Connect with us
Outkick 360

BSM Writers

Landry Locker Takes Something From Everyone

“I think different talent needs different things. In my case, and I don’t like admitting it, I probably sometimes have needed a little bit of a kick, a little bit of tough love, a little bit of discomfort.”

Published

on

Sports radio has always been a big part of Landry Locker’s life. When he was growing up in the Dallas-Fort Worth area — Grapevine, Texas to be exact — Landry’s dad used to have sports radio on in the house as background noise. How awesome is that? You’ll hear that an athlete like Steph Curry has basketball in his veins. It works the same way with Landry; sports radio has been in his blood from an early age.

Landry hosts In The Loop on SportsRadio 610 in Houston. His program director, Armen Williams, says that Landry digs into the audio vault more than anyone he’s ever worked with. It’s interesting to hear why audio is so important to Landry’s approach to sports radio.

He also describes the PDs he’s worked for, the lowly Texans, replacing the rush of doing radio, and tapping the brakes on self-criticism. Enjoy!

BN: From listening to sports radio in Dallas when you were a young kid, what have you taken from those years that you still apply to today?

LL: Pretty much everything. Sportsradio 1310 The Ticket started in the mid-90s. My dad was the kind of guy, before my parents got divorced, who would have sports radio on in the house as the background noise. When that started, The Ticket and all of that, that was a big influence just because it was 24/7. It’s always been something that I’ve gotten into whether it’s I want to hear what so-and-so has to say after the game, all of the reaction and all of that type of stuff. It’s always been a big part of my life, especially when The Ticket came around during the Cowboys’ second Super Bowl run.

BN: Is there anything in terms of a host’s style, not that you’re copying it, but you look and say I like what that guy does, and maybe subconsciously, that’s gone into your approach?

LL: I take something from everyone, even growing up, or the people that I’ve worked with in the business throughout my career. I think you take stuff from everybody. Different styles, there’s not really anyone that I try to be, but I think you can learn from certain people. I would say The Ticket, not to take yourself too serious. I think you could learn from guys who are real sports guys, old school, just how to do your research and be on top of your stuff.

I’ve worked with Randy Galloway when I was in Dallas and Ben and Skin. I kind of model myself after those guys kind of being loose; being sportsy and non-sportsy at the same time. Ken Carman and Anthony Lima in Cleveland, I was with them for like five months. I had a brief stop in Cleveland. I think the creativity of those guys I take in. I really just try to take in something from everybody, old school, new school, all that, and just incorporate it into what I do on a daily basis.

BN: Why was the Cleveland stint so short?

LL: The Cleveland thing was just a good opportunity because it was a chance to branch out and I really like Andy Roth, their program director. I think he’s a really, really, really good PD. I like Ken and Anthony. It was when their show first started. When I got there it was more so — and Ken and I are still good buddies — but Cleveland wants you to be from Cleveland. It is 100 percent from Cleveland.

When some jackass from Texas comes in there and is talking about LeBron James or something like that — there are some cities where that works. There are a lot of transplants in Houston and there are a lot of transplants even in New York. Sometimes you can go do that; Cleveland’s not the city for that. No matter how well I worked with Ken and Anthony, the shelf life was kind of limited on how much you could climb up.

Nick Wright actually got his job to go national, so I became the producer of the morning show here. They gave me immediate reps on air. I just took that experience as much as I could, the six months in Cleveland, and brought it here. But you know how it is in Cleveland; you could say the smartest thing in the world, but if they check your ID and they see that you’re not from Ohio, you can basically go to hell. It doesn’t matter what you said. That’s not a knock on ‘em. That’s why it’s so popular there. That’s why it’s one of those cities where you go in the gas station, they’ve got The Fan on there. They’re ready to get it, but I could basically solve the cure for cancer and they don’t give a rat’s butt what I’m saying in Cleveland. I understood that from the jump.

BN: Is Dallas like that at all?

LL: I don’t think Dallas is like that because if you just look at the lineup, a lot of the guys from The Ticket, there’s a guy from Wisconsin in Bob Sturm. There’s a guy from Cleveland in Dan McDowell. There’s just guys from other places. RJ Choppy originally went to college at Tennessee, then he went to New Jersey. Shan Shariff was in Maryland, Kansas City and all that stuff. Houston has a lot of transplants. You do want to know what you’re talking about and you do want to have a grasp of history.

There’s a legendary tale about Nick Wright when he came to Houston from Kansas City that I just always admired, even when I didn’t even know anything about Nick Wright. When he had his job interview with Gavin Spittle, who’s the PD now in Dallas, Nick had like four pages, front and back, basically he’d written out the sports history of Houston. It went from the Oilers to the Rockets, all that, and it was handwritten. It wasn’t just printed out. When I came here, even when I went to Cleveland, I would try to follow that. They are open in Houston and Dallas, but you have to show that you respect the history and have a grasp of it. Then you just have to perform on the air.

BN: You’ve had a few different program directors from Jeff Catlin to Andy Roth and Armen Williams. What are the similarities and differences between those guys?

LL: Well, Jeff’s a hard-ass. Jeff Catlin is an ass-kicker. The one thing that I can take from Jeff is that he’s no nonsense. If you deserve to be cussed out, you’re going to get cussed out. If you screw up, he’s going to let you know. He is going to let your work speak for itself. He’s going to welcome feedback and he’s no nonsense. No nonsense Jeff Catlin. Being the ultimate professional, no nonsense, is something I took from Jeff.

Andy’s just a hard worker who is one hundred percent engaged in programming. Whether you’re on at 6am or 10pm; if you play a sound clip and you don’t credit FOX Sports or you don’t credit ESPN, Andy is going to let you know about it. He’s going to give you feedback and it’s going to be transparent. It can get a little bit intense with Andy, but it’s always going to be honest and he cares about the on-air product. And he’s going to work his ass off.

Barrett Sports names Roth top sports director | Briefs |  clevelandjewishnews.com

Armen is a guy who has a lot of the same qualities as both of those guys. It’s kind of like a mix of both. I think the thing that Armen has on those guys is he’s been in radio for life. He’s a guy who was working at radio stations when he was young. He’s a guy who was working in promotions. He’s a guy who was a producer. He’s a guy who went and became a PD. I think Armen is just about that radio life and he’s kind of a combination of all those guys.

Armen’s also very, very good at imaging and very, very good at creating the notion that the station is on the right topic. I think he has that grasp down very, very good to where what do we need to be talking about? Sometimes we’ll go in to commercial and imaging will be so new it’s like dang, how did he flip that so quick? I think Armen is kind of a combination of those two. There’s been a lot of guys I’ve worked with and I’ve picked all their brains and they all provide a little bit of something. 

BN: If there’s one thing a talent needs most from a PD, what is it?

LL: I think different talent needs different things. In my case, and I don’t like admitting it, I probably sometimes have needed a little bit of a kick, a little bit of tough love, a little bit of discomfort. I think it kind of depends. I think some guys probably need airchecks a little bit more. I think some guys need to be coddled. I think some guys need to be kicked in the butt.

It’s like when someone asks you what’s the key to a good show, I don’t know because there are so many different styles. But I think different guys need different stuff. I think the most important thing is that you need a PD who’s able to treat people differently, almost like a coach. I think you need a PD that’s going to be able to have a grasp of what each guy needs. I’ve been fortunate to work with PDs who’ve been able to do that.

BN: Working with a highly respected talent like John Lopez, who has teamed with Nick Wright and a few others, what’s one of the main things that you’ve taken from him as a talent?

LL: I’ve been very fortunate to work with John because I think that when you’ve been doing it as long as he has — I call him the OG for a reason — there’s a better chance that guy is going to have a little bit of jerk in him, and he’s going to tell you it’s his way or the highway. John has allowed me to not take over, but put my creative spin on it, and he kind of plays off me. I know a lot of times it can be annoying for him. John is like a unique guy in that he’s been doing it as long as he has, but he’s pretty carefree and as long as you develop his trust, he’s going to play off of you.

There’s immediate credibility that comes with somebody who’s been around as long as Lopez has. The likability, the experience, and just the open-mindedness, I’ve been very fortunate with John Lopez. I’ve seen some guys in his situation who will just lay out. They’re not going to do anything. I could ask Lopez hey, give me a list of 10 blah, blah, blah, and he’ll do it. He’s just a lot more open-minded than a lot of people that have been doing it as long as him have been. He has that credibility. He has that likability.

BN: So the Texans stink as you know. And you’re the flagship station at 610. What’s that like to do a balancing act?

LL: Well, we don’t have to. It’s really actually kind of crazy; they are very, very fair to us. You wouldn’t know that we were the flagship with the way we talk. They understand the situation and they’ve let us criticize them as much as possible, which is rare. I know there are other teams in town that don’t allow that. I’ve seen some teams do it, but they really, really do let us be honest and transparent about it. I haven’t had to endure any walking the line or anything like that.

We’ve talked about anything and everything and they’re very fair. We’ve talked about how bad David Culley is at managing games. We’ve talked about the culture problems. We’ve talked about Nick Caserio not winning trades. I mean I can’t lie.

I want to say something good about them; it’s just there’s nothing. They don’t have any good young players. They’ve traded all their draft picks. They’re the worst team in the league. The coach is making brain fart after brain fart. There’s culture issues. There’s trust issues. I want something, they’re just not giving it to me. I haven’t gotten any calls for things that I’ve said or anything. It sucks to cover a team this bad, but they let us do our job for sure.

BN: Armen told me that you dig into the audio vault more than anyone he’s ever worked with. He said you call it going into the lab. Why is it so important to you?

LL: I think that it’s part of the story. I think especially in NFL-centric cities where it’s a week-long buildup, if David Culley said that he trusts the culture after Week 1, and you can remember that and go back to after you lose eight straight games, I think it’s important. I think it’s part of the story and I think you’re not dependent on a team being good. Audio is a big part of what we do. When someone sends a cut sheet, I listen to every single clip and I’ll trim it. If there’s a Sunday press conference or something like that and they say yesterday, I’ll take out the word yesterday just so that it’s timely.

In Buffalo or wherever, like a good city, they can just depend on breaking down each game. But if you’re building up the story and you’re talking about David Culley said this, or David Johnson said that, or I can remember way back in the day when so and so said this, let’s compare it to that, I just think the build-up doesn’t get old and the story doesn’t die. I have a photographic memory where I’ll remember something that someone said like 15 years ago. I think it adds to the intrigue just what is being said and I’m not dependent on the team being good.

NFL: David Culley wishes he'd taken 3rd down over punt

BN: When you finish a show do you look back like, ahh man, I didn’t think about playing this one clip or I didn’t think about saying this one thing? Are you built like that, or are you just kind of like hey man, the show was pretty good, we’ll get ‘em tomorrow?

LL: Sometimes I’ll get done with the show and be like man, that sucked. I’ll be like that was terrible; I should have done this, this, this, this. I think you kind of have to stop doing that at a certain point. I don’t ever think you should do a show and just say it’s over, move on. But I used to beat myself up to where it was basically like you can’t sleep and you think you stink and all of that type of stuff.

I do sometimes wonder if we left some meat on the bone. Other times I’ll think it was good and I’ll listen back, and I’ll be like man, that sucked. That really wasn’t that good. That’s probably the most uncomfortable thing for me is listening to myself, but I have to do it. I’m still kind of my own worst critic, but you do have to kind of tap the brakes a little bit when it comes to criticizing yourself. Still be aware but you do have to tone it down a little bit because I would just beat myself up and not even be able to enjoy the rest of my day.

BN: Do you have any particular goals that you’re working toward?

LL: I think eventually I would like to get in drive time. I like having the midday, but I’d like to get into drive time, try to figure that type of thing out. I just want to continue to build credibility. I want to be the guy that people go to in Houston where if something happens, if Deshaun Watson gets traded, it’s hey we’ve got to hear what Landry Locker has to say about that. That’s really the goal.

As far as going national, stuff like that, I like local radio. I think local radio is the best. This is the second time I’ve quoted Nick Wright; Nick was asked about radio and he said local radio is not going anywhere because it’s really the place that you go to figure things out about your squad. It’s a service, it’s part of the community, so I really like the local thing. I just want to continue to get better, branch out, and be as good at this as possible and expand as the business continues to grow.

BN: When it comes to the most fun you’ve had in all your days of doing radio, where were you and what was it about that situation that was so fun?

LL: Man, I feel like I wish I could just point to one thing, but I get such a rush doing shows, even in different roles, that it’s like I can’t even really answer that question. I had a very fun time when I got my first on-air segment; that was with Ben and Skin back in Dallas. They called it the Locker Room. It was so exciting. The first time you get to host that show, that was fun. Cleveland when the Cavs won the championship and I was with Ken and Anthony. When the Astros won the World Series here. Reaction Mondays are just amazing to me because you’re reacting to the game, the fans are feeding off the energy. 

There’s really just not one time that I can point to and say — and I’m not trying to be corny or anything like that — but I just think the full rush of putting together a four-hour show, talking to sports fans which are the most passionate, there’s not really one thing I can point to. I wish I could, but there’s just so many good times. It’s hard to list what the one would be.

BN: I agree with you about local radio, I don’t think it’s going anywhere, but let’s just say it did. Or there are cuts or whatever and you’re no longer in radio. It’s almost like an athlete who says what am I doing now that my career is over? What would you do after your radio career to try to get the same rush?

Mangled communications tower behind TxDOT Abilene being demolished,  replaced | KTXS

LL: Yeah, I don’t know. That’s one of those things where you just have to have the perspective. I have had that disappointment when ESPN 103.3 got bought out and Catlin said “I think you should try to branch out and figure something else out.” I have tasted it before. I don’t know what I would do. I don’t know what I’m really good at. I have no idea what I would do without it. I try not to think about it too much but man, a lot of guys have had to answer that question. I’m just blessed to not have to answer that question right now at the very least. It’s a scary thought to think about not doing this.

BSM Writers

Is There A Right Answer To The Olympic PR Problem At NBC?

“NBC is in a no win situation right now.”

Published

on

Some businesses allow you to operate with a moral compass. You can look at people, companies, or situations and do some quick math on what the blowback would be if you are associated with them and steer clear. Sports media, particularly when it comes to live game rights, isn’t one of those businesses.

NBC is in a no win situation right now. They have to get as many eyeballs as possible on the Beijing Olympics. The network is asking advertisers to spend upwards of $600,000 on a thirty second ad and have made promises about the size of the audience that will see those advertisers’ messages.

At the same time, the network is the focus of public scrutiny for even being in China to begin with. That criticism will be amplified if there is no mention of the many human rights violations the Chinese government has been accused of for decades.

What do you do? You don’t want to give people a reason not to watch. At the same time, you don’t want to give critics ammunition to discredit you as a news organization.

This isn’t just an NBC problem by the way. FOX faced similar scrutiny when it carried the 2018 World Cup, which was played in Russia. It will likely face a lot of the same scrutiny this fall when it carries the 2022 World Cup, which is being played in Qatar. That event in particular has been the subject of some truly horrific stories about the way the people building the new stadiums have been treated.

So what is the path forward? Fans always do some moral calculus when it comes to the ugly side of sports. How much are we willing to tolerate the exploitation of unpaid college athletes? At what point can we no longer tolerate the NFL looking the other way on head injuries?

International sports is a conundrum all its own because you are dealing with laws and customs that may not jive with our culture. Add truly deplorable organizations like FIFA and the International Olympic Committee to the mix and NBC, FOX, and other networks don’t have time for moral calculus. They are checking any concept of right and wrong at the door.

NBC dropped $7.75 billion in 2014 on broadcast rights to every Olympics, both summer and winter, until 2032. The financial terms between FOX and FIFA remain a mystery, but the network will carry both the men’s and women’s World Cup through 2026. The price tag may be very similar to what NBC paid the IOC.

Organizations like FIFA and the IOC want that big pay day. That is why long-term deals are negotiated. Between contractual obligations and the need to turn a profit on a huge investment, networks’ hands are tied.

Given all of the backlash, whether it is because the games are in China, skepticism over how necessary it is we do this in a pandemic (remember, NBC isn’t even sending live broadcast teams to the games), or just a general sense of fatigue given this once-every-two-years event just happened eight months go, NBC might like the option to tag out of the 2022 games. And honestly, who could blame the network for feeling that way?

But NBC and the IOC have a deal. FIFA and FOX have a deal. These American networks are pinned in a corner by having to lock in a significant financial commitment to an organization that has no qualms about doing business with international bad actors.

Truthfully, I don’t know what the right answer is for these networks. It is easy to say “Well, China is bad and Russia is bad and Qatar is bad, so don’t do business with FIFA or the IOC as long as they keep going to those places.”

Reality dictates that isn’t going to be the path NBC, FOX, or any other network takes going forward. These multi-week sporting events provide a lot of inventory and bring with them the chance to rack up huge ad buys.

Events like the World Cup and the Olympics also are more than just sporting events to these networks. They are a chance to generate content for news divisions and a free commercial for their upcoming slate of shows. There is a reason networks see the billions of dollars of value in them that they do.

No one wants to take a PR black eye. Right now, for the most part, at least as far as the American public is concerned, those have been reserved for the governing bodies.

How long does that remain true?

NBC is a major partner of the Olympics that brings a lot of attention and revenue to the table. Forget objectionable host countries. What happens in 2028 when the Games are in LA and then suddenly NBC is the face of silencing Americans raising legitimate concerns about what hosting the Olympics can do to a city?

At some point, every company and private citizen has to do moral calculus. The scariest part for these networks is dealing with broadcast partners like the IOC and FIFA requires having to give an answer before all variables can be revealed to you.

Not every big score requires that kind of risk, but not many events offer what the Olympics and World Cup do. Any network that wants to do business with the IOC and FIFA has to decide if it is willing to swim in the swamp with gators. That usually comes with a few bites.

The moral calculus is pretty simple. How many bites can you take from a gator before the ad buys start to take a hit?

Continue Reading

BSM Writers

Don’t Let Good Content Disappear, Never To Be Heard Again

There were so many times I’d be frustrated that a good piece of content would be allowed to simply vanish into thin air.

Published

on

Barrett Media Illustration

Good content comes out of the speaker daily from the many talented hosts that work in our industry. Unfortunately, the life span of this content is far too short. It happens and then disappears into the ether. 

When something good happens on a show, you need to do more than turn it into a promo. You need to repurpose it. 

If you work on the content side of the building, here are some key things I feel you should keep in mind to help give your material more staying power.

SOMETHING GOOD HAPPENS EVERY DAY, TELL PEOPLE ABOUT IT

When I was working as a content director, there were so many times I’d be frustrated that a good piece of content would be allowed to simply vanish into thin air, never to be heard or referenced ever again. 

When a host or guest says something that stands out, blast it to EVERY social media channel that you’re on. Do this consistently, not just on the days following a big story. Get everyone in the habit of believing and understanding that good content is put out there EVERY show and they need to keep their ears open for it. 

Don’t use audio clips; remember that social media is a VISUAL experience. If you’re videocasting your shows (and you should), put the video up online. If you’re not, create a cool-looking graphic with the quote (or quotes) of what was said. Create a template for every show, so it’s “plug and play” for producers to upload before they leave for the day. 

You’ll be surprised how often you can go viral.

MAKE YOUR CONTENT SNACKABLE

People consume content in small portions. No one has the time or the attention span to listen to an entire show or even an entire segment. Yet we deliver content to them in a primarily longform way. 

The solution? Make your content snackable.

Take a page out of what every professional sports league does. They realize that few people actually sit and watch an entire game. So they make a point to run well-produced highlight compilations and even condensed games, and upload them to all of their digital platforms. 

Radio stations should do the same. 

For on-demand consumption, don’t just load your show audio hour-by-hour. Make sure you’re uploading what you felt were the best parts of the program. 

Take it a step further and do the same for ALL of your shows. Create a daily “greatest hits” compilation that consists of the best moments from each show, every day. This can not only be loaded onto apps and digital channels, but can also reside comfortably in the smart speaker space. Imagine a consumer coming home from work after a long day and simply saying “Alexa, play today’s greatest hits from 101 The Fan!” They’d get a highlight real of all the good things that they missed. 

Naturally, these can be sponsored, which is certainly another plus and always justifies the extra work that goes into making this happen.

OFFER IT AS MATERIAL FOR OTHER SHOWS

I’ve said this before, some of the best content that I’ve heard was hosts talking about what other hosts said on their shows. 

It doesn’t happen often enough, and the biggest reason continues to be one of the biggest stumbling blocks for virtually every industry: lack of communication. 

Every show should have a written recap of what was discussed and when it was discussed, and that should be sent out to everyone who has a hand in content. (Hosts, producers, board ops, production staff, marketing, etc.)

Go the extra mile and have the actual audio of the good content sent out to the other shows so they don’t have to hunt for it on their own. This was something, even during my days managing stations, I would do on the regular. If I heard something great on the morning show, I would find the audio and send a clip of it to the midday and afternoon shows. Even if they didn’t use it, it would get hosts and producers in the habit of paying attention to what was said on our other programs.

If you have a sister spoken-word station in your cluster, get in the habit of sharing material with them when and where it fits.

Sometimes, the back-and-forth that can go on between shows ends up being legendary. It’s an opportunity you don’t want to waste.

Continue Reading

BSM Writers

Kenny Albert Expects Alternate Broadcasts To Grow

“That’s the goal for any play-by-play broadcaster is to continue to work big events, playoff games, [and] championships.”

Published

on

NBC Sports Group

Whether it be baseball, basketball, football, or hockey, one voice is a consistent presence behind the microphone, bringing fans all the action locally in the New York-Metropolitan area, domestically across the United States, and internationally all around the world.

Versatility is a coveted asset across many lines of work in today’s media job marketplace and in the realm of play-by-play announcing, Kenny Albert seems to have set the standard.

Calling all four major sports on a near-regular basis for both regional and national sports television networks — including NBC Sports, Turner Sports, MSG Networks, and Fox Sports — Albert has seen firsthand the shift in the industry from the perspective of a broadcaster. But that’s not all. He calls games on the radio as well, working in various capacities for the New York Rangers, the team with which he got his start in professional broadcasting alongside his father.

Albert was exposed to sports broadcasting from a young age by virtue of growing up in a family of sportscasters, with his father Marv and uncles Steve and Al building careers in the profession. Upon being gifted a toy tape recorder for his fifth or sixth birthday, Albert began to prepare for what quickly became his primary career aspiration; that is, to be a professional play-by-play announcer.

He remembers bringing his toy tape recorder to sports venues including Madison Square Garden and Shea Stadium once of age, and prepared for each game by looking over the rosters and keeping up-to-date with the latest statistics. His big break as a broadcaster later came as a sophomore at Paul D. Schreiber High School in Port Washington, New York by means of volunteering to fill an unaddressed vacancy.

“Cox Cable of Great Neck came to my school to film a girls basketball game,” said Albert. “They had two cameras [and] a small production van, but no announcers. I volunteered and they clipped a microphone onto my shirt [and] I did the game.”

By the end of high school, Albert had turned his volunteering into a job, working 75 to 100 games all over Long Island in sports such as lacrosse, hockey, basketball, baseball, football, and soccer, with his friends serving as color analysts. In college, Albert was a member of WNYU Radio at New York University and continued to call games on the radio. Yet he believes the experience he had in high school positioned him to be ahead of the pack in a profession with substantial levels of competition.

“I felt like I really had a three-year head start on anybody else at that time who wanted to do play-by-play,” said Albert. “There weren’t really any opportunities until college back then in the ‘80s. The three years at Cox Cable were just such an unbelievable experience to get three years of practice and reps under my belt.”

After graduating college with a bachelor’s degree in broadcast journalism, Albert became the radio voice of the Baltimore Skipjacks in the American Hockey League and quickly made his jump to the pros beginning in 1992 as the television play-by-play broadcaster for the National Hockey League’s Washington Capitals.

From there, Albert continued to find and add new opportunities to call professional games in football, baseball, and basketball, both on the radio and on television – and he continues to call games in both mediums today. Being conscious of the audience and how it is consuming the game is central to understanding the differences in calling a sporting event for one medium as opposed to the other.

“On radio, obviously you have to be more descriptive [because] the listener can’t see what’s going on. The description is the key. Location on the ice, on the court, on the field, etc.,” Albert explained. “You have to give the time and the score a lot more often on radio. On TV, it’s up on the upper lefthand corner of the screen, which wasn’t the case before I started working professionally. [Also,] you definitely don’t have to talk as much [on TV]; you can leave more time for the color analyst to come in.”

In broadcasting events across many professional sports, Albert has worked with over 225 color analysts, a figure he surmises might just be the record for a play-by-play announcer.

Whether it be Walt “Clyde” Frazier, Eddie Olczyk, Tim McCarver, or Jonathan Vilma, getting their perspectives on the game at hand is essential in creating and maintaining a seamless broadcast. Since the play-by-play announcer does not need to describe as much of the action occurring on visual broadcast mediums, he is able to afford his partner in the booth, whoever it may be, more time to talk in those instances.

Albert, in his opinion, says hockey is the least difficult sport for him to call, partly because he has been doing it for 32 years, but also due to its rhythmic style of play – especially on the radio.

“You’re just into the flow really for the entire 60 minutes,” he said. “People always ask me about the names and the pronunciations and the fact that the players change on the fly, but to me, it’s almost like riding a bike because I’ve been doing it for so long.”

Conversely, Albert believes baseball is the most difficult sport for him to call since the style of the broadcast is more conversational in nature and because he does not call baseball games on a regular basis. “If it’s a game every week, or 10 [to] 15 games over the course of the season – which is what I’ve usually done – because there is so much downtime, [hopefully] you have a great color analyst that can fill in a lot of that time,” he explained.

While Albert calls baseball the least out of the four major U.S. sports, one of his most memorable moments as a broadcaster was being behind the mic for José Bautista’s iconic bat flip in Game 5 of the 2015 American League Division Series at Rogers Centre in Toronto with the background noise of 49,742 impassioned fans.

He also recently called the 2022 NHL Winter Classic from Target Field in Minneapolis – home of Major League Baseball’s Minnesota Twins – at a game-time temperature of -5.7 degrees Celsius. Despite the frigid temperature, Albert’s experience calling the game was “magical,” especially since it was played at night with natural, aesthetic touches in a setting seemingly made for television, including eight frozen ponds formed in the outfield.

“We had [the window] open at the start because we wanted to feel the elements and experience what it was like for the fans and for the players,” said Albert. “We did keep the window closed in the broadcast booth for a good portion of the game… We were still able to see the ice and see all the monitors in the booth the same as if the window were open. It was a fantastic experience.”

Albert has called other big events as well, including the Stanley Cup Finals, the Winter Olympics, and NFL divisional playoff games. From the days practicing with his toy tape recorder and growing up around family members in the profession, he understood the importance of preparation and professionalism in trying to establish a career for himself in the booth.

“That’s the goal for any play-by-play broadcaster is to continue to work big events, playoff games, [and] championships,” said Albert. “There is a lot of travel and a lot of preparation involved, but it’s just so much fun.”

As the landscape of sports media continues to shift, in spite of its apparent acceleration due to the COVID-19 pandemic, the introduction of emerging technologies, new platforms for content dissemination, and modification of best practices to maximize cost-efficiency have resulted in a paradigmatic deviation from the norms that had been associated with travel and preparation.

Pertaining to travel, Albert and nearly every other play-by-play announcer in the country has experienced the process of calling games remotely to ensure the health and safety of themselves and network crew members. While the decision, which had been in consideration among sports networks prior to the pandemic to cut travel expenses, impacts the range of vision and subsequent understanding of action away from gameplay, Albert sees its implementation as a “new normal” towards which the industry will have to lessen its intransigence.

“To me, I feel like no matter the sport, I [can] probably see about 85 percent on the monitor of what I would [see] if I were at the arena,” said Albert. “You don’t get the emotions or the feel of being there, but it’s probably not as bad as I expected when we started… It does save the wear and tear on the body a little bit for those of us who have been traveling for a long time. That’s probably one positive that’s come out of it.”

Information overload is an offshoot of the development and expansion of the internet, directly affecting the preparation process for play-by-play broadcasters. When Albert started working for the NFL on Fox in 1994, he would receive a shipment of VHS tapes every Wednesday with the games of the teams they would be covering that week, and any news clippings or supplementary materials were received through fax. Following the advent of the internet, Albert received articles through email, began to tape games on television, and see action from all across the country with DirecTV NFL Sunday Ticket.

“It really wasn’t that long ago, but thanks to technology, it’s made the preparation on one hand a lot easier, [but] on the other hand there’s so much information available [that] you could basically 24/7 try to find various nuggets and read that extra article in order to get ready for that week’s or that night’s game,” said Albert.

The role of the traditional play-by-play announcer is also changing with the introduction of concurrent presentations during national games, such as the Monday Night Football ManningCast,” Statcast Edition of the MLB Home Run Derby, and the forthcoming Sunday Night Baseball with Kay-Rod. Though he hopes the role in which he has been employed for over three decades staves off extinction, Albert is cognizant of the ongoing evolution of the industry geared to satisfy consumer demand while minimizing the opportunity cost associated with such evolution in the process.

“I think with a telecast such as the ManningCast, it’s a unique perspective hearing from two guys who were among the top quarterbacks of all time,” said Albert. “Hopefully, the role of a play-by-play announcer on the traditional broadcast doesn’t go away and is around for a long, long time. But I think with so many channels out there with people watching things on their phones and on computers and on [tablets], and all of the technology available now that wasn’t [around] 10, 20, 30 years ago [that] there’s definitely a place for the alternate broadcasts, for sure.”

Whether they want to be a play-by-play announcer, analyst, sideline reporter, or talk show host, Albert’s advice is the same for prospective broadcasters: Come prepared, be versatile in whatever you do, and find opportunities in places where they may seem sparse.

“When I was growing up, we had seven channels; there was no cable [and] no satellite,” said Albert. “There are just so many opportunities out there these days. [While] I was at college at NYU, we had to fight for air time to broadcast the men’s and women’s basketball games because the radio station was the only outlet. These days if you’re at school, you can go broadcast a lacrosse game or a soccer game and put it out there on the internet. It’s just another way to get reps and get practice even if it’s not through the traditional means of a campus radio station.”

Albert has never genuinely “worked” a day in his life and he certainly hopes to keep it that way. Whether it has been on the radio or on television, rinkside or perched behind home plate, at the venue or in a studio, his ability to broadcast different types of sporting events professionally on multiple broadcast platforms both locally and nationally has afforded him various opportunities in sports media. He hopes he can continue to be the voice behind more memorable moments as his career progresses within a dynamic, growing industry.

“I never feel like I’m going to work,” said Albert. “I hope I never lose that feeling.”

Continue Reading
Advertisement

Trending

Copyright © 2021 Barrett Media.