same location. Corby and I were in different locations for six weeks and the show probably sounded fine, but around April 20th we collectively said, let’s get you guys into the same room, you’ll still be 10 feet apart, or whatever. Now the verbal cues and the nonverbal cues, even the talks during the break, I think we’ve grown substantially in the last six weeks, since we got into the same room. I think that’s huge for two guys that are brand new together.

TM: Did you and Mike ever have a sit-down or a dinner where you talked exclusively about your new role with The Ticket?

BS: No, we’ve talked about a lot of things. Mike and I are quite friendly, but at the same time, we’ve talked about his path and my path in a more general term. He’s always been very complementary. He thinks I’m capable of some things beyond maybe Dallas mid-days. He would say things like that through the years. So he’s been so good to me, but we never really had a passing of the torch discussion.

I’d like to talk to him about certain things, including the name of the show, like, whether he’s totally cool with it because I respect him a ton. But we’ve never really broached that topic, because I get the sense he’s over it. He did it a long, long time and I think that’s one topic, where if he ever wanted to discuss it, that’s great. I don’t know if it’s my place to get too specific on that kind of stuff. I know that sounds evasive but we talk rather frequently still, we just don’t talk that much about the show, if that makes sense.

TM: You really entered into an incredible situation. You’re replacing a legend and during a time where sports radio has been flipped upside down. 

BS: Oh, absolutely. Then not to have any games to probably play to my strengths. Yeah, that wasn’t ideal but at the same time, being at The Ticket for as long as I have, maybe that prepared me. But it’s daunting, there’s no question about it. Replacing Mike is just ridiculous and that’s why I try to convince myself that I’m not replacing him. He’s a legend and I never try to replace him, but what I will try to do is play to my strengths, which absolutely will be to cover everything in the world of sports that I absolutely love so much and work hard. I don’t think anyone probably grinds harder than I do. I think I’m probably a workaholic and I think that generally would, hopefully, be seen in the way that I do a show in the afternoon.

It’s kind of surprising, since I worked here for so long, that there’s people that haven’t heard much of me. People are busy during the day and I guess I didn’t realize that. They were familiar with me, I guess, but not listening to me for several hours a day. I don’t know how big of a part of the audience that is, but I was shocked that I could do 5,000 shows and nearly 20,000 hours with Dan and yet a lot of real loyalist in Dallas to the sport scene, because they work for a living, they are kind of unfamiliar with a lot of what I have to say. In some ways it’s a new audience and in some ways at least I have the credibility that The Ticket family is pretty welcoming, for the most part.

The guy that follows the guy always has a hard job. It’s a big responsibility to make sure that this train keeps rolling down the tracks to the level of expectation they all set for us. That’s a lot to think about. I hope this move, not only this one, but the noon to 3 o’clock moves, I think it’ll really keep us going strong for a while but I guess that’s for the audience to decide.

TM: How has your writing positively affected your radio career? 

BS: I think writing has been great for me. First of all, it’s what I originally wanted to do before I discovered that I could talk for a living. I went to college to write and then found out that I got a little claustrophobic in the boundaries of writing, especially when you’re early in the game and they want you to write about the beats that nobody else wants to cover.

Bob Sturm replaces Mike Rhyner as afternoon drive host on 1310 The ...

I wanted to talk, because that meant I didn’t have to cover a high school volleyball game. With radio I could talk about the topics that I wanted to talk about, but then I circled back to writing because it’s so valuable to basically diary your thoughts. So when I started writing, I did it for an audience of one. I would start blogging but I didn’t make any money and I didn’t really have an audience. But I just thought I wanted to write my notes, so for each game that I watch, I want to write and read them out for two reasons: One, so I can remember while I’m on the air. Two, so I can remember in five years what I thought about current topics. For example, this is what you thought back then about Tony Romo. This is what you thought about Dirk Nowitzki. Now, here you are three years later, and you may feel differently now, but it’s a reminder to kind of own your positions.

So I think it’s great in terms of accountability. Writing also scratched an itch that radio didn’t scratch, because radio is about a mass audience. I’m talking about things that most of your audience is interested in whereas I think writing allows me to be a little more niche on what my topic is. I am very interested in the X’s and O’s and the mechanics of football. I realize that’s not for a super mass audience. It’s not fantasy football, it’s not something my mom or my wife or a whole lot of people would be interested in. You really have to love football to love what I write about.

TM: I recently heard you briefly talk about phone calls on a podcast. That brings me to this: What’s your radio pet peeve? 

BS: My pet peeve is probably radio people who don’t think or put a lot of thought into their opinions. Actually it’s more than just the TV audience these days with the network TV sports talk shows, I think they probably, and in defense of them, they’re probably spread so thin they can’t be experts on anything, so they kind of sound like they’re not experts on anything. I think that’s really bad for the audience and I think it makes the audience think that those opinions are something worth repeating or stealing and I think that’s a bad thing for our industry, because I was told that, at an early age, you have to be smarter than your audience or there’s no reason them to care what you say. The moment they think they know more about the topic than you do, I think that’s when you’re in big trouble.

My other one sounds bad to media people, because it sounds a little haughty, but I would say that it’s amazing to me how little the media really understands the sports they cover. I wish all of them would get as obsessive as some of us who get called nerds, because we really want to understand football or hockey or basketball at a level so the coaches and players are like, OK, this guy actually understands the game.

I don’t think that makes you a nerd. I think we should all try to dig deeper and really understand why coaches do what coaches do and why players do what players do. It’s not just watch the ball and if it crosses the goal line or goes in the hoop, then that equals good and if it doesn’t that equals bad. We should absolutely use the off-season to understand. And maybe even attend coaching clinics, just anything to feel like we’re educating ourselves on the mechanics of the sports so that we can help our audience also get smarter.

TM: So if you’re listening to radio outside of Dallas, who are you listening to?

BS: I would say Pat Kirwan on Sirius NFL Radio is the best and most influential voice I’ve ever heard in the game of football. He’s taught me so much. He does the show Moving The Chains. He used to host it with Tim Ryan, and now he does it with Jim Miller.

Pat Kirwan - Wikipedia

I don’t know if he’s the most seasoned broadcaster ever, but man, in terms of being able to explain to an audience how football works in every aspect, I feel like he’s been the college professor for me.

Before that, Chad Coppock, Jim Rome, certainly the guys at The Fan in New York, there are a lot of guys over the years that have influenced me to the point of how I sound. When I got to the year 2000 and started working with Dan a lot, Dan kind of subconsciously inspired me to find my own voice and not sound like I’m a mishmash of the three or four guys I’ve listened to the most. That’s hard for young broadcasters to do, but I think once you’ve found your own voice and start sounding like yourself and not like an off brand Jim Rome or something, I think that’s probably when I really advanced as a talker.

BSM Writers

Radio Partnerships With Offshore Sportsbooks Are Tempting

The rush to get sports betting advertising revenue offers an interesting risk to stations in states where the activity is illegal.

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Maryland Matters

As the wave of sports gambling continues to wash over the United States, marketing budgets soar and advertisements flood radio and television airwaves. Offers of huge sign-on bonuses, “risk-free” wagers, and enhanced parlay odds seem to come from every direction as books like DraftKings, FanDuel, and BetMGM fight over market share and battle one another for every new user they can possibly attract.

For those in states where sports betting is not yet legalized–or may never be–it is frustrating to see these advertisements and know that you cannot get in the action. However, as with any vice, anybody determined to partake will find ways to do so. Offshore sports books are one of the biggest ways. Companies such as Bovada and BetOnline continue to thrive even as more state-based online wagering options become available to Americans.

While five states–Delaware, Maryland, Nevada, New Jersey, and New York–have passed laws making it illegal for offshore books to take action from their residents, using an offshore book is perfectly legal for the rest of the country. While there are hurdles involved with funding for some institutions, there is no law that prevents someone in one of those other 45 states from opening an account with Bovada and wagering on whatever sporting events they offer. The United States government has tried multiple times to go after them, citing the Unlawful Internet Gambling Enforcement Act (UIGEA) of 2006, and have failed at every step, with the World Trade Organization citing that doing so would violate international trade agreements. 

While gambling is becoming more and more accepted every day, and more states look to reap the financial windfall that comes with it, the ethical decisions made take on even more importance. One of the tougher questions involved with the gambling arms race is how to handle offers from offshore books to advertise with radio stations in a state where sports betting is not legalized. 

Multiple stations in states without legalized gambling, such as Texas and Florida, have partnerships with BetOnline to advertise their services. Radio stations can take advantage of these relationships in three main ways: commercials, on-air reads, and the station’s websites. For example, Bovada’s affiliate program allows for revenue sharing based on people clicking advertisements on a partner’s website and signing up with a new deposit. This is also the case for podcasts, such as one in Kansas that advertises with Bovada despite sports gambling not being legal there until later in 2022.

People are going to gamble, and it’s legal to do so. In full disclosure, I myself have utilized Bovada’s services for a number of years, even after online sports wagering became legal in my state of Indiana. As such, advertising a service that is legal within the state seems perfectly fine in the business sense, and I totally understand why a media entity would choose to accept an offer from an offshore book. However, there are two major factors that make it an ethical dilemma, neither of which can be ignored.

First, Americans may find it easy to deposit money with a book such as Bovada or BetOnline, but much more difficult to get their money back. While the UIGEA hasn’t been successful in stopping these books from accepting money, it has made it difficult–near impossible, in fact–for American financial institutions to accept funds directly from these companies. Therefore, most payouts have to take place either via a courier service, with a check that can take weeks to arrive, or via a cryptocurrency payout. For those who are either unwilling or not tech-savvy enough to go this route, it means waiting sometimes up to a month to receive that money versus a couple days with a state-licensed service.

The other major concern is the lack of protections involved with gambling in a state where legislation has been passed. For example, the state of Indiana drew up laws and regulations for companies licensed to operate within its borders that included protections for how bets are graded, what changes can be made to lines and when they can take place, and how a “bad line” is handled. They also require a portion of the revenues be put towards resources for those dealing with gambling addiction or compulsion issues. 

None of those safeguards exist with an offshore book. While the books have to adhere to certain regulations, it’s much more loosely enforced. I’ve lost track of the number of times a book like Bovada has made somewhat shady decisions on what bets to honor as “wins”, and how they handle wagers on what they deem to be “bad lines” where they posted a mistake and users capitalized on it. Furthermore, not a single dime of the monies received go towards helping those dealing with addiction, and there are few steps taken by the offshore books to look for compulsive or addictive behaviors.  

As states look to move sports betting out of the shadows, the decision whether to take advertising dollars from offshore books seems to be an even larger gray area than ever before. Although it is perfectly legal to accept these funds when offered, it feels unethical to do so. There are moral obligations tied to accepting the money involved, especially given the lack of regulations and safeguards for players in addition to the limited resources for those who find themselves stuck in a situation they may struggle to escape. While it’s possible to take steps to educate listeners on these pitfalls, it simply feels irresponsible to encourage people to utilize these services given the risks involved, and the lack of protections in place.

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Saban v. Jimbo Is WrestleMania for College Football Fans

Ryan Brown says the Nick Saban versus Jimbo Fisher feud is one made for pay-per-view and we have nearly five months to hype the match.

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It was the day after I turned eleven that Hulk Hogan body slammed Andre ‘The Giant’. WrestleMania III filled 90,000 seats at the Pontiac Silverdome and the living room of one of the houses in my neighborhood. Real or fake, we didn’t care. Three decades later, Nick Saban versus Jimbo Fisher is 100% real and it is coming to a living room near you.

I live in the capital city of SEC Country – Birmingham, Alabama. SEC football needs no additional drama here. You get a complete college football obsession at birth. That said, the October 8th Texas A&M visit to Alabama will be among the most anticipated regular season college football games both regionally and nationally.

One would think CBS will use their annual prime time date for that Saturday just as they did for last season’s Alabama at Texas A&M game, you know, when Nick Saban and Jimbo Fisher were on speaking terms. Not knowing how the season will play out, it would be no surprise if ESPN’s College Gameday is in Tuscaloosa as well. While we are at it, let’s just cut to the 2024 chase and schedule a Presidential debate in Tuscaloosa that weekend, as well.

Not one person will be surprised if Alabama is undefeated and the top ranked team in the nation that week. The surprise, based on the rest of the Jimbo Fisher era, will be the Aggies being unbeaten. Their trip to Alabama comes at the end of a five game stretch that includes Appalachian State at home, Miami at home, Arkansas in Dallas and a road game at Mississippi State. Incidentally, the same Texas A&M team that was able to upset Alabama last season also managed to lose to Arkansas and Mississippi State.

Just the prospect of the two teams being unbeaten and highly ranked causes some to say this game would need no extra storylines. Shouldn’t that, and being on CBS in prime time, be enough? The Saban-Fisher Feud already has people discussing this game nationally and Lee Corso hasn’t even donned a body odor-filled mascot head yet.

I would like to project this game to deliver the largest TV audience of the regular season but I can’t, for one reason: I’m not certain it will be close. I think Alabama is that much better than Texas A&M. That’s why the build up will deliver a huge first half audience.

For perspective, in the 2021 regular season, the Alabama at Texas A&M game had the fifth largest TV audience, in a game that went down to the final play. The Ohio State at Michigan game had 15.8 million viewers on as part of FOX’s Big Noon Kickoff, almost double that of Alabama at Texas A&M on CBS in prime time.

That brings me to another misconception: big games have to be in prime time to get a big audience. Of the top ten largest college football audiences in the regular season and conference championship weekend, only half were prime time games. College football fans, and NFL fans for that matter, will find the best games no matter where they are placed.

So, back to Saban v. Fisher; why is it a bad thing? Would SEC Commissioner Greg Sankey prefer it not happen? Of course. Will it bring more attention to a game in the conference he oversees? I say, absolutely. Heck, my daily show is already selling t-shirts for the game. You may say “shameless plug”, I say paying for my kid’s college. Tomato, tomahto.

This is what made “Mean” Gene Okerlund a household name in the 1980’s. He was the far too serious host that interviewed the wrestlers who challenged other wrestlers to a grudge match in exotic places like the Macon Coliseum and the Allen County War Memorial Coliseum and the Dallas Sportatorium. Why did they do that? First, it was entertaining but, primarily, it sucked the viewer into making plans to view those matches.

I mean, if Ricky “The Dragon” Steamboat said he was going to rip the head off “Big” John Studd, was I going to miss that?

That was why a bunch of kids crowded into a living room in Anniston, Alabama in 1987 to watch WrestleMania III, The Main Event. I can’t tell you who was on the undercard that night. The only wrestlers we cared about were Hulk Hogan and Andre “The Giant”.

Actually, my friend’s mom thought the Ultimate Warrior was “cute and had a great body”. He wasn’t on the card and I thought it was odd she told us that but she was footing the bill for the pay-per-view and had mixed the fruit punch Kool-Aid, so who am I to judge one’s wanton desires?

Texas A&M at Alabama will be the SEC’s main event this season and, if the cards fall right, it may be college football’s main event. What happened between the two head coaches might not be the proudest moment in SEC history but it will bring more attention to that game. And, my word, we finally have a nano-second in which two prominent coaches weren’t pre-programmed robots refusing to deviate from the script.

As amazing as WrestleMania III was for my childhood, it was scripted. The Tide and the Aggies will not be. College football remains one of the greatest values in sports. I pay very little to watch unscripted game after unscripted game. Truth is, you couldn’t even script most of what we see on a college football Saturday. 

Texas A&M at Alabama is already beyond what the most creative writers could imagine and that is why this fuel to the already smoldering fire adds to this game. Now, if Nick Saban will just try to bodyslam Jimbo Fisher, we’ll have something.

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Doc Emrick’s Love Letter is Hockey and… Language

The Hall-of-Fame broadcaster Doc Emrick developed his love for the sport and the art of the call early in life and never let go of either.

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LaFontaine, Indiana is a small rural town in the northeastern sector of the state with a population of just under 900 people. Located between the cities of Fort Wayne and Indianapolis, it is similar to the village illustrated in the 1986 movie “Hoosiers,” and its name, rooted in the French language, translates to “The Fountain” in English.

In the summer of 1955, the local Cub Scouts managed an organized softball league, and once children graduated to become a member of the Boy Scouts, they would transition to play baseball. One nine-year-old child in the summer of 1955 had the common realization that he would not likely make the major leagues since he was not considered an elite-level athlete. While he enjoyed playing the game, he enjoyed listening to the game on the radio even more, so much so that he wanted to pursue broadcasting as a career.

There would often be a softball or baseball game being played on a near-nightly basis in LaFontaine, with upwards of 100 people attending. The town ballpark had a public address system; however, it had no steady announcing presence, instead relying on adults to volunteer to provide the play-by-play for the spectators. For this prospective broadcaster with a nascent avidity for baseball, sitting behind the microphone and vivifying the action became something hardly perfunctory, but rather an inspired art form. It afforded him the chance to interact with his community and his friends as a familiar voice, and helped prepare him for what would become a 47-year professional career carrying out this very task, albeit in different settings for different audiences through different mediums, and primarily in an entirely different sport. 

Going to a Major League Baseball game from LaFontaine was quite the trek for the young Mike Emrick and his family; therefore, attending was often a once-a-year event that took place in the summer. Driving northwest through the corn fields for approximately 150 miles without the presence of super highways, he and his brother Dan, accompanied by their parents, would eventually reach their “Field of Dreams” in Chicago, Il., where they would take in an afternoon game. From the time he was young though, Emrick cheered on the Pittsburgh Pirates. He grew up listening to Bob Prince and Jim Woods call games of hall-of-fame outfielder Roberto Clemente on the wide-ranging KDKA radio signal.

Emrick had always had an interest in calling baseball games; however, that all changed one day in 1960. At the age of 14, he attended his first hockey game just before Christmas, a matchup between the visiting Muskegon Zephyrs and Fort Wayne Komets in Fort Wayne, Ind. The game ended in a tie, but Emrick was enamored with the game’s nuances, spontaneity and occasional fights nonetheless. While on the way to the car in a snow-filled parking lot to return home, he realized that this fast-paced game on ice would be the outlet through which his voice would be heard and passion for sport expressed.

“When I saw my first hockey game,” Emrick said, “overnight the whole idea changed from baseball to hockey. Then the question was: ‘Well, how do you get to do that?’”

Emrick closely followed the Komets after his realization, learning its players and the game of hockey listening on WOWO radio. While he was a fan of the team and enjoyed watching its hockey games at the Allen County War Memorial Coliseum, he was also there for another purpose in his quest to become a professional broadcaster.

“After I got my driver’s license at age 16, I would drive 40 miles on Wednesday nights to Fort Wayne and sit in corner sections of the old Coliseum… and do games into a tape recorder and try to get better at it,” Emrick recalled. “It was taking those games and using those sort of phony games; I used legitimate names of players because I would get a lineup and learn who they were. Then I would save the tape – and that was eventually my first audition that I sent out.”

Emrick grew up within a pedagogical household where great emphasis was placed on the proper use of the English language. His mother, Florence, was a home economics and physical education teacher while his father, Charles, was a high school principal, and the family owned a music store on the side as well. From the time he was in fifth grade, he received a salient piece of advice from one of his teachers about the inculcation and subsequent expansion of his vocabulary which he carried with him throughout his career.

“Once we used a word five times, it was ours for life,” Emrick recalled. “[My teacher] encouraged us to build our vocabulary, and so that was influential, I think, along the way.”

Emrick landed his first broadcasting job in 1973 as the radio play-by-play announcer in the International Hockey League for the Port Huron Wings (later renamed the Port Huron Flags) on WHLS radio for $160 per week. That job came after a series of rejection letters from a legion of hockey broadcasting outlets, the stationery located in a binder he keeps to this day.

The next season, despite nearly landing the Pittsburgh Penguins radio play-by-play job, Emrick added another job to his résumé by becoming the team’s public relations director and continued broadcasting games. While he had the will and determination to succeed and become an NHL broadcaster, his backup plan of becoming an educator was quite genuine in scope as his time in the minor leagues continued.

Shortly after he graduated from Manchester University in 1968 with a B.Sc in speech, and, one year later, an M.A. in radio and television from Miami University, Emrick’s foray into the world of college instruction began. Prior to working in Port Huron, Emrick resided in Pennsylvania, teaching public speaking classes at Geneva College and managing it’s 15-watt campus radio station. In addition, he volunteered to work as a correspondent for The Beaver Sun Times coverage of the National Hockey League’s Pittsburgh Penguins in exchange for a season press pass so he could further immerse himself in the game of hockey.

One of Emrick’s mentors in broadcasting was Bob Chase, the Fort Wayne Komets’ play-by-play announcer for 63 years, and someone who had a profound influence on his career. Chase called hockey, along with various other sports including basketball and racing amid his time behind the microphone, and while there were many other announcers doing play-by-play professionally, Chase was representative of Emrick’s soundtrack of hockey.

“I was a college guy and befriended him and he was very kind to me and would listen to my work,” said Emrick. “He was the one person that I listened to because at the time there was not a national TV package for the NHL, and so he was about the only guy I had access to.”

Emrick sought after his Ph.D in broadcast communications to ensure he would have a successful teaching career if his broadcasting dreams fell through. While in the doctorate program, Emrick honed his craft and earned his nickname “Doc,” a pseudonym he was called throughout his broadcasting career. In fact, his dissertation was titled “Major League Baseball Principal Play By Play Announcers: Their Occupation Background And Personal Life,” and signed off by Detroit Tigers announcer Ernie Harwell, his nonacademic advisor. Later in his career, he famously used 153 different verbs in a single game to describe the movement of the puck, including “squibbed,” “flagged” and “galloped” – an aspect of his broadcasting style, per se, that demarcated him from others in his profession.

“I always tried to use words that were hopefully interesting, but also I didn’t want to come across as talking down to the audience,” said Emrick. “I just wanted to use something that was creative and maybe amused people a little bit. Once one of those words was used, I tried never to repeat it the rest of that night because you don’t want to hammer people with the same one.”

Prior to the 1976-77 season, Emrick relocated to Portland, Maine to serve as the radio play-by-play voice and public relations director of the brand-new Maine Mariners in the American Hockey League – an affiliate of the National Hockey League’s Philadelphia Flyers. After three more years of hard work in the minor leagues, he finally made it to the pros with the Flyers as its television play-by-play announcer for home games on PRISM cable beginning in the 1980-81 season.

Having worked in both broadcast mediums, Emrick knows that radio requires the announcer to evoke imagery within the mind of the listener, while television is centered on the announcer’s reaction to the already-cultivated picture. While he never broadcast a boxing match, Emrick uses an analogy within that sport to describe the difference between the two broadcast mediums.

“I’ve heard it described before, and it’s probably accurate, [as] the difference between a boxer leading or counterpunching,” said Emrick. “In radio you basically lead, and in TV you counterpunch.”

Regardless of the medium though, what truly makes a broadcast unique is in how effectively it goes beyond the action taking place on the ice. Being able to do that comes in one’s preparation and knowledge of the game, both of which Emrick possessed and continued to grow upon being named the inaugural television play-by-play voice of the New Jersey Devils in 1982 on the MSG Network.

“The legs that get you from one thing to the next are the identity of the players,” said Emrick. “I think that’s still the most important thing of any play-by-play description is… the ‘who’… because it’s the people who are competing that draw the audience, and you need to identify who it is.”

Emrick returned to the Philadelphia Flyers in the 1982-83, first as a spot announcer, and upon his departure from the Devils in 1986, as an studio analyst on UHF telecasts. In the same year, he began his first of many years of national television work as the lead play-by-play announcer for NHL games on ESPN, working alongside former NHL forward Bill Clement.

Before the 1988-89 season, Emrick was promoted by the Flyers to be the team’s lead television play-by-play announcer, working with his analyst Clement for a majority of the time in both his regional and national obligations. Working in both roles simultaneously, he has had to be cognizant of his audience – meaning that the preparation for regional and national games, while similar in methodology, differed from one another in terms of the time devoted to each team.

“Usually with a national telecast, it’s 50-50 on how much you talk about one team or the other,” said Emrick. “With a local broadcast, it’s usually 70-30 or 80-20 because if there’s one team that is supplying all of your viewers or most of them, you go that way.”

Emrick’s presence on regional sports networks continued upon his departure from the Flyers after the 1992-93 season, as he returned to Newark as the play-by-play voice of the Devils on MSG Networks. Broadcasting within the three-team New York-Metropolitan area marketplace for the Devils from 1993 to 2011, Emrick stayed up to date not only on his primary team, along with the Rangers and New York Islanders. As a result, the shift from regional to national television became smoother for Emrick, and with it, the allocation of the time he spent discussing each team more consistent.

“You treated it like a network telecast and I was very comfortable shifting from regional games to network because you had fans of numerous teams living in New York,” said Emrick. “Whereas in Philadelphia, you made the assumption that most of the people that were watching… were Flyers fans.”

Over his years at ESPN, Emrick called two Stanley Cup Finals, something that would render itself into an annual occurrence once he joined Fox in 1995. From there, Emrick called 20 more Stanley Cup Finals with Fox, OLN, Versus and NBC Sports – providing the description throughout the final roadblock standing between one team and a championship. Television, being the visual medium that it is, not only requires an announcer to be aware of their audience, but also of the moment and what will best transmit the atmosphere within the arena to the viewer. Throughout the course of enduring moments that stand the test of time, including game-winning goals, penalty shots and highlight-reel saves, Emrick uses his words judiciously, following a tried-and-true philosophy that requires discipline from the announcer with the potential to put an indelible stamp on the action.

“Less is more. Especially with television, you have a lot of people that have qualified to be in trucks and operating cameras and placing microphones in arenas,” Emrick stated. “Just like you are qualified to be there to describe it, they are the best at their profession… You don’t have to do everything. You have a lot of help.”

Emrick worked his first of seven Olympic Games in 1992 while on CBS, calling the ice hockey championships. While he had to consistently learn names of new players and adjust to the cultural differences of the host country, the quadrennial worldwide showcase built on tradition has induced games that have helped grow the game of hockey on an international scale. One of his most memorable broadcasts emanated from the thrilling conclusion of a gold medal matchup between Canada and the United States from Vancouver, B.C. in February 2010.

The game drew 27.6 million viewers, the largest television hockey audience since Al Michaels was behind the microphone for the “Miracle on Ice” semifinal game between the Soviet Union and the United States aired on tape delay in 1980 from Lake Placid, N.Y. 

“Sam Flood, our executive producer at NBC, always told us [for big games] to broaden the brush,” said Emrick. “In other words, never try to talk inside stuff because we were going to have a lot of extra viewers, and you didn’t want to talk [about] inside stuff and have them feel like they were being left out. And so we basically let the game do the talking and did not try to do a lot of strategy or things like that.”

Part of a broadcaster’s job is to recognize their role within the greater production of a live sporting event. Sure, they are often omnipresent throughout the broadcast; however, they are hardly, if ever, supposed to be the main character. The job of the rest of the production crew is to adequately tell the story of the game, whether it be through camerawork, graphics or interviews. While they are not scripting the moments on the ice, the broadcast director coordinates the assorted roles to help the team’s vision of the end product come to life. It is a task that allows for creativity, but also requires evolution to shifting consumer trends – achieved through collaboration.

Down by one goal in the gold medal game, the United States pulled it’s goaltender Ryan Miller for the extra attacker, which led to forward Zach Parise tying the game with 24 seconds remaining in regulation time. Then in overtime, Canada forward Sidney Crosby scored the “Golden Goal,” giving Canada its first gold medal since the 2002 Olympic Games in Salt Lake City, Utah.

“I think I said, ‘…and Crosby scores – the goal to Canada,’ and then I said nothing for almost two minutes,” Emrick recollected. “I didn’t need to say anything because what we showed and what the people in our truck and the people operating cameras provided was the sound of the crowd and the microphones on cameras”

Over the years, Emrick has worked with numerous analysts, including Bill Clement, John Davidson, Bobby Taylor, Chico Resch, Doug Sulliman, Sal Messina and Eddie Olczyk. As a play-by-play announcer, Emrick ensured that his analyst would be implemented into the game, usually when he felt they could contribute to the broadcast or when he needed to take a breath. By including them in the broadcast, a greater ethos is established with the viewing audience and multiple perspectives are acknowledged.

“I think our business is analyst-driven,” said Emrick. “Those of us in play-by-play are there to enhance the game but not get in the way of it. It is when the play stops that you really learn about what has happened or what could happen in the future. Those of us who are describing the game don’t have time to throw that in, and if we did, our credibility is not nearly that of people who have actually experienced it, and that’s why analysts are there.”

Following the 2010-11 season, Emrick relinquished his role as the play-by-play announcer for the New Jersey Devils and continued to work as the national play-by-play voice of the NHL on NBC for the next decade. His final season as an announcer was halted because of the COVID-19 pandemic, and once professional hockey made its return, Emrick found himself calling games remotely – something he had never done in his illustrious career.

Emrick officially announced his retirement from broadcasting in October 2020 after 47 years behind the mic calling over 3,750 hockey contests, including 22 Stanley Cup Finals, 45 playoff Game 7s and 19 outdoor games. Prior to his retirement, Emrick won the Foster Hewitt Award for “outstanding contributions as a hockey broadcaster” presented by the Hockey Hall of Fame, and was inducted into the U.S. Hockey Hall of Fame in 2011. 

Today, the NHL is in the first of new seven-year contracts with both ESPN and Turner Sports worth a reported $1 billion. For Emrick, the specific networks carrying the games do not mean as much to him as the continued worldwide dissemination of the game of hockey itself.

“I cheer for everybody who winds up being on the air doing games… because this is a game that is wonderful and needs to be continually promoted by whoever winds up with the rights,” said Emrick. “I’m not a businessman; I don’t have billions of dollars in my pocket.”

Following the conclusion of the 2010 gold medal game, sideline reporter Pierre McGuire interviewed Miller and Crosby, and the two athletes, despite being on opposite ends of the outcome, spoke about the significance of competing in the Olympics and how special it was to play the game on an international stage. Reflecting on that broadcast sequence, Emrick affirms that he had never been more proud to be associated with the game of hockey because of the eloquence, class and humility with which they spoke. Therefore, as ESPN and Turner Sports are in the midst of presenting the 2022 Stanley Cup Playoffs to millions of hockey fans around the world, Emrick hopes that they focus on telling the stories of the athletes – the primary reason for which people tune in to the games.

“The athletes are wonderful, and they have been all the way back through the first years that I started going to IHL games and getting to meet them for the first time,” said Emrick. “The number one thing that we have to sell is not only the speed of the sport, but more importantly, the guys who play it because they’re really good people.”

Whatever the future of hockey broadcasting holds, Emrick has undoubtedly become an integral figure in the history of the sport – all while never donning skates on an ice rink in his life. The half-a-century he covered hockey would not have been possible without his steadfastness towards becoming a professional broadcaster, avidity for the game of hockey and the group of people who allowed him to expatiate on the proceedings situated on a 200-foot sheet of ice. Emrick continues to watch hockey to this day and listens to the next generation of broadcasters be themselves while calling the action, the very advice Bob Chase conferred to him early in his career.

“It was the realization of a lifelong dream to get to do hockey games anywhere to anybody, but to be chosen to do national games was a great honor and responsibility,” Emrick stated. “I never took it lightly, and I always appreciated those who gave me a chance.”

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