Showing posts with label media. Show all posts
Showing posts with label media. Show all posts

Friday, November 11, 2016

Interview with NBC's Jeff Burton

This post originally appeared at the Fort Worth Weekly's website. To view it there : https://www.fwweekly.com/2016/11/10/sports-rush-jeff-burton-broadcaster/

With the NASCAR circuit visiting Texas Motor Speedway this past weekend, the Fort Worth Weekly took a look at the broadcasters who bring the action to those who can’t make it to the track. We did a story on the Performance Racing Network (PRN), who create the radio broadcasts, which you can read here. We also interviewed former driver Jeff Burton, who now works on NBC’s television coverage as a race analyst. He won the first Cup race of his career at Texas in 1997, among 21 total wins at the highest level of stock car racing. What follows are excerpts from that interview.

The radio guys at PRN actually got Burton his first broadcasting gig. It came in Indianapolis while he was still an active driver, working on the network’s coverage of NASCAR’s second-level racing series.

“We just asked him if he would come and work in the booth for the Xfinity (Series) race,” PRN President Doug Rice said. “I’ve known Jeff for a long time and he was very anxious to come up and do it. He was excellent. I mean, you just knew it. He’s got a good vocabulary, He’s got a good speaking voice. He’s got great knowledge. You knew he was going to be good.”

Those traits helped Burton move from that one-time radio gig into his current NBC position. It may have also seemed a natural move because he grew up finding ways to watch races.

“We made watching the races a big part of our weekend. I can remember dragging a TV out into the backyard with a lot of extension cords plugged into each other so we could play basketball and watch a race. All of the three boys of the Burtons, we all liked racing. We all liked watching it.”

When he drove, Burton decided it was in his best interest to pay attention to the media accounts of his sport.

“My experience has been that drivers always want to watch the replays of the races they won. The talk show thing, there’s been some times when I didn’t want to listen. But there were times I didn’t want to listen and I did, like when Jeff Gordon and I had our incident in Texas many years ago. I got up early that next morning, was going to the gym and I’m, like, ‘Do I want to turn this on?’ And I made myself. And then I made myself sit in the car in front of the gym for, like, 30 minutes listening to it. and because it was – I don’t want to listen to it, but I just felt like I needed to. And then, I listen to it because I enjoyed it. I just enjoy it. I don’t listen to it all the time by any means, but when I was a driver, it helped me to see a different perspective. When you’re in the forest, you can’t see the trees. And I always liked it when fans would call in and even though I would disagree with a fan or I would agree with a fan, either way it made me see things in a different light and I thought that was healthy to understand that the sport is more than just about me.”

As a former driver, Burton uses his connections to help him prepare for a broadcast. He knows how to time his communications with drivers.

“My job is different from a pit road reporter. I’m more of an analyst, so I have a luxury those guys don’t have that when someone needs to cool off, I don’t have to talk to them right then. I can wait until a Tuesday or a Thursday. What I try to do is to catch people when I think it’s good for them or I try to give them enough time to get back to me. So there’s times I text people on Sunday mornings. And that’s what I try to do with the drivers on Sunday mornings is just send them texts, because they’re busy and it’s, in many cases for those guys, easier to just text me back. Because I don’t need a paragraph. I just have a simple question. So I just try to put the driver in a situation where they have time to get back to me, that time to respond to me. They don’t have to do it immediately. When I say they don’t have to, they’re all so good about working with us. The drivers are phenomenal at spending time with us and giving us answers, trying to help us understand what they’re dealing with.”

Knowledge of how drivers approach their craft informs Burton’s commentary as well.

“I have opinions about all sorts of things based on my experience with those things and that goes for drivers as well. And then my opinion is also shaped based on how I see them interact with others and what the situation is. To be honest, my personality is such that I always try to give someone the benefit of the doubt. When I drove and I got wrecked, rarely did I just come out and say ‘Hey, the dude just wrecked me on purpose,’ because typically, I didn’t feel like they did. Whereas, opposed to some other drivers, if you just bump into them, they think you did it on purpose every single time. Not everybody, but that’s just different personalities. So I’m more apt to give someone the benefit of the doubt than I am to say, ‘Hey, you just wrecked him on purpose.’ 

“But I have to call it like I see it. Matt Kenseth and I, for example, were great teammates. When he won his championship, I celebrated with him just like I won the championship because I was truly happy for him. But when he does something like when he wrecked [Joey] Logano last year in Martinsville, I said, ‘You know, NASCAR’s going to have to step in. They can’t allow that.’ But on the same token, I disagreed with the severity of the punishment. But not because it was Matt Kenseth, just because it was different than they had ever done before.”


Burton’s prep work also involves making sure he keeps abreast of the latest big-picture developments in the sport. He also believes it’s important to keep his immediate focus on what’s going on in the current race.

“Calling a race, in my role, is very much about understanding what has been going on in the sport prior to this race. What are they dealing with? What improvements have they made? Where have gone backwards? Where are their struggles? Where are their strengths? What’s going on in this sport? What’s the tire for this weekend? For my role, it’s more about staying current in understanding the sport than it is about stats and about those kind of things. 

“Steve (Letarte, Burton’s booth colleague) and I are analysts. We don’t have to know that Jimmie Johnson – I’m making this up – that Jimmie Johnson going into this week had not won a Martinsville race in the last six races. We don’t specifically have to know that. We just have to know that he won a bunch there, but lately hadn’t had the same success. We’re not stat guys, but we need to understand the flow of each race team, what they’re struggling with, what they’re doing well, what is their situation, and then let the race happen. Because the race is the story, and what happened in Martinsville last week matters for this week, but only because the Gibbs guys had a little conflict during the race. Jimmie Johnson won the race, which means he’s locked in [to a chance to race for the season championship]. Kevin Harvick had problems with speed. Carl Edwards has a huge hole to dig out of. So that’s why last week’s race matters. But what happens this week is what matters the most this week. This week’s the most important race ever in the history of NASCAR.”

Incidentally, Burton did actually remember the stats correctly. Johnson had, in fact, not won a race in Martinsville since April of 2013, exactly six races prior to his triumph there on October 30th.
When he decided to move into the broadcast booth, Burton wanted to make sure his network would share his vision for covering his sport.

“NBC approached me with a plan about how they wanted to be involved in the sport and I liked what they wanted to do. I liked the game plan. I liked how they wanted to bring the race to the fans, how they wanted to be involved in the sport. I can’t say to you that I was getting ready to retire and said I want to be a broadcaster. What happened with me was that a lot of people within the sport for several years had said that maybe I should look into that. Maybe because I wasn’t winning any more, they were looking at something else for me to do [laughs]. People within the sport were saying maybe that I would be good at that and I really hadn’t thought about it. Some people were thinking about it for me, I think, which was flattering.

“So when NBC approached me, my question wasn’t, ‘What is my job?’ My question, my first question, was, ‘Explain to me how you want to do it? What happens when I have to criticize NASCAR? Or what happens when I have to criticize the driver or what happens when we have a difficult situation that I have to say something to make someone mad, or what happens when . . .’ I just had all this list of questions, because if I was going to do it, it was because I wanted to bring the sport to the fans and be able to inform the fans, be educational. Help the fans understand the sport in greater detail. Not that our fans are ignorant, but it’s hard to know more about racing than it is other sports because they don’t teach you in PE how to play racing. You learn as a kid how to dribble the basketball. You learn the rules of basketball. You learn baseball. You learn soccer, all the things, but nobody teaches racing. A lot of people’s kids play sports, so it’s easier to know more about the other sports. It’s harder to know more about NASCAR and I have always felt that the fans wanted to know as much as they possibly could know, but they were disadvantaged. So my question was, ‘Are we going to be able to do a broadcast that’s informative, that’s more centered around information and the race than it is considered entertainment.

“I want racing to be fun, because racing is fun and the race has got to be fun. The race has got to be exciting. The race has got to be all these things. It can’t be me. 

“The show is on the track, it’s not in the booth. And so I just wanted to make sure NBC fit what I thought it should be and it all lined up.”

(Photo by: Gerardo Mora/NBC Sports)

Once a part of NBC’s team, Burton found himself matched with veteran broadcaster Rick Allen and Steve Letarte, the former crew chief for Dale Earnhardt, Jr.

“We all come from different backgrounds, so Steve has taught me a lot about things that I thought already knew about in regards to what his role was and what does being a crew chief, what does that really mean. He’s taught me a lot and I’d like to think I’ve taught him a lot about being a driver. I think the main thing that I think we’ve done a really good job of it, that we truly, we all three committed to each other that we were going to hold each other accountable. We were all lucky to be in this position we have to worked our ass off, because the fans deserve our commitment and the teams deserve our commitment and the sport deserves our commitment. It’s not a part-time job.”

They also added another voice to the booth when Earnhardt, Jr. found himself unable to race after suffering a concussion.

“Steve and Dale know each other really well obviously and they know each other better than I know Dale. I’ve known Junior forever but I hadn’t spent the time with Junior that Steve has. But we’ve done enough socially as well as racing against each other a lot, we have a lot of respect for each other. We spent 10-15 minutes talking, you know, ‘Hey, look, why don’t we do this,’ basically it was, ‘We’re just talking racing.’ Don’t make it complicated. We’re just talking racing. It doesn’t have to be complicated. Let Rick get us in and out of commercials. Let Rick lead us to things. Let Rick do all the things that he’s so damn good at and then it’s just the three of us talking about what we’re watching. ‘The goal is, Dale, like at Talladega, we want you to explain to the fans, why do you do what you do? There’s a reason that you make a move when you make it. Like, let’s put you in whatever car we’re following and say, ok, I would do this or I would do that and why.’ It’s just that simple. Let’s don’t make it complicated. And I think he’s so comfortable with Steve, and he’s been around me enough to know that I’m pretty easy to get along with that he just got in there and was comfortable and just sat in there and rolled along time and had a good time. We have a good time. We laugh and carry on and cut up. We have a good time. We wanted him to come in and have a good time.” 

Another current driver much on Burton’s mind just completed his first race on the NASCAR Craftsman Truck Series a week ago in Martinsville. Burton’s 16-year old son Harrison could someday advance to the levels his father covers, presenting a potential dilemma for his dad.

“I will do my best not to do that. It would be difficult to do that. We’re a ways away from having to worry about it and so I’m not going to worry about it until I have to. We’re a minimum of two years away from that having to happen. We’d have to really think about that. I believe in my heart that you have to be impartial. I can’t be pulling for a guy. I can feel good for somebody.
I can feel bad for somebody. 

“But we had that wonderful, wonderful moment with Dale Jarrett and Ned Jarrett when Dale won the Daytona 500 [when CBS had Ned call the last seconds of a race won by his son in 1993]. But what people don’t know is that Ned Jarrett felt bad about it. He felt like in some way that wasn’t fair to other people. And he was uncomfortable about it. Because that’s Ned. He wanted everybody to understand that he was trying to do his job the best he could and I think that that was a great moment, but it can only be a moment. It can’t be a weekly thing. Ned couldn’t pull for Dale every single week. He could do it that one time because it was the Daytona 500. It was a special moment. They had the camera on him. It was awesome. It was great, but it was because it was a huge event. It was a singular moment. It wasn’t every single week. 

“So if we got to that point, I would really have to take a step back, make sure that I was representing the sport and all the drivers in the way that it needed to be, because I’ll tell you that everybody deserves from the media impartiality. They deserve facts. They deserve honest information. That’s what the fans deserve.”

One thing Burton made clear. When he left driving, it wasn’t to retire.

“We didn’t retire. We took another position. That, in a nutshell, is it. People ask me how retirement’s going. I’m like, ‘Who retired? I changed my position, but I didn’t retire.’ Retired means I’m going fishing Tuesday, Wednesday, Thursday, Friday, Saturday. I haven’t retired.”



Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns, television programs, and related creative projects for sports entities through Rush Olson Creative & Sports and FourNine Productions.



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Wednesday, November 9, 2016

What Does a Left Turn Sound Like?

This post originally appeared at the Fort Worth Weekly's website. To view it there : https://www.fwweekly.com/2016/11/09/racing-on-the-radio/

“Let’s go trackside and get it all started here in Texas.”

Now that Doug Rice had made the call, it should have been time for racers to start their engines. But instead of beginning Sunday’s AAA Texas 500, a crucial race in the NASCAR season, 40 cars sat on pit road under car covers. A brief rain shower had made the track too wet to race, and the Texas humidity made drying it, even with jet dryers, a challenge.

Texas Motor Speedway hosts two races each year, in April and November, in the highest tier of stock car racing, NASCAR’s Sprint Cup Series. Drivers once competed in automobiles you could buy at a dealership, though today’s high-performance racing vehicles only loosely resemble the Fords, Chevys, or Toyotas a fan might drive to the track. From humble roots in the South, NASCAR has become America’s most popular motor sport, with a season running from February’s iconic Daytona 500 to the season championship in Homestead, Fla., the weekend after next. In that final race, the National Association for Stock Car Auto Racing will declare the fastest of four pre-determined drivers the overall winner for 2016. In a playoff system called the “Chase for the Sprint Cup,” it has culled its highest-ranked drivers down to a final eight, and any of those who win one of the three races immediately preceding the Homestead event, including the one at TMS, would automatically qualify as one of those last four drivers with a chance to win the whole thing. And even for drivers not in the Chase, winning a race is huge.

Thus drivers and their support personnel waited anxiously for the track to dry, as did thousands of fans at TMS. In addition, a crew of 18 headset-wearing NASCAR enthusiasts was preparing to embark on its own marathon of sorts.
*****

They were the men and women of the Performance Racing Network, a company for which Rice has worked since 1988. PRN’s president and lead announcer also told me during the stoppage that he has learned to not let the weather bother him, because it’s all part of the gig.

PRN understands racing’s nuances. The company has been in business since 1981. It’s a property of Speedway Motorsports, Inc., the same group that owns Texas Motor Speedway.

The only other major radio network that covers all NASCAR Sprint Cup racing is Motor Racing Network. The Daytona Beach-based International Speedway Corporation owns MRN, as well as racetracks where NASCAR holds 19 of its 36 Sprint Cup races. They cover all the races held at those tracks, plus those at Dover and Pocono. PRN handles lap-by-lap coverage for the dozen races staged at SMI’s tracks and partners with the IndyCar Radio Network for the Brickyard 400. The Indianapolis Motor Speedway, site of the Verizon IndyCar Series racing circuit’s Indianapolis 500, hosts the Brickyard 400. Individual tracks can choose their radio broadcasters, though NASCAR controls all television rights.

Based in North Carolina at Charlotte Motor Speedway, PRN produces a number of NASCAR-themed radio talk shows as well, though Rice noted, “The main crux of what we do is cover live Sprint Cup and live Xfinity [Series] racing.”

Fans can listen to their productions on a number of outlets, including local affiliate radio stations, satellite radio, online, and at the track over a dedicated frequency on the scanners that fans can rent or buy at the race.

*****

Every time I’ve listened to a stock car race on the radio, I’ve come away amazed.

One announcer talks, then another, and then a third and a fourth. Each picks up where the other left off, somehow keeping up with cars traveling close to 200 miles per hour without interrupting a colleague. Then a wreck happens, and suddenly they’re narrating that chaos, and minutes later they’re talking to the driver whose race has ended. It all sounds so smooth to your ears and mine, but I know, behind the scenes, it can’t be.

Having worked in a lot of TV trucks covering sporting events with multiple cameras, I’ve seen how hectic it can get keeping up with a pair of teams playing with two or three announcers describing the action. So I always wanted to know how a crew could possibly manage a broadcast involving 40 teams on a mile-and-a-half playing surface with a half dozen or more commentators –– and all without the benefit of pictures.

The PRN folks, said NASCAR veteran Jeff Burton, who won 21 top-level races before moving into television, “have a passion for what they do, and they put a lot of work into making sure they bring what’s going on on the racetrack to the fan that’s not able to see it.”

PRN’s people spend their lives, and a lot of weekends, away from home, immersed in racing because, as PRN pit reporter Brad Gillie put it, they “live and breathe the sport.”

In some ways, they have a dream gig, one that millions of fans who religiously follow drivers like Burton no doubt envy. That doesn’t mean it’s an easy job. NASCAR’s complicated nature makes up part of the circuit’s appeal.

“Before the race ever starts,” Rice said Friday, “myself and whoever’s co-anchoring, we decide who’s calling the last lap. That way, there’s no scramble.”

After the green flag waves to begin the race, fans listening on their preferred device hear a succession of voices describing the action. Listeners might wonder how each broadcaster knows when to talk. It turns out they rely on some standard progressions as they follow the field of cars. Rice calls the action on the track’s frontstretch before turn announcer Rob Albright takes over.

“When I stop, Rob automatically knows to pick them up, and about turn one he will take them into turn two, halfway down the backstretch, and when he stops talking, Pat Patterson knows. He picks up the baton and takes it back to turn four, and [co-anchor] Mark [Garrow] and I alternate laps. That way, while one of us is talking, the other one can be looking up something or attending to other details. So that’s like a relay race.”

An automobile race never consists of one smooth sequence. Sometimes the focus must change from the cars circling the track to other areas of interest. Rice takes cues from a colleague in the booth.
“The director is the one that’s telling us when to go downstairs, which pit reporter to talk to.”

Wally Leavitt, who served as Sunday’s director, said, “I will keep track of the pit reporters primarily and who has who. If we got green flag or yellow flag pit stops, I will have to make sure that we get the throw down to them.”
“Let’s go down to Brad Gillie.” –– Doug Rice, cueing his pit reporter
“There’s four of us on pit road, and we basically divide up pit road into quarters,” Gillie explained. “We’re down there telling the story behind the curtain. Because in our sport, we’re unique in that we do get to be in the huddle. We do get to hear the strategy as it’s playing out.”

In painting the picture of whether or not those strategies succeed, the broadcasters don’t have actual pictures to help them.

“All we have is our voice,” Rice said. “It’s not like television. There is no ‘Ready [camera] one, take one.’ It goes off feel.”
“Watching up front now, Kevin Harvick starting to close the distance here to the leader.” – Pat Patterson, tracking the No. 4 car’s progress
In a television truck, a director bears the responsibility for choosing what goes on the air next. While scanning multiple camera monitors does require a great deal of skill, the TV director can use his eyes as well as his ears to select his next source. A radio director or on-air presenter can only listen. Every person on the crew must master the art of mentally processing multiple audio streams simultaneously.
“In my ear, I’m listening to the scanner and listening to their in-car communication,” Gillie said of the device he uses to hear what the drivers and pit crews say to one another during a race. “I’m scanning the drivers in my section of pit road that are relevant.”
“Kyle Busch wanted to come in much, much sooner.” – Brad Gillie, reporting what he had learned about a pit stop
“If I know there might be a developing story, I might lock it on a particular driver or something like that,” Gillie said. “If I have the race leader, I might spend more time listening to that channel.”

*****

Gillie also has to listen to his director and to what’s actually going out over the air, in case one of his on-air colleagues suddenly pitches to him.

Rice has to talk while monitoring three audio feeds, including the official race communication channel.

“In the booth,” he said, “I hear the director. I hear ‘program’ –– what’s going on the air –– and I monitor NASCAR. Their channel is in my ear, and I can hear everything the race director is saying. Mainly what I’m listening for are keys to a caution. He’ll say, ‘Debris, turn two’ and put out the yellow [caution] flag. So you kind of condition yourself to not hear all the other chatter, but I hear that, and I hear penalties.”
“He made two pit stops as the lucky dog car. That’s penalized him and cost him a lap.” – Doug Rice, explaining a Kurt Busch mishap
Leavitt, who normally works for the IndyCar Radio Network but filled in with PRN at the races in Charlotte and Fort Worth, listens to all those sources plus the engineers.

“The hardest part is to make sure that you are listening to the person you really need to listen to, because everybody’s talking at once, and you need to make sure that you’re listening to the one source that you want to know the information from.”

Making sure all those sounds get to all those ears means an extensive technical operation under supervision of PRN lead engineer Harrill Hamrick, who mixes the show from a truck near the garages. In Fort Worth on Sunday, no technology could remedy one of a sports broadcaster’s most untenable situations.
 
“Weather always adds a huge unknown X factor to this,” Rice said.
“If weather comes in, it’s going to finish this race and for Carl Edwards, it could be Christmas come early.” –– Mark Garrow, after an exemplary pit stop gave Edwards the lead
 *****

During Sunday’s delay, Rice and his colleagues stayed on the air long enough to explain the situation to the audience and to speak to a special booth guest: Chuck Norris.

 
The former Walker, Texas Ranger star had come to the track to announce the names of the eight Chase drivers. He helped PRN fill time by talking about Chuck Norris facts. He likes them and finds them funny.
“Chuck Norris eats bullets for breakfast. Watch out when he burps.” – Norris, on the “Chuck Norris fact” that his 10-year old son suggested

The speedway displayed a variation on the meme on their Big Hoss video board, a mockup of Norris kicking Michael McDowell’s car into a wreck. When a real mishap occurs on the track, the normally jocular announcers treat it as nothing to laugh about.

“After he made the pit stop, one of the tires that came off the car blew right after they brought it over the wall, back into the pit. It blew right in the face of tire specialist Mason Jennings. His ears are ringing. The doctors came in and looked at it. They have taken him to the infield care center.” –– pit reporter Jim Noble describing an accident involving Paul Menard’s crew

“In the event of an accident,” Rice said, “we never, never, never speculate about a driver being injured. That’s why we have reporters that go to the infield care center, and somebody will be there. If there’s a serious injury, somebody’s going to come out and talk. I mean, I don’t care what the circumstances are. I don’t care what our turn announcers or pit reporters can see. You’re not a medical doc. Don’t speculate on it. Let somebody else do that.”

PRN’s veteran broadcasters know auto racing’s protocols. Still, a reporter like Gillie must often approach a driver during testy times, such as after a mechanical issue has forced his or her ride off the track.
“If the car goes to the garage, and it’s a part of the story of the race – because that’s our job is to tell the story of the race – then we’ll go down there, and it might be, ‘Hey, I’ve got a report from the garage. Here’s what happened to the car. They broke this.’ It might be I’ve got a report, and then five minutes later, I’ve got the driver because they’re out of the car, and we interview them.”

As official race broadcasters, PRN personnel have clearance to speak to drivers even as the race continues around them. Tone and approach become crucial to turning access into information.

“You’ve got to get the answer that you’re looking for, but the way you present the question might make all the difference in the world,” Gillie said. “I don’t think you want to go out there and just say, ‘You know, man, it looks like what you did was pretty stupid.’ ”
“Austin, would you call that a racing incident?” –– pit reporter Steve Richards after Austin Dillon’s car got knocked out of the race
Drivers understand broadcasters must cover the tough parts as well as the victories.

“They get it,” Gillie said. “Most all these drivers are wonderful about doing that.”
Burton believes the unique nature of motorsports helps foster collegiality between the contestants and those who cover them regularly.

“I think what makes our sport really, really special is that contact,” Burton said. “Think about the NFL. They’re with different broadcast people every week. The local [team] has their own radio station, but the network changes, as opposed to NASCAR. You’re with the same people pretty much every week. You’re either with PRN or MRN, or you’re with Fox or NBC [on the TV side]. And so you get to know everybody.

“I always viewed the broadcasters,” he continued, “whether it was radio or TV, when you interacted with them, they were coming to talk to you to get information to relay it to the fans, and I always viewed the broadcasters as a conduit to the fans.”
*****

By engaging with reporters, a driver does more than reach out to his followers. He or she also advances the business side of the sport. A driver who talks to the media will likely do so wearing clothing bearing corporate logos. He or she will almost invariably find a way to verbally namedrop one or more companies who pay for association with the race team.
“We had a good AAA Fusion capable of winning the race.” – driver Joey Logano in a post-race interview with Brad Gillie
Sponsors pay for the costs of running a race team. And like most media ventures, advertisers finance the Performance Racing Network.

“Our sales are done internally,” Rice said. “We have a three-person sales staff.”

He sees the audience that his salespeople take to market as pretty well defined.
“Speaking of the fans, Doug, we constantly say thank you to the NASCAR fans because they are die-hard.” – Mark Garrow, offering love to rain-soaked spectators
“People that are going to take time out of their day to listen to a race broadcast, they’re P1s,” Rice said, referring to the radio industry term for the most loyal listeners to a given outlet. “They know what they want, and it’s not our job to go out and spread the gospel of NASCAR. We’re preaching to the converted.”

In Fort Worth, the congregation can find PRN’s work on 95.9-FM The Ranch, whose bosses signed on this year to carry PRN’s Texas race broadcasts and tap into its listener base.
“A couple of Toyotas battling for the lead here at Texas Motor Speedway!” –– Doug Rice, excited about a tight contest
The Ranch also believes racing will appeal to its existing listeners.

“There’s synergy with our audience,” said Gerry Schlegel, president of LKCM Radio Group, which owns The Ranch. “That is a very Texas-centric audience. We kind of have this wide-open attitude, no-limits kind of attitude, which reflects very well with the spirit of Texas Motor Speedway.”
The station also worked a promotional deal with the racetrack that bills itself as “No Limits, Texas.”

TMS has “put together a great relationship with the Ranch, not just for the broadcast that PRN does but for a lot of the other stuff that Texas [Motor Speedway] does as the official radio station,” said Gillie, who graduated from Euless Trinity High School, lives in Fort Worth, and formerly worked for the speedway.

One might interpret NASCAR followers’ transfer of loyalty from sport to sponsor as naïve, an example of less-than-sophisticated thinkers being influenced by advertising. More likely, it represents a true understanding by those fans of how such relationships work. Brands want to cultivate those fans’ loyalty through their sponsorships. By providing them what they want, fans do their part to ensure the viability of their favorite drivers and their favorite sport.

Such is the NASCAR culture. As sports fans, and racing fans in particular, it perhaps reflects a desire to feel a bond with something beyond the grind of everyday jobs and challenges. We all wear the shirts, caps, and underwear of our favorite sports teams. Sports radio broadcasts, perhaps more than any other mass medium, serve much the same function by allowing us to bring our passions into our spaces, at our desks, on our commutes.
“I had to bring my Thanksgiving pants.” –– Doug Rice, during a booth visit by a Miss Sprint Cup spokeswoman, referencing a dinner Sprint had bought them
*****
With the NASCAR season’s final pair of races at non-SMI tracks, PRN’s AAA Texas 500 broadcast represented its final one of 2016. However, they won’t sit idle until February’s Daytona races restart NASCAR’s calendar.

“We have a big meeting at PRN,” Rice said, “basically outlining the calendar for next year. What are we going to do better? What are our new initiatives going to be?”

As much planning as PRN staffers will do in their short offseason, when the time comes to race again, they will once more find themselves dealing with situations at the track that nobody expected. In fact, when it comes to a NASCAR broadcast, the unpredictable parts take top priority.

“One cardinal rule that we have maybe above all else is live action on the track supersedes everything,” Rice said, “whether it’s a pit report or somebody that’s supposed to be interviewed in the booth. If there’s live action going on on the racetrack, especially a battle for the lead, that trumps everything else and until that’s settled, Brad’s pit report, or this person we’ve got to interview, or this story, or this piece of salesmanship can wait.”
“Trouble in turn four!” –– Pat Patterson, interrupting a sponsored segment to report a wreck
To establish proper priorities, and create the workflows to accomplish them, one has to understand the essence of one’s business. It’s a lesson Rice learned at the first running of the Brickyard 400 in 1994 from a pair of seasoned colleagues at the IndyCar Radio Network.

“They’re probably 20, 30 years older than me. And I’d met them the day before, so they knew who I was. So one of them was sitting there having coffee, and he looks at me he goes, ‘So what is it you do again?’

“And I said, ‘Well, I’m with Performance Racing Network. We broadcast NASCAR races.’

“He goes, ‘That’s not what you do.’

“And I’m like. ‘Yeah, it is.’

“He said, ‘No, that’s not what you do at all. You’re in the transportation business,’ and I said, ‘What are you talking about?’

“He goes, ‘It’s your job when you’re broadcasting that race to transport the guy driving down the interstate, or working in his garage, or out on his bass boat, from where they are to where you are.’ He said, ‘If you can get that battle won in their head, and they are mentally at the racetrack with you, that’s what you do. You’re in the transportation business.’

“I went, ‘OK, you’re right.’ And I think about that every race we do.”

*****

At Sunday’s event, they never got to transport the listener to the finish line for the waving of the checkered flag. Though the race did eventually start after a six-hour delay, a second downpour ended the contest several laps short of the planned 500-mile run. NASCAR officials informed Carl Edwards he had won as the cars sat idling on pit road. We’ll never know which announcer would have called the winner across the finish line.

It’s all part of the unpredictability of sport. This sport, and bringing it to those who love it, is what PRN is all about. They have, in fact, found the right business.

“They make magic,” Schlegel said. “These guys are incredible. The description, it’s very high-energy, super-fast pace. They cut from one person to the next. They’re describing exactly what they see in front of them, sparks flying off the fenders. You can hear the engines and the energy is unlike any other kind of broadcast.

“They really pull you in like you’re at the race. It’s remarkable.”

Rush Olson writes the Fort Worth Weekly’s sports blog and produces sports content and related endeavors through his companies Rush Olson Creative & Sports and FourNine Productions. Read more of his interview with Jeff Burton in this week’s Sports Rush blog post, found in the Blotch section at fwweekly.com.

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Wednesday, May 18, 2016

Marketing’s Future : Integration (and Maybe Robots)


The photo that accompanies this post comes from a talk I recently enjoyed given by a marketing cyborg named Repcor.



Ok, the speaker was actually a real person named Rebecca Corliss, but she said she likes to go by "Repcor," which to me sounds like a robotic supermarketer Hubspot built to save the future or something. I suppose I don’t know for certain she isn’t a replicant, but for now I’ll take her word that she’s actually a human who goes by the same mononym as her Twitter handle (@repcor).

To get back to the photo, Corliss’ talk was entitled “How to Build a World Class Marketing Team like HubSpot.” She started working (or perhaps was created in a lab) at the Boston-based company some eight years ago, and one of the reasons she loved the opportunity was the company’s fresh outlook on marketing. The slide in the photo summarizes old channels to which they believed marketers gave too much consideration:

  • Advertising
  • Conferences/Events
  • Paid Search/PPC
  • Email List Rentals
  • Cold Calling

And new channels deserving of more attention:

  • Blogging
  • SEO
  • Free Tools
  • Social Media
  • Opt-In Email Lists

Hubspot is still in business, so they must have hit on something here. Certainly the second list houses much of the creative work my company does. The items on the first list haven’t gone away, however. Companies still spend scads of dollars on TV advertising, often justifiably so. Hubspot itself does conferences and events worldwide, we found out from the humanoid addressing us.

What struck me is how much everything in the first list is complemented by the entries in the second column. If you do a conference, you market it with social media, the email lists you’ve cultivated, and everything else in List #2. And if you’re smart, you feed the content from that conference right back into those channels to generate more engagement.

The same goes for advertising. I would never shoot a spot without doing behind-the-scenes content for social media, and all creative these days must appeal to the user who can self-select what he or she watches.

And if you’re going to have your salespeople cold calling, you can make their jobs loads easier by priming the pump through top of the funnel content that inspires an “Oh yeah, I’ve heard of you” when your AE introduces herself.

As a creative, List B affects the choices I make in language and approach, even when I’m working on a project in List A. For others in the marketing world, I’m sure they consider choices like balancing paid search with organic and whether to buy national-network TV spots or invest in original online content (self-serving note – if you buy into one of my TV projects, you get both).

It’s a big integrated world out there. Old-school marketing can cooperate with modern techniques to the betterment of all. Until, that is, we’re all replaced by machines. Which, um, could be closer than we think.



Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns and related creative projects for sports and corporate entities through his company, Rush Olson Creative & Sports. He is also spearheading various film and television projects.

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Tuesday, March 8, 2016

Should Major League Baseball Expand Internationally?

Should Major League Baseball expand internationally?

The subject came up recently in a broadcast on the Phil Naessens Show radio program. You can listen to how Phil and I discussed the issue here : http://www.philnaessensshow.com/atlanta-hawks/how-to-make-fantasy-hockey-more-popular/

How U.S. sports leagues and teams market themselves abroad has been an interest of mine since I worked for one. How can U.S. sports entities generate more business outside the country? Phil and I discussed how expansion has drawbacks in terms of time zones and domestic broadcast contracts. Single exhibition games have limited reach.

I have always felt that freeing up teams to do more of their own marketing outside the country the way association football teams do might represent a lot of the solution. 30 creative teams thinking of ways to push baseball brands, instead of one MLB International office, could power growth.

I wrote about it more extensively here : http://rusholson.blogspot.com/2014/02/teams-need-to-get-out-more.html

I am always happy to discuss big picture sports business solutions - connect with me on LinkedIn or through my website at rusholson.com.




Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns, television programs, and related creative projects for sports entities through his company, Rush Olson Creative & Sports.


RushOlson.com

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Thursday, February 25, 2016

Spring Training Props

This post originally appeared on the Arts page at the Fort Worth Weekly. To read it on that site : http://www.fwweekly.com/2016/02/24/sports-rush-spring-training-finds/



Courtesy Brad Newton/Texas RangersCourtesy Brad Newton/Texas Rangers
 
If you visit Surprise, Arizona for Rangers spring training, you probably won’t find yourself needing to source several bags of whole pecans. You likely won’t find yourself at the mall seeking the cheesiest temporary tattoos you can find. And you almost certainly won’t have to haul a drum kit, keyboard, and complete horn section to the visiting clubhouse.  But should one of the above circumstances arise, let me know. I may be able to help you.

From 2001 to 2012, I attended every Rangers spring training, primarily for the purpose of gathering video and audio elements to create commercials and other media productions for the team. The Rangers ran a pretty lean shop, so as the producer/writer/director of the spots, I typically also served as prop master,

When we shot in Arlington, I knew plenty of places to buy, borrow, or shoplift props. The ballpark had a whole store full of them downstairs. A closet in my old room at my parents’ Fort Worth home became known as “the prop closet” after I raided it multiple times in search of old baseball cards and other sports memorabilia needed for commercials.

Digging up unusual items presents more of a challenge in remote locales, and you never know what a given concept will require. The first time I found myself in need of spring training props beyond bats and balls came in 2002 in Port Charlotte, Florida. 

 










Courtesy Brad Newton/Texas Rangers
 
In the offseason, I had run across a list compiled by the prestigious National Hot Dog and Sausage Council of hot dog-eating dos and don’ts. I built a series of commercials around these official guidelines. It turns out you aren’t supposed to eat hot dogs off fine china, so I was faced with needing to find some dishes we could abuse in a tiny Florida town. I turned to a staple of prop people everywhere, the local Goodwill store. Soon enough, we had a tea set and plates to use in Michael Young’s first career commercial. We ended up not destroying them, and I had no intention of stuffing them into my luggage, so I donated them back to the store. Somewhere, someone is eating off the same second-hand plates a future All-Star did.


I can tell you where the Goodwill is in Surprise, Arizona, too. I found an owl sculpture for a Park Place Dealerships Triple Play spot that former third baseman Hank Blalock found hilarious. Later, we would put it in random people’s offices at the ballpark. It is probably still floating around up on the fourth floor somewhere. Goodwill was no help, however, when it came to finding whole pecans.

The ad campaign in 2011 revolved around Texas symbols like bluebonnets, longhorns, and, in this case, the state tree. The premise of the spot was that Nolan Ryan (team president at the time) had planted a pecan tree in the ballpark. Texans know shelling pecans can be a difficult task, so power-hitter Nelson Cruz had supposedly been recruited to help by mashing them off a tee, assisted by then-hitting coach Thad Bosley. I needed pecans still in their shells, and Arizona is not the pecan haven North Texas is. I finally found some in a co-op grocery down in Tempe and Cruz scattered them around the batting cage.

We had used the same batting cage in 2005 for applying temporary tattoos. For that project, I needed to scour the local mall for a selection of the goofiest looking ones. I didn’t write the commercial this time. The idea came from first baseman Mark Teixeira, and he scripted it with input from Young and Blalock. Blalock had attained some notoriety for his body art, and Teixeira and Young amusingly imitated him with limited success.

I returned to Tempe for some custom wardrobe for a 2012 spot. We couldn’t schedule the shoot until the last minute and needed custom t-shirts done lickety-split. A college town seemed like the place to find what we needed, and Brand X Custom T-shirts delivered them. For this particular spot, I also shipped out the entire stock of prop clothing I kept at the ballpark for use in videos. 

 












Courtesy Tim George/Texas Rangers

We needed a lot, because the premise of this spot was that for Nolan Ryan t-shirt day, we would actually be giving away Nolan’s own shirts. His wife had ostensibly tired of them cluttering the closets and was getting rid of all his ratty old tees. The crafty Hall of Famer had snuck out an old favorite, however, and worn it to game with his grandkids (the spot did co-star some actual Ryan grandchildren). The piece had five alternating endings, which meant Nolan had to change five times to get all the shirts in. As he trudged upstairs to change for the third or fourth time, he said to me (jokingly, I am pretty sure), “Why’d I agree to do this again?”

The bulkiest haul I had to track down came for a spot in 2005. In an effort help Spanish-speaking fans identify with the ballclub, a TV spot was to suggest that Rangers baseball moved with a Latin Rhythm. We wanted to shoot it music video-style with all the Latin players. Some friends at local studio Dallas Audio Post helped me track down a backline company in Phoenix to supply a drum kit, keyboards, horns, and everything we needed to supplement my own guitar, bass, and amps (brought on the van from Texas). We mostly just let the players pretend to jam as the spot’s music cut played, while our videographers Eric Koski and Tim George, plus then-team photographer Brad Newton, gathered images. 

 




  






Courtesy Brad Newton/Texas Rangers

In putting the script together, I had scoured the dictionary for words that might apply to both music and baseball, and it turned out that we could make wordplay off the words for drumming and hitting, That worked great, since the hitting coach at the time, Rudy Jaramillo, spoke Spanish. He finished off the spot, and we also made an English version out of it, plus a longer music video. The players apparently enjoyed it, because in 2010 Frankie Francisco asked my Rangers colleague Hugo Carbajal and me to recreate the video. He had missed the first shoot rehabbing an injury but thought it would be a good bonding exercise for the players. We got to do it all over again and it was a blast just like the first time, only now in high-definition thanks to advances in technology over the years.

I probably can’t be as helpful navigating Surprise as I could have back in, say, 2009. My favorite wine bar closed and who knows if the fish taco place and the Greek restaurant still exist. But if you need unshelled pecans, a rental trombone, or a t-shirt reading “Chicks Dig the Fastball,” I might be able to assist.


Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns, television programs, and related creative projects for sports entities through his company, Rush Olson Creative & Sports.


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Wednesday, January 13, 2016

Football Is Different

This post originally appeared on the Blotch page at the Fort Worth Weekly. To read it on that site : http://www.fwweekly.com/2016/01/13/football-is-different/


R1
Football is different from other sports.
The ball’s not round, certain players aren’t allowed to touch said ball, and a game can fill 100,000 seat stadiums once a week with fans wearing colors not found in nature.

Should conference alignments reflect its unique character? A basketball game last week served as a reminder of how football’s singularity affects the rest of the collegiate sports world.
In men’s hoops last Monday, the West Virginia University Mountaineers visited their non-historical rival, the Texas Christian Horned Frogs. The ‘Eers traveled roughly a thousand miles to the game, just as their baseball, swimming & diving, women’s basketball, and volleyball teams did or will do this year. A number of TCU’s teams visit Morgantown, too. Why go some 1600 kilometers to play these games? It’s because football is different.
Football always has been the alpha male in the nation’s university environment. There was once a College Football Association to negotiate big schools’ TV contracts in the sport. No such equivalent existed for golf or cross country. Teddy Roosevelt never held a summit to explore making the pole vault safer.

Football has always gotten special treatment, and it’s easy to understand why. The gridiron game is the most popular spectator sport in college athletics. Reputations, egos, and huge dollars depend on it. Those dollars, in fact, drive much of athletic departments’ decision-making. Football’s large roster size and marketing needs, among other things, make it an expensive sport in which to field a team, especially at the FBS level. Choices get made, then with an eye to maximizing the revenue the football program generates.

Certainly any purveyor of sporting contests aims to generate maximal economic returns. Football plays a unique role in college athletics, however, because it is often relied upon to create enough revenue to pay not only for its own costs but also those of sports which do not generate enough funds from sales of tickets, broadcast rights, sponsorships, and “Beat Bama” shirts, plus donor contributions, to pay for themselves. Men’s basketball and, on rare occasions, other sports at certain schools occasionally pay for themselves as well.
There’s not necessarily anything wrong with this arrangement. Fans are certainly entitled to prefer watching one sport over another. If the monies they contribute and facilitate indirectly (like sponsorship and broadcast rights sales) allow students proficient in sports besides the fans’ favored one to realize the benefits intercollegiate athletics provide, that seems a reasonably happy result.

Not all schools break even on their athletic programs, of course. The Washington Post looked the public universities (because government institutions must make the data available) in the Power Five conferences. 28 of the 48 schools they examined lost money on athletics. A USA TODAY study found that more than 200 Division I public institutions didn’t bring in enough income to cover athletic operating costs. In cases where departments don’t fund themselves, student fees tend to make up the difference.

The Post noted that proponents of intercollegiate athletics cite benefits beyond athletic budgets, including publicity that increases applications. Athletic participation certainly also provides benefits to students involved in both the sports themselves and ancillary activities like band, student radio, and valet parking for suiteholders.

It’s an inexact calculation as to whether the costs of intercollegiate athletics outweigh the benefits, and we won’t get into that debate here. But given that even the biggest football schools often don’t pay their own costs, if we could come up with a way for them to run more efficiently, we should take a look at it. That would seem especially important given that many of the institutions in question are public ones, with taxpayers ultimately on the hook for yearly cost overruns plus the infrastructure student-athletes utilize outside the athletic sphere. Given the prevalence of government student aid, that likely holds true for most private institutions as well, since those loans and grants might pay for student athletic fees that subsidize unprofitable athletic departments.

Which brings us back to TCU versus West Virginia (a 95-87 WVU win). They played each other Monday because they’re in the same conference. They’re both Big XII members in large part because of football. When the conference had openings, would either school have gotten in if they didn’t bring national football profiles? No way. Football pedigree clearly factored in the decision more than, say, traditional rivalry or geographic proximity.
So did the conference affiliation make sense from a football perspective? Perhaps so. Did it make sense from a wider perspective? To determine that, let’s look at it through two lenses : student-athlete benefit and overall effect on the state of Texas.

Student-athletes are conceivably supposed to be the most important thing about college athletics. The lessons they learn from playing are a valuable part of their preparation for life. They aim to put in enough time to get the benefits of their sport(s), but not so many hours that their commitment hurts other academic and extracurricular performances.

Football, as previously noted, is different from other sports. You play once a week, usually on Saturdays. Whether you play at WVU or Maine Tech or the Sorbonne, your travel time isn’t too different. Other sports play more frequently and often on school days. The more long road trips students endure, the more classes they miss.

Likewise, a half-dozen lengthy football road trips may not cost that much, and may well be worth the cost if you consider them vital to your gridiron success. Multiple long journeys from baseball, softball, basketball, and the rest of your department’s teams, however, quickly add much larger costs. For the unprofitable schools mentioned earlier, those costs get covered by state resources (like tuition collection, endowment depletion, property tax revenue) that could be directed elsewhere.

A pair of state schools in Texas also field teams that travel to West Virginia annually. They (and their fans) used to be able to travel the much-shorter distances to College Station, Texas for games of similar caliber. However, the public Texas A&M University made a football-related move to the Southeastern Conference and now makes its own trips to Alabama, South Carolina, and Florida.

Do these moves make sense from a student-athlete perspective? Maybe they do from a football standpoint. For the rest of the athletes, however, they miss more class and likely have fewer games their families can attend. The athletic experience they get from playing a Texas school of their caliber is no different from that gained playing one from further away. So we can conclude that football-based conference realignments may well not benefit non-football athletes.

Do the moves benefit the states in which the schools are placed? If long road trips create a lesser academic experience for student-athletes at the schools, that isn’t good. From a fiscal perspective, it seems likely they spend a lot of unnecessary money on non-football travel. The state’s residents may also be hurt economically from scheduling. Let’s face it, a Texas vs. Texas A&M game in any sport is going to be a bigger draw than A&M vs. Vanderbilt or the Longhorns vs. WVU. When the Aggies travel to TCU, Baylor, and Texas Tech, the sales tax dollars generated at local restaurants and hotels stay in-state instead of going to Mississippi or Georgia coffers.

The Aggies may make the case that they bring more TV money to Texas from their move to the SEC than they would have if they had stayed in the Big XII. Indeed, the $31.2 million distribution their conference gave them exceeded the $25.2 million Big XII schools pulled in from theirs. However, each Big XII school retains its rights to so-called third-tier games, and revenue from those might well have come very close to making up the difference. One has to also factor in losses from travel and in-state rivalries to perform a true analysis of the costs and benefits to the state as a whole.

These issues aren’t limited to Texas, either. The Rutgers to Minnesota, Miami (FL) to Boston College, and Arizona to Washington State sojourns leave a lot to be desired, too.

So what’s the solution? If the conference alignments work for football but not for other sports, perhaps the solution is to give football its own special treatment. Set up conferences for that sport that are as national in scope as you want them to be and put the other sports into conferences that make more sense geographically.

Would it work? We already have single-sport conferences in sports without universal participation, like Hockey East or the Midwestern Intercollegiate Volleyball Association, and a number of non-football Division I conferences. BYU’s and Notre Dame’s league arrangements cover most of their sports while leaving football independent. It’s not like colleges have placed any value on stability of conference membership in the last 20 years anyway. Frog fans, remember the WAC and the Mountain West? Or those car trips to Southwest Conference road games?

What would it take to blow up the conference structure? It might need to start with legislation from some budget-minded legislators (if that’s not an oxymoron) in affected states – probably large ones. Or perhaps it could result from a movement started by university presidents eager to make their bottom lines look more robust.

One of the trickiest parts would be the unraveling of current conference television deals, especially those with league-specific networks attached, like the Big Ten Network and the SEC Network. They need the non-football sports to provide enough programming for them to work. It’s possible they could transition to becoming general-interest collegiate sports networks (ESPNU 2, for instance), initially retaining the rights to the individual schools they currently serve through the incumbent system.

Men’s basketball, the second-largest revenue generator among collegiate sports derives most of its take from the March Madness TV deal. It would have to recalibrate the way it splits its money, too, since some of it gets distributed at the whim of conferences. It would take some complicated negotiation, but it could be done.

One hurdle will be stakeholders invested in the current conference system. I sympathize, because they have worked hard to build conference brands over the years. I suggest they embrace the change, because this solution would actually create more conferences. More conferences means more jobs for people like you and me.

In the long run, would a split of football into its own conferences mean more jobs for better-educated student athletes and for Texans who see more monies stay in-state? At the very least, it sounds like a good research project for some bright student-athlete Econ majors – once she gets back from that tennis trip to Morgantown, that is.

Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns, television programs, and related creative projects for sports entities through his company, Rush Olson Creative & Sports.


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Wednesday, September 23, 2015

Stars For A Day

This post originally appeared on the Blotch page at the Fort Worth Weekly. To read it on their site : http://www.fwweekly.com/2015/09/23/stars-for-a-day/
When you attend a Dallas Stars game, you might say “Wow, that video they play before the game looks awesome!” You might laugh a lot during a TV timeout when ersatz game show host Daryl Reaugh awards a player 25,000 points for preferring steak over sushi. You could even declare, “Wow, Jamie Benn’s really cute without his helmet.”
After making those observations about what you’ve just seen on the big center-hung video screen, you might then wonder “How do they do all this stuff?” The answer: Media Day.
Thursday, the Stars took their whole team to Cedar Park, Texas to begin training camp. They have to marshal massive amounts of gear and personnel to make the move happen. Earlier in the day, an undertaking nearly as large preceded it. That’s the one that yields you your player features.
You don’t actually see a lot of media at Media Day. It’s mostly for the Stars’ in-house productions. They set up a dozen or so video and photo stations scattered throughout a darkened Frisco Dr Pepper StarCenter. Top players like Jason Spezza and Jamie Benn visit every spot, while young players likely to spend the season in Cedar Park or junior hockey don’t have to make the entire circuit.
Stars Vice President of Production and Entertainment Jason Walsh and his department bear the responsibility for putting on the event. They want to try to shoot almost every element they’ll need for the entire season. Why do they go to the trouble?
“The players’ time is valuable,” explained Walsh. “During the season, the guys play so many games and attend so many practices and team events that their time with families is at a premium. We respect this and want to get in, capture the needed content, and get out of their way.”
On Media Day, Walsh’s group will have been at the facility since 5:00 am after a full day of setup the day before and weeks of planning.
Walsh said, “This is a project that requires every video resource we have in house and significant help from outside the organization. It takes a month or so to visualize all the needed elements from every department in the organization. Marketing, corporate partnerships and our foundation all play a major role in how we go about preparing for this day.”
At 8:30 am or so, the players started hitting the ice to shoot video elements the Stars can use in-arena, online, and in their television broadcasts. This year, the team added a high-speed camera that shoots at 240 frames per second. The slow motion video it produced looks stunningly dramatic.
After some on-ice photos, the players removed their skates and pads and returned for the next several stations. The various emplacements were numbered and the front office issued each player a card listing which ones he needed to visit. Going in numerical order was not required so long as each player made it to every station they’d assigned him.
They had to get photos made for NHL official head shots. All pro sports leagues shoot such items preseason, so as a player you can always expect that whatever hairdo you had at the beginning of the campaign will follow you throughout visiting arenas for the rest of the season.
Players also posed for photos in team branded shirts, caps, and other wearables for use by the folks who sell Stars merchandise.
Three stations on the Dr Pepper Arena’s concourse level involved players saying lines in front of a blue screen. The Stars have to use blue screens rather than the green ones typically used by weathercasters. That’s because they wear green jerseys and the technology that removes the green to replace it with a background would also take out the jersey.
They said lines for marketing and in-game use. Spoiler: if you’re at a game this year and the Stars score in the second period, you’re going home with a coupon for a free taco. You may also laugh when the player on the video board says “I like tacos.”
Another funny moment will come when players hold up a fake mustache while saying lines. This one isn’t for a sponsor promotion, though. Pro athletes often look to do more than just entertain. They can can use their visibility to inform and motivate fans regarding charitable causes. The Stars Foundation station creates that sort of content.
Also upstairs, they did interviews for Stars features and Fox Sports Southwest promos and features.
In a room downstairs, a sparkly 30-foot wide banner stood behind two podiums. Players entered this room by twos so they could play a game called “Head to Head.” Stars TV/Radio analyst Daryl Reaugh played the part of a game show host, asking questions and allowing players to answer as seriously or flippantly as they desired. Sometimes they got it. Sometimes they didn’t and it was still amusing. Reaugh suggested that the best line of the day might have been when defenseman John Klingberg declared “I don’t understand this at all.”
“The whole idea is to give fans a chance to see the players in a different setting, without their gear, and hopefully exhibiting a bit of their personality,” Reaugh explained. “The more smiles we can put on fans’ (and players’) faces, the better.”
Razor has mastered the subtle details that traditionally marked the game show genre. He wore a loud tie. He entered the set as if Don Pardo had just introduced him. He improvised awarding ridiculous sums of points for answers he saw as having shot and scored.
“One of the best answers came from (goaltender Antti) Niemi,” Reaugh said. The question was: ‘Would you rather spend summers in Texas or winters in Finland?’ He was up against fellow Finn Kari Lehtonen and he showed quick wit to go along with his lightning reflexes. His answer: ‘Summers in Finland, winters in Texas.’ Bam!”
Reaugh even engaged in fake silent happy talk after the game show concluded. That’s the part where the audio operator has turned the microphones down on the set but you see the host banter with the contestants as the credits roll. Razor mimicked the effect by mouthing words to the players after he closed each segment. If the players caught on, it was funny. If they didn’t, it was funny.
Sports teams have long produced lots of content (like game programs, scorecards, and publications like Dallas Cowboys Weekly), but technology like HD video boards and websites has driven teams to put resources into producing content of all kinds like never before. They do it all to entertain and engage Stars fans like yourself. And now when you see some of that content on the American Airlines Center video boards, you’ll be able to say “I know where that comes from – Media Day.”
Disclosure: For the last couple of years, the Stars have paid me to help organize the crews and gear for their Media Day setup.

Rush Olson has spent two decades directing creative efforts for sports teams and broadcasters. He currently creates ad campaigns and related creative projects for sports entities through his company, Rush Olson Creative & Sports.


RushOlson.com

Linkedin.com/company/rush-olson-creative-&-sports

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