Only the Game Was Real: The Aesthetics and Significance of Re-created Baseball Broadcasting

Very few of us reading this article ever heard an actual re-created baseball game on the radio, but game re-creation was the norm for away games for nearly every team broadcasting their games on radio from the dawn of broadcasting well into the 1950s.  Almost all of us knew that already, but if you didn’t, you know now.

But even though we know, intellectually, that this was the state of the baseball broadcast art, probably very few of us have thought very deeply about how this art was executed. We perhaps don’t often close our eyes and imagine what a re-created baseball game would sound like, and the effort that went into making it sound like a real, live baseball game.

Committee member Bob Barrier has, and he wrote a nice little piece a few years ago about, as he terms it, the aesthetics of re-creating a road ball game on the radio for a team’s fans to enjoy at home. While the whole idea of re-creating a baseball game from a telegraph wire might sound a bit like a silly exercise to undergo, sending broadcast equipment and an announcer on the road was prohibitively expensive at the time, and besides, teams usually had room to house only one broadcast team, obviously for the home team’s broadcast (which probably explains why the Brooklyn Dodgers re-created road games even at the New York Giants’ Polo Grounds, less than 15 miles away). But the fans still wanted and needed to hear their own team play even when they were playing on the road, and thus: the re-creation.

Barrier’s piece is reproduced in full below, having first appeared in the tome entitled Baseball/Literature/Culture: Essays, 2006-2007. Especially illuminating is his interview with Nat Allbright, little known today but widely considered the “king of the baseball re-creators” throughout the Fifties, having worked some 1,500 Brooklyn Dodger road games for the Mutual Network from his studio in, of all places, Washington D.C.  During the interview, Barrier asked Allbright to simulate a baseball re-creation for him, and … well, I invite you to just read it, below.


Only the Game Was Real

The Aesthetics and Significance of Re-created Baseball Broadcasting

Robert G. Barrier

The huge success of XM Satellite Radio’s Major League Baseball broadcasts the past two years has highlighted a truth almost forgotten. Even in these days of high-definition television, streaming Internet video, and play-by-play graphical Web sites, baseball on the radio still remains the most compelling, imaginative, nostalgic, and personal way to participate as a “spectator” from a distance. Indeed, radio announcers maintain the seams of nostalgia, and in their different ways make the listener a daily participant in the game. But for some of these listeners, particularly those who lived in the rural South and Midwest from the 1930s to the 1950s, the imaginary stadiums constructed for them came from announcers re-creating the actual games from Western Union tickers miles away from the actual game. The re-created games, which often relied on recorded crowd noises, audio clips of bats hitting the ball or the ball hitting the glove, were also embellished by the imaginative patter of word artists, such as Red Barber or Graham McNamee, who created broadcasts in many instances under the illusion that listeners were hearing a real game from a real stadium.

Early on, electronics connected the nation of fans with largely factual accounts devoid of creative imagination. The earliest commercial radio station, KDKA in Pittsburgh, broadcast scores during the summer of 1921 and carried the first live broadcast on August 5. The

Arch McDonald was one of the early pioneers of baseball game re-creation on the radio. Here he is hard at work on Washington's WJSV.
Arch McDonald was one of the early pioneers of baseball game re-creation on the radio. Here he is hard at work on Washington’s WJSV.

following year, RCA-Westinghouse broadcast the 1922 Series from the Polo Grounds, arranging for famous sportswriter Grantland Rice to report to an audience, which was called by the New York Tribune “the greatest audience ever assembled to listen to one man” (qtd. in Tygiel 65). Even competing stations in New York went silent so that listeners could hear the broadcasts. But for all of Rice’s brilliant poetry, the creator of the famous image “the four Horsemen of the Apocalypse” failed in on-air reporting. He simply described what happened in “a little flat, atonal voice somewhat awkwardly modulated and unmistakably Southern.” Of this experience he would later report, “The broadcast officials wanted me to keep talking. But I didn’t know what to say” (qtd. in Tygiel 68).

The tradition of the personalized broadcast began in 1923 with Graham McNamee’s conveying the atmosphere and the imagination of on-air baseball. A singer brought to New York to develop his talent, he “understood pacing, style, and performing for an audience, even one he could not see” (Tygiel 69). Whereas the Western Union operator was expected to remain, “perfectly cool and collected, no matter what happens … and would be chided by the manager if he did bring in personality,” McNamee recognized that the new medium required a different approach: “to avoid dead silence, I found myself more than ever falling back on general description. And that is where the imagination comes in” (qtd. in Tygiel 69).

Though sportswriters groused and criticized the showmanship, McNamee successfully made every listener a spectator, enabling them “to use their eyes” by “paint[ing) word pictures that other minds could feast upon…. Very little imagination was required … especially when the announcer turned his microphone on the roaring, booing and cheering crowd” (Tygiel 71). Very soon teams in the Midwest began regular season broadcasts, especially in Chicago, but not in the eastern cities where there were larger population centers as well as many more major newspapers. In more scattered areas of the Midwest, broadcasts could extend the drawing area to 100 miles or more. Even the Sporting News, self-described as “baseball’s bible,” criticized broadcasts because of economics—fans wouldn’t pay for what they got free. Essentially, radio coverage democratized Major League Baseball, making it more accessible and intimate to those far away from the stadiums; as Jules Tygiel observes, “the process had become more familial or individualistic, replacing the communal experience with a more isolated one” (72).

As the listening audience expanded, so too did the need for announcers like McNamee who approached the game with a showman’s view. Many of the most popular announcers of the 1940s and 1950s were southerners, including industry legends like Red Barber, Mel Allen, Arch McDonald, Ernie Harwell, and Russ Hodges, all of whom made famous peculiar southern expressions and maintained a narrative rhythm reminiscent of the southern oral traditions of local color and humor. Perhaps it is this storytelling tradition—and their professionalism—that enabled so many of these broadcasters to approach baseball games as story, humor, and spectacle while maintaining the reportage narrative that was their main duty. Harwell, recently retired after 56 years of broadcasting, accounts for the distinctive southern voice as a natural result of the southern oral tradition, so many stories told at evenings on the porch or in the kitchen (Kaufman).

One might trace this loquaciousness back to Mark Twain and the southwestern humor tradition, but there remains a significant difference. Whereas the point of a Simon Wheeler or a Eudora Welty character is to stray far afield from the initial conversational subject, southern baseball announcers restrained themselves to commentary between pitches (Harwell says he never told a story he could not finish within the inning and he insisted upon giving the score as often as possible). It was a studied but natural patter of talk, not an extended yarn. And also there was the distinctive southern accent:

Ernie Harwell still sounds like old radio…. His style is conversational, sure, but he’s not just talking. He’s broadcasting…. People talk about his Southern lilt, and you can hear it on the air if you’re listening for it, but more noticeable is the precise, clipped diction of a 1940s radio man who has to make himself understood through the static and noise of a distant Philco (Kaufman).

Likewise, southerners also played a significant role in the lost art of re-creating live baseball games for later broadcast. In the first radio recreated games, which date to 1921, a reporter telephoned details of the action to a radio announcer, who in turn dictated the game to a very limited audience. Many re-creators made no bones about the fact that they were re-creating but others went to great lengths for the illusion of reality. Willie Morris, in North Toward Home, praises McNamee for making each game an epic contest and recounts how he won money from his childhood acquaintances by predicting upcoming events in re-created games after he had heard the real games earlier via shortwave. And even though, according to Dodger re-creator  Nat Allbright,  the law required re-creator announcers to make a statement that the game was re-created at both the beginning and the end, most listeners thought the games were real. In the ’30s and ’40s, almost all teams—major and minor—re-created games,with most teams re-creating only away games to save money. Many older fans recalled how they preferred the created game to the actual, since the re-creator had a 10 to 30 minute lead time, except that occasionally the teletype would fail. Ronald Reagan, who did Cubs games throughout the Midwest, had to invent, on more than one occasion, marathon foul balls, fights, or power failures.

Perhaps the most popular of the studio broadcasters,  Allbright led the second largest network (next to Mutual’s Game of the Day) –26 states and 117 stations—out of Virginia from 1950 to 63.  Allbright

Nat Allbright "King of the Baseball Re-Creators".
Nat Allbright “King of the Baseball Re-Creators”.

calls what he did a science, using both high and low technology. High-tech resources included tape recordings of “background roar” and “excited crowd” noises; a recording of each stadium’s separate singing of the national anthem; and having a colleague listen to the live game in the next room, or following it via Morse code. Low-tech tools included rapping a pencil against the table for the crack of the bat, crinkling a cigarette wrapper for thunder, or having someone in a nearby bathroom play the role of the echoing PA announcer  (Allbright).

Although they had a lead-time from the actual games, the successful re-creators also had to follow the broadcast atmosphere created by McNamee and other live announcers. To  Allbright  and other re-creators, the artful process required pacing, pause, timing, and building to control the whole tempo of the broadcast. Having the extra time gave a re-creating announcer an opportunity to add the effective comments for his team. For example, broadcasting live, Russ Hodges is famous for screaming after Bobby Thompson hit the “shot heard around the world” in the Giants -Dodgers playoff in 1951:”The Giants win the pennant! The Giants win the pennant! The Giants win the pennant!”  Allbright, the Dodger re-creating announcer, did it this way:

I announced that Clem Labine was coming in to pitch, then had to change it to Ralph Branca when that was corrected. Suddenly, my associate in the next room started waving his arms like the ball was gone. When he handed me a piece of paper confirming what had happened. I said, ‘A drive to left field—back, back, and that ball is gone! … Unbelievable! It’s out, and I’ll see you next season” (qtd. in Heller).

To further illustrate the pacing and process of re-created games, Allbright, during a personal interview, agreed to re-create a game from the ’50s, while sitting in the glass-enclosed office. While the action below likely only exists in his mind, one should notice how he still uses pacing, byplay, tempo, imagery, and building to make this imaginary game come alive:

Alright, Let’s see…. We’ll open it up in the top half of the ninth inning. The Dodgers lead 3-2. The Giants have the tying run at third and the go-ahead run is at first base with one down. Mueller is on at third and he’s talking now to Leo Durochcr. That’s the tying run and Dusty Rhodes at first for the New York Giants. Dusty came in and hit for Jorgenson here in the ninth and singled to right in front of Carl Flunk. And the batter will be Willie Mays—number 24. He has one for three, right-handed batter. He doubled in the fourth and drove in a run.

Don Newcombe on the mound for the Dodgers, pulls off his cap, walks over now, picks up the rosin bag, looks toward third.

Gil Hodges with the go-ahead run at first base will play close to the bag. He will play the runner Rhodes. He will not be in back of him. Andy Palko back in deep left. Duke Snider, left center. Carl Furillo in right-center field. With Don Hoak third. Pee Wee Reese at shortstop and … Jackie Robinson at second and Gil Hodges at first.

Campanella, in front of the plate, holds up one finger now. Runners on the corners as Willie Mays moves into the batter’s box. Don Newcombe cannot pitch around Willie Mays because the on-deck hitter is Bobby Thompson.

Mays swinging his club back and forth. Newcombe stretches. Looks back to first. Now takes his foot off the rubber. Wipes … pitching hand across DODGERS on the front of the uniform.

Game time tomorrow evening. Friday, will be at seven. Saturday afternoon at one and Sunday at one. And that will finish up the four game set.

The Dodgers lead the National League by four games over these Giants. Newcombe ready, comes in with the pitch … and it’s … inside, close for a ball.

Mays steps out of the batter’s box … goes down for a handful of dirt. It’s a bright sunny day with a temperature of about 84 degrees … at Ebbets Field and the wind is blowing … toward right.  [Three second delay.]

Newcombe ready on the mound, looks in for the sign, set and delivers. And a SWING and a MISS for a strike.

It’s one and one for Willie Mays. We’re in the bottom half of the ninth inning. Bobby Thompson on deck and it’s a 3-2 ball game. The Dodgers lead by one. Tying run is at third.

Newcombe … on the mound. This guy can let it go. He can make that ball look like an aspirin tablet.

Don Newcombe. Ready. Set. Comes down with the pitch. There’s a GROUND ball past the mound, going to Reese. Reese up with it, over to Robinson. THERE’S ONE. Back to first: A DOUBLE PLAY AND THE DODGERS GET OUT OF IT IN THE NINTH and WIN THE BALL GAME by a score of 3 to 2 over the New York Giants.

So they win the first game of this four game set. And Newcombe and Roy Campanella down below celebrating. There’s Reese, Jackie Robinson, and Gil Hodges. And it’s the HATED Giants GO DOWN in the first game of this four game set.

This is Nat Allbright  at … Ebbets Field in Brooklyn, New York. Re-created and … tomorrow game time will be at seven.

I’ll be back right after these words from … YOUR local … beer dealer.

Ok? [ends]

Without the constant noise level of the imaginary crowd, the hum and buzz of excitement, note how  Allbright  moves in a controlled tempo, with few breaks in the delivery and only one mistake (calling the Giants’ inning the bottom half though the game was at Ebbets Field—perhaps unconsciously thinking of the infamous Thompson home run?). In fact, Allbright’s abilities to convey the color and tension of a real game by his delivery stand out even more without the canned noise. Notice also that Allbright makes the event and his “telling of it” personal without intervening in the game: ‘It’s a bright sunny day with a temperature of about 84 degrees … at Ebbets Field and the wind is blowing … toward right,” hesitating, as if he were actually checking the pennants blowing in the outfield. Another aspect of the “personal” in Allbright’s above sample that differs from some earlier broadcasters and many current ones is that he functions first as a reporter, rather than a fan. Though obviously a “homer” he refrains from pulling directly for the Dodgers, an element many modern team network broadcasters bypass.

The Allbright  re-creation transcribed above reveals how “reportage” can be made vivid by rhythm, figurative language (Newcombe “can make that ball look like an aspirin tablet”), pauses, and pacing. As an indication of the difference in engagement between re-created baseball by Nat  Allbright and on-site baseball broadcasting, one might compare the 1950s’ broadcasts of Mutual’s Game-of-the-Day (live) and  Nat  Allbright’s re-created Dodgers games. By that time, many major league teams were playing games at night during the week and so many weekday games came from Wrigley Field or from minor league venues. I recall coming home from school September afternoons to hear those Mutual games from Chicago and even sometimes from Yankee Stadium when the weather turned too cold for night games: those were long afternoons filled with leisurely and slow games, the action interspersed with banter, such as how announcer Bob Neal’s last name backwards seemed to spell “Lean,” a conversation I somehow recall from fifty years ago! Though I did not perceive of it until recently when I heard the  Allbright  re-creation, the re-created games from the Dodger network were far more appealing because of the constant hum and ebb and flow of canned background ”noise far louder than any real stadium could be, each inning rising to a climactic sound level, almost like eighteen horse races. In another indication of the ”reality” of the re-created broadcasts,  Allbright  recounted during the interview how some of the thousands of listeners from small towns of the South and the Midwest attending spring training games in Florida would seek out the Dodger’s broadcast booth and refuse to accept that Red Barber was the only on-site announcer. Indeed, I remember my own friends in 1957 ready to fight me for telling them that  Nat  Allbright’s broadcasts were re-created, a fact I had learned from the Sporting News.

Allbright remembers Mel Allen telling him that the baseball re-creator had the best of both worlds, broadcasting the games yet getting to remain at home and “sleep in (his) own bed at night.” In many similar ways, the lucky listeners of those re-created games also had the best circumstances possible: the ability to hear the results of the game, the opportunity to listen to a word artist’s re-creations, and the pleasures of the imagination to participate in the game itself in one’s mind’s eye—and ear.

 

WORKS CITED

Allbright. Nat.  Personal Interview. 1 Match 2006.

Heller, Dick.  “Nat Allbright  was the Dodgers to many fans in the 50s.” The Washington Times 10 March 2003: A10.

Kaufman, King. “Baseball Greetings. Ernie Harwell.” Salon Online 27 August 2002. http://archive.solon.com/people/feature/2002/08/27/harwell/index5.html (accessed I5 July 2007).

Morris, Willie. North Toward Home.  Oxford: University of Mississippi Press.1999.

Tygiel, Jules. Past Time: Baseball as History. New York: Oxford University Press, 2001.

 

From Baseball/Literature/Culture: Essays, 2006–2007 ©2008 Edited by Ronald E. Kates and Warren Tormey by permission of McFarland & Company, Inc., Box 611, Jefferson NC 28640. www.mcfarlandpub.com.

The Humble (Ad-Free!) Origins of the First World Series Broadcasts

Committee member James Walker, author of such seminal baseball media books as Center Field Shot and the recently released Crack of the Bat, just published a terrific new article over at The Conversation about the origins of World Series broadcasts, the first of which took place in 1921.  Dr. Walker volunteered to us the article for a reprint in its entirety, and so we have, below.

There are some revelations that will surprise us media-savvy consumers of the early 21st Century, not the least of which is the commercial- and broadcast rights fee-free nature of those early broadcasts.  Another significant difference from today’s broadcasts is the multiple network coverage of the Series, as CBS joined NBC in broadcasting the Fall Classic in 1927, with Mutual becoming the third radio network to do so simultaneously starting in 1935.  Both these circumstances yielded a permanent solution starting in 1939, which you can read more about below.

As enjoyable as this article is to read, the most fun part about it might well be the two minutes and forty-five seconds you can spend watching various footage taken of the 1921 World Series in the video embedded within, which includes not only real-time speed footage, but also what can only be characterized as “super slo-mo” footage, which we are now used to seeing for events taking place in 2015 but which look completely and wonderfully anachronistic when seen for events taking place almost a century ago.

This is a fascinating read. Enjoy!


2015-10-27_11-35-36

by James Walker, October 27, 2015 6.09am EDT

This year, FOX Sports paid Major League Baseball about half a billion dollars for the rights to broadcast the national pastime.

While the package includes some playoff games and regular season contests, the crown jewel is still the World Series; despite decades of declining ratings, baseball’s postseason is still a revenue machine.

But World Series radio broadcasts had humble beginnings, which I detail in my recent book Crack of the Bat: A History of Baseball on the Radio.

In fact, for the first 13 World Series broadcasts, radio networks paid zilch to carry the national pastime’s showcase tournament. The broadcasts started as a promotion for a new radio station and coverage was amateurish. In fact, the first voice on the first live broadcast of a World Series didn’t even know the score at the end of one game.

In October 1921, WJZ, a new station based out of Newark, New Jersey, needed a big event to announce its arrival in the New York metro area. The all-Gotham series between the Giants and Yankees (eventually won by the Giants, five games to three) provided the perfect opportunity.

The voice for this first radio World Series belonged to a Westinghouse engineer named Tom Cowan, but its eyes belonged to another. Unlike Cowan, Newark Call newspaper reporter Sandy Hunt was actually at the Polo Grounds.

Footage from the 1921 World Series, which pitted the New York Yankees against the New York Giants.

 

Hunt relayed the plays by telephone to Cowan, who was lodged in a cramped 15-by-20-foot “contractor’s shack” atop Newark’s Edison plant, where the WJZ transmitter was located. In his calls of the games, Cowan simply parroted whatever Hunt told him – mind-numbing work that offered few breaks.

After one exhausting game, Cowan reported he “couldn’t even collect [his] thoughts enough to tell who had won.” When a WJZ colleague asked him who won, he could only say, “I don’t know, I just work here.”

In 1922, the two-person team was replaced by a single eyewitness at the games – and a famous one, at that. Grantland Rice, perhaps the best-known sportswriter of the day, traded in his typewriter for a microphone during the World Series rematch between the Yankees and Giants.

While offering solid description, Rice would occasionally take extended breaks to “rest his voice,” leaving listeners adrift for minutes at a time. Like Cowan, Rice found the new communication medium daunting; he would later tell legendary commentator Red Barber that one radio World Series “was enough for me for all of my life.”

For Grantland Rice, announcing one World Series was enough. irishlegends.com

After these early experiments, National League owners, fearing that broadcasts would hurt World Series attendance, voted to end all World Series coverage. But the new commissioner, a former federal judge named Kenesaw Mountain Landis, overruled them. Landis viewed the nation’s newest mass medium as a potent promotional machine, and developed a policy promoting the widest possible coverage of the games: all stations and networks would be welcomed to cover the games for free.

The next year, 1923, Graham McNamee, a failed singer, became the nation’s first “superstar” sports announcer. For the next several years, he announced the World Series over RCA’s regional network and, later, NBC’s national network. In 1927, CBS joined NBC in providing national radio coverage for the World Series. A third radio network, the Mutual Broadcasting System, would join the fray in 1935.

Interestingly, the networks initially saw coverage of the World Series as a public service, with no sponsors and no commercials. The radio networks supplied the announcers, paid the AT&T line charges and essentially donated airtime to bring the World Series to the nation’s rapidly expanding radio audience.

In the process, Major League Baseball reached a national audience, while the networks became identified with the country’s most popular sport.

However, as attendance and revenues declined in the pit of the Great Depression, Commissioner Landis looked to radio for a new revenue stream.

Over the years, many companies approached the networks with offers to sponsor the World Series. But the networks feared a backlash if the games were broadcast with a commercial sponsor.

Back then, the advertising supported model of broadcasting was not fully entrenched; unlike today, listeners didn’t simply assume commercial interruptions would take place.

Even the pro-business, future Republican president Herbert Hoover thought it “inconceivable that we should allow so great a possibility for [radio] service…to be drowned in advertising chatter.”

As one NBC executive put it, “The minute we begin to commercialize this type of service we will soon have difficulties on our hands from various groups that are not friendly to broadcasting.”

Despite the chance of listener backlash for signing on sponsors, in 1934 Landis went on to sign a US$100,000 deal with the Ford Motor Company to sponsor the World Series.

The players got 42% of the take, and the clubs took the rest. Both parties were overjoyed with the commissioner’s radio windfall. The Ford deal made the World Series too valuable to remain unsponsored, ending the era of sports programming as a public service.

Landis still insisted that the maximum number of networks and stations carry the games, and throughout the 1930s, the World Series saturated the airways each October. Sponsors, however, balked at paying network charges for redundant coverage on multiple networks; by 1938 no sponsor could be found.

Landis quickly adjusted to the changing realities of radio advertising by granting exclusive rights to broadcast and sponsor the event, which would focus the attention of audiences on one network and one company.

In 1939, Landis granted Mutual exclusive rights to broadcast that year’s World Series, with an option for the 1940 contests. Meanwhile, Gillette signed on to sponsor the World Series at a cost of $100,000. But in paying only one network, they dramatically reduced the distribution costs. (Other stations could take the feed if they paid the line charges.)

Gillette would be the official sponsor of the World Series for over 25 years. Digital Deli Online

Mutual would maintain exclusive radio rights until 1957 while Gillette was the exclusive sponsor on radio – and, later, television – until 1966.

Landis’ contract established the modern structure of World Series rights: sponsorship on a single network. Network exclusivity made the games more valuable for the carrying network, but also reduced the radio (and, eventfully, television) footprint of the World Series.

As the NFL exploded in popularity and the number of postseason baseball games and competing television networks rose in the 1980s and 1990s, the supremacy of the World Series in the national consciousness faded. While networks continued to pay higher rights fees to cover the World Series, the television audience for the games declinedfrom a high of 44.3 million viewers in 1978 to a low of 12.7 million in 2012.

When it was unsponsored and on every network, the World Series became the “Fall Classic.” Meanwhile, sponsorship and exclusivity increased revenue beyond Judge Landis’ wildest dreams.

And, fortunately for fans, every announcer since 1921 has known the score at game’s end.

Here is How TV Covered the League Championship Series in the Early Years

There’s a great post over at the Classic TV Sports blog by Jeff Haggar (@classicTVsports) about the early years of televised coverage of the League Championship Series, during the time when the weekday games would run in the afternoon, and what would happen when the two series had games scheduled at the exact same time. Remember, there were no cable networks who could easily pick up that second game, so read below how this eventuality was handled.

You can read the article in full below, or read it on the original website here.  By the way, if you are interested in the coverage of all sports (not just baseball) in years gone by, I’d recommend subscribing to Jeff’s blog.


 

TV coverage for the early years of the LCS (1969-1975)

Can you imagine a baseball playoff game with no national TV coverage? This actually happened multiple times during the early years of the League Championship Series.

MLB created divisions in 1969 and added the LCS playoff round. NBC held the national TV rights to these games, but its LCS coverage in those first years left much to be desired.

At the time, the best-of-5 LCS began on a Saturday for both leagues and NBC would kick things off with an afternoon doubleheader. Then things would get interesting. On Sunday, NBC typically selected one of the baseball games for a national telecast and presented a “football/baseball” doubleheader with regional NFL action at 1 pm and an LCS game at 4. The other LCS game was relegated to a local telecast. Neither MLB nor the NFL scheduled any games for Sunday night at the time.

When both leagues played on the same weekday, the starting times overlapped by 1.5 hours. NBC would televise one game in full in the early afternoon and then join the late game in progress.

The standard practice for NBC was to send its top announcer team of Curt Gowdy and Tony Kubek to the weekend games of one LCS and then shift them to the opposite league for the weekday games. Jim Simpson handled play-by-play duties for the other series from 1969-1974 with Joe Garagiola filling that role in 1975. The “B” team analysts were Sandy Koufax (1969-1972) and Maury Wills (1973-1975).

During this era, MLB typically scheduled these playoff series with no off day for travel unless one of the teams was from the west coast. And the game times were fixed in advance with no provisions for moving a start later in the day if the other series ended early.

For example, check out the NBC TV schedule for the 1972 LCS round (all times ET):

Sat 10/7, Reds @ Pirates, NLCS game 1, 1 pm, Simpson, Koufax
Sat 10/7, Tigers @ Athletics, ALCS game 1, 4 pm, Gowdy, Kubek

Sun 10/8, Tigers @ Athletics, ALCS g2, 4 pm, Gowdy, Kubek
(Note: NBC did not carry NLCS g2 which started at 1 pm and was only televised locally.)

Mon 10/9, Pirates @ Reds, NLCS game 3, 3 pm, Gowdy, Kubek

Tue 10/10, Athletics @ Tigers, ALCS game 3, 1:30 pm, Simpson, Koufax
Tue 10/10, Pirates @ Reds, NLCS game 4, (joined in progress – 3 pm first pitch), Gowdy, Kubek

Wed 10/11, Athletics @ Tigers, ALCS game 4, 1:30 pm, Simpson, Koufax
Wed 10/11, Pirates @ Reds, NLCS game 5, (joined in progress – 3 pm first pitch), Gowdy, Kubek

Thu 10/12, Athletics @ Tigers, ALCS game 5, 1:30 pm, Simpson, Koufax

After the successful 1971 experiment to move one World Series game to prime time, MLB began scheduling all weekday World Series games at night. But for some reason, MLB continued to keep all the weekday LCS games in the afternoon. It wasn’t until 1975 that MLB moved any LCS game to prime time (when it provided regional coverage of game 3 of each series on a Tuesday night).

Because of the incomplete national TV coverage, NBC allowed the participating markets to carry the LCS telecasts using local announcers. So fans in those markets would have access to each game in its entirety (and had a choice of which telecast to watch when NBC also aired the game).

In 1976, for the first time, MLB placed each LCS game into a unique national TV window and scheduled one game for prime time each day including Sunday. The practice allowing for separate LCS telecasts with local announcers continued through 1983.

Sadly, very little NBC footage survived from these early LCS years. Much of 1973 NLCS game 1 exists as well as portions of the 1972 ALCS game 2 telecast.

Here is the earliest LCS footage I have found – a few clips of Gowdy calls from the 1969 NLCS:

Interview With Free Agent Sports Writer Tyler Mason

Tyler Mason is a free agent sports writer who previously covered the Minnesota Twins Beat for Fox Sports North.  Unfortunately, Mason’s narrative is far too common in  sports journalism.  Mason uses the  hashtag  #hiretyler to help him network for his next opportunity. He was nice enough to take some time to answer questions about his experiences working at FSN, his take on current trends in the media, and his next steps.

1. Could you talk a little bit about your background and how you became a sportswriter? Was there a certain moment or mentor who helped?

It wasn’t until the end of my freshman year that I got into sportswriting. I went to college thinking I might want to be a psychology major, but I took the intro psychology class and didn’t do so well in it. After taking the intro journalism class during the second semester of my freshman year, I went to one of our school newspapers in Madison and wrote a story (a men’s track preview) near the end of the year. I stuck with the paper after that and was there through my senior year, and fell in love with sports writing at that point.

2. I know that you already wrote a nice blog post about why working the All-Star Game was a career highlight for you. Is there something that you would like to add about it?

I’m not sure there’s much to add. Covering the All-Star Game was such a unique experience. There were so many great players in town, and so many media. I didn’t realize how much else went into that whole weekend – the Fan Fest, press conferences, concerts, etc. Just to be around all of that was something I’ll never forget.

3. I recently interviewed Steve Rushin for Twins Daily and he said “There is more good baseball writing than there has ever been, and I won’t list all the current people I read for space considerations and fear of leaving someone out.” Do you have favorite writers today that you admire locally, as well as nationally?

I agree with Steve that there is a ton of good writing nowadays. I don’t necessarily have a favorite writer, and I’ll admit that I don’t read as many baseball writers as I should. That’s something I would definitely like to do more of. I will say, speaking of Steve Rushin, that I’ve always enjoyed his work – perhaps because he’s a Minnesota native. I recently read a book by Dirk Hayhurst, the former big league pitcher. It was interesting to read a player’s perspective for once compared to a journalist’s. I’d say in general, it’s wise to try to read a wide range of stuff when it comes to sports writing, and baseball writing in particular.

4. Besides the obvious rule, “There is no cheering in the press box”, what is it like working the baseball press box? How is it different from other sports?

I enjoy the baseball press box. There’s usually plenty of discussion regarding the game, and decisions made within it. As far as how it relates to other sports, I’d say there’s more interaction between, the writers in a baseball press box compared to basketball, football or hockey. Perhaps that’s because of how much down time there is in a baseball game. The rest of the Twins media are generally pretty easy to get along with, and we all enjoy each other’s company. It’s not as cutthroat as other media markets like New York, Boston, or Los Angeles.

5. My roommate is a sophomore journalism major at the University of Minnesota Duluth. What advice do you have for him and other recent graduates wanting to follow your career path?

Try to find an internship or two that will include some valuable experience. I interned with MLB.com in 2009 and am so glad I did, as I learned a lot about the business during that time. I’d also advise to be active on social media, perhaps even starting a personal blog. Also, network as much as possible. Send e-mails to other writers or try to get to know people in the industry if at all possible. Sometimes, it’s not what you know, but who you know.

6. There is a tweet that caught my attention. Why do you think there are so many free agent sports writers? Does it happen more in baseball? Or is common in sports overall?

I don’t think it’s specific to any sport. Unfortunately, the nature of the journalism business is that turnover/layoffs are bound to happen. You see it in newspapers far too often, but it doesn’t necessarily happen in just one sport.

7. How have companies like Inside Edge, The SportsXchange, Sportradar and the Associated Press impacted the baseball media industry?

I think it’s great that there are more outlets covering baseball today that in the past. The SportsXchange and the Associated Press are pretty similar in their coverage (more game stories and news, not as much analysis), while other sites offer different perspectives. With analytics and sabermetrics becoming such a big part of baseball, it’s great to see other sites embracing that aspect of the game. Baseball fans have more options than ever for gathering their information, and that can only help grow the game.

8. If you cannot get another baseball media job, where do you think your skills would translate well into another non-sports or media field? I see you wrote about becoming a travel writer for example?

I did indeed blog about travel writing, although that was more of a pipe dream than anything. I’d love to find something in the writing field, but those options are limited. I also have a strong social media background, so I feel those skills could translate as well – not just within the sports realm. I am open to branching out beyond the sports scene.

9. Do you have anything new in the works? Perhaps a book?

Nothing new in the works right now, unfortunately. I did write a few books for Red Line Editorial, but they are both geared towards elementary aged children. One is on the history of the Rose Bowl, while the other is a football trivia book. I hope to continue writing/blogging in some respect, although I’m not sure how often at this point.

He’s Been Everywhere: Why Vin Scully is Baseball’s Forrest Gump

In case you missed it, there’s a really fun article over at The Sporting News, written by Jason Foster, that describes and shows video of many of the iconic plays that Vin Scully has called during his career.

You would expect a boatload of them from someone like Scully who has worked the course of two-thirds of a century, and I’m sure you’ll be able to name many right off the top of your head: Don Larsen’s perfect game in the 1956 World Series; Sandy Koufax’s perfect game against the Cubs in 1965; Kirk Gibson’s gimpy game-winning homer in Game 1 of the 1988 Series; Bill Buckner’s five-hole fielding gaffe in Game 6 of the 1986 series; the list goes on, and I might have left off your favorite call.

But there are also a bunch of calls of iconic moments that I bet you didn’t know, or at least didn’t remember, Scully making the call on. For instance, did you know that Scully called Joe Carter’s Series-winning home run from 1993?

How about the epic 1991 Series Game 7 between Jack Morris and Jon Smoltz? Did you remember that Scully called this one as well?

But above all, if you knew that Scully called the following play, then you must immediately be crowned the King of Vin Calls:

I, myself, had no idea about this one, so I bow to you, Your Majesty.

You can check out the entire very-well-written article over at the Sporting News here:

He’s been everywhere: Why Vin Scully is baseball’s Forrest Gump

Joe Ritzo’s Baseball Dream Leads to the San Jose Giants’ Broadcast Booth

It’s not often that a young kid dreams of being on his hometown professional baseball team and then actually achieves it.  It might be even less often when the kid wants to be a broadcaster instead of a player, and the hometown team is the local High-A ballclub.

That’s what has happened with Joe Ritzo, the young radio (and sometime TV) broadcaster for the San Jose Giants of the California League. Sure, he’s looking to make the move up to the majors at some point. Every kid wants to be a major leaguer when he grows up, and every minor leaguer eventually wants to be a big leaguer, too, whether a player or not. The majors is always the ultimate goal for any baseball professional serious about his craft.

In the meantime, though, Ritzo seems very happy to be toiling for his hometown’s minor league Giants, as evidenced by the story below that first appeared in the Los Gatos Weekly-Times, part of the Bay Area News Group, and written by Dick Sparrer. You can read the story on its original website here, if you prefer.

If you are also a fan of our Working The Game series, pay particular attention towards the end, in which Sparrer briefly describes Ritzo’s typical day when there is a 7:00 pm home game. Spoiler alert: it’s a really long day, and there’s more to it than just talking into a microphone.


Baseball dream leads to the broadcast booth

It’s not uncommon to find youngsters scrambling around the grounds of Municipal Stadium during San Jose Giants games, proudly wearing their baseball caps and gloves while chasing down foul balls and playing catch between innings as they play out their dreams of one day making it there themselves.

Joe Ritzo was no different … well, maybe just a little.

He cherished his time at the ballpark as a kid because he loved the game of baseball so much. It’s just that he left his glove at home and brought his tape recorder along instead.

As it turns out, just as those boyhood dreams came true for guys like Joe Panik and Matt Duffy as they flashed leather on the infield at San Jose Muni on their road to become Major League baseball players, so too is the dream coming true for Joe Ritzo, who pushed the record button on his way to earning his place as the play-by-play broadcaster for the San Jose Giants.

“I always felt that I could talk a good game,” said Ritzo. And now he does, at least 140 times a year–mostly from his small perch in the booth atop Muni Stadium, but also from some less glamorous locales throughout the California League.

Still, while there may be more exciting places to visit than Rancho Cucamonga or Bakersfield, and more pleasant ways to get there than by riding a bus, Ritzo is very happy to be a Giant, even if it is at the Single A level. Because San Jose won four Cal League championships in over a six year span (from 2005-2010), and many of those Giants who have gone on to win three World Series titles played for those teams as they passed through San Jose on their way to San Francisco.

GIANTS PRIDE

“All of us here have a real sense of pride, not just because they’ve made it to the majors but because of the success they’ve had,” said Ritzo of the Giants. “It’s been an unbelievable ride.

“They were very successful here, so no one was real surprised after seeing the talent that rolled through here,” he added. “They were all great and a pleasure to be around. They were all approachable and very respectful people. We were lucky to have a great clubhouse.”

In that clubhouse were the likes of Panik and Duffy, Buster Posey and Madison Bumgarner, Brandon Belt and Andrew Susac, and so many more.

“We knew we were seeing something special when [Posey and Bumgarner] were here,” said Ritzo. “Posey was still trying to feel his way out, but he was a quiet leader, and [a 19-year-old Bumgarner] was still learning how to deal with the media and fans when they talked to him.”

And who were his favorites? Panik and Susac ranked near the top.

“I really liked talking to those guys,” said Ritzo. “They each have a lot of personality.”

Ritzo got a chance to reacquaint himself with Susac recently with the young catcher back in San Jose during an injury rehab. Of course, this time Susac came back as the owner of a World Series ring.

“It’s almost like they come back and they’re all grown up,” said Ritzo of the rehabbing big leaguers. “Our players really look up to these guys and watch how they prepare for a game and everything else they do.”

But it’s not only the young players who get enthused when the San Francisco Giants make appearances in San Jose–the fans like it, too.

“We try to take advantage of that opportunity for our fans,” said Ritzo. “There’s always a buzz; it’s electric.”

Especially when guys like Susac and Belt return to San Jose and blast home runs like they did this year during their rehab stints.

PASSIONATE FANS

“We have a very passionate fan base,” added Ritzo. “We see that on a regular basis, but it really comes out during a rehab.

“We have knowledgeable fans, and I’m entrusted to tell that story and try to make it interesting and entertaining every night,” he said. “Every game is its own entity, and I try to paint that picture as best as I can.”

In the true tradition of line, “I saw it on the radio,” from Terry Cashman’s song “Play By Play,” Ritzo can paint a picture with his words.

When he said on an Aug. 15 broadcast, “A bouncing ball snared by Kobernus as he drops to his knees … sliding, lunging to the ground on the infield dirt with a nice play,” we could almost see the dust fly as the third baseman made the play.

It’s just that sort of picture painting that could be Ritzo’s ticket to the next level.

“Just like a player, I have aspirations to get to the Major Leagues,” said Ritzo, who lives in Redwood City and will marry Emily Schwartz in October. “I like the aspect of being connected to a big league club. At the same time, it’s a very competitive field.

“I knew that going in,” he added. “If I never get to that level that’s fine. I love what I do and I’m happy to work for my hometown team.”

In that role he had the chance to join a Giants broadcast with Hall of Famer Jon Miller and his booth partner Dave Fleming in San Francisco.

“I got the chance to jump in with them to talk about our team here,” he said.

For a 31-year-old who grew up a Giants fan, that was a moment to remember.

“I never had idols,” he said. “I would get to a game and turn to look at the booth to see what the broadcasters were doing.”

So while Barry Bonds, Jeff Kent, J.T. Snow and the other Giants were going about their business between the lines, Ritzo was paying more attention to Miller, Hank Greenwald and Ted Robinson.

Robinson “had a real influence on me,” he said. “He was great. He would talk to me about the things I could do to improve.”

BASEBALL FAMILY

It’s not like Ritzo never played the game. He grew up in a baseball household. He is named for his paternal grandfather, Joseph Ritzo, who played the game professionally, and his father Dale, a doctor in San Mateo, was a pitcher at USC. Young Joe played on the infield and pitched a bit in the Palo Alto Little League and later the Babe Ruth League before playing at Palo Alto High School.

“It was in my blood,” he said of baseball. “I grew up loving the game.”

As a player, he said, “I was OK, but I always knew I wanted to get into broadcasting; that’s where my heart was.”

“I always knew that I had a good handle of what was going on,” he added, “even if I couldn’t play.”

So there was never a thought in Ritzo’s mind to pursue baseball as a player; he had his sights set on the broadcast booth. In pursuit of that goal he headed to Santa Clara University to major in communications “and get involved in their radio station.”

He did that and then some. Growing up in Palo Alto he was a Giants fan, and in addition to attending games at Candlestick Park he went to many San Jose Giants games–with his tape recorder, of course. But he also attended many games at Stanford University as a teenager and managed to find his way into the press box.

“They even let me jump on [the broadcast] for an inning, and I loved it,” he said. “They said, ‘You’re pretty good. Why don’t you do a little more?’ So here I was a 17-year-old high school junior doing Stanford games. I was very fortunate; it was really exciting that I had that chance.

“That’s probably how I got the job here,” said Ritzo, who sent his tapes to Giants executive Mike McCarroll in 2003, just a year after his high school graduation. “He said that my tape sounded great, and I came in to do six or seven games. I was 19 when I started here, and by my senior year [of college] I was doing half of the home games.”

It was only a few years later when his position went fulltime. That was 2007, and he has been doing all of the home and road games ever since.

A TYPICAL DAY

For Ritzo, his day includes more than just a few hours in the broadcast booth. His typical day begins at 1 p.m. for a 7 p.m. game. He provides coaches with statistics and other information, visits the clubhouse to talk to players and coaches to gather facts for his broadcast, “grabs someone for the pregame interview” that he tapes for airing before the game and compiles packets for the visiting media.

“Then I spend a fair amount of time preparing for the broadcast,” he said. And when that radio broadcast begins, he’s all alone on the air (Joe Castellano joins Ritzo for color commentary on televised games).

But Ritzo’s night doesn’t end when the umpire signals the final out–far from it, in fact. There’s the full post-game show, followed by a write-up of a game recap that he sends to the media and posts on the team website and social media sites.

After having dinner at home at about midnight, he puts together game notes, and his usual day ends at about 2 or 2:30 a.m.

It’s that sort of work ethic that will serve Ritzo well as he attempts to live up to the claim on the San Jose Giants website: “Listen to the stars of tomorrow today.” That, and the fact that he comes across as a no holds barred, tell it like it is play-by-play man–which can’t always make those long bus rides home with the very players and coaches he critiques too comfortable.

And on Aug. 24 he’ll be back on that bus, heading south to San Bernadino to call the play-by-play for the Giants in a game against the Inland Empire 66ers that night, so that local fans can “see it on the radio.”

Is Social Media Killing the Post-Game Radio Show?

Bill Shaikin, columnist for the Los Angeles Times, has written an article that was given a very contentious headline: “How social media is killing the post game radio show.”

Wow.

Bad social media. Bad boy. (Swats social media’s nose with rolled-up newspaper.)

Reading through the article, I don’t really see that hypothesis fully supported within. What the article does discuss is how the Los Angeles Angels of Anaheim (I can’t believe I still have to write that whole team name out) made the decision to eliminate their post-game radio show, hosted by play-by-play announcer Terry Smith, only for road games this season, and that hardly anyone has noticed. The decision was made because the calls to the show have been declining precipitously during the past few years.

Yet in the next paragraph, one of the hosts of the post-game show for in-market rivals Los Angeles Dodgers says their own post-game show is “thriving”.

So, whom to believe?

Reading through the piece, it appears to me that the problem might lie with the Smith’s unwillingness to both pre-engage Angel fans through social media to stoke interest in the show, and to expand the discussion beyond the game itself to the state of the Angels team in general.

I do agree that the post-game call-in show has ceded its preëminence as the place for fans to make their opinions known to others, given the rise of online forums, Facebook, Twitter and other digital avenues by which people can make themselves heard. But as with any other medium, it doesn’t have to be an either-or decision: that is, either call in to the radio show, or tweet or post your thoughts instead—choose one. Human expression has never limited itself in that way. We humans use all the tools at our disposal to make ourselves heard, for the simple reason that most of us are hard-wired to make ourselves heard.

So why not use social media to augment the reach of your post-game show by proactively posting thoughts and opinions to stoke discussion? That’s how Marty Lurie does it in San Francisco, and judging from Shaikin’s article, it seems to be working well for him.

If a host is still not willing to do this, the station can pull back on the show instead. But if that’s the decision, it wouldn’t be fair to blame the rise of social media for killing off the show. It would be fairer to acknowledge the inability to utilize social media effectively to increase the audience for the show. That’s not on the social media itself—that’s on the host.

Shaikin’s piece is below. If you’d prefer to read it on the LA Times site, click here.


How social media is killing the post game radio show

BILL SHAIKIN

Broadcasters Terry Smith, left, and Victor Rojas talk to fans during a call-in show on 830 AM. (Facebook)
Broadcasters Terry Smith, left, and Victor Rojas talk to fans during a call-in show on 830 AM. (Facebook)

It is a rite of baseball, like singing in the seventh inning, or military jets screaming overhead on opening day.

It is the postgame radio talk show — Angel Talk, Dodger Talk, pick your team and talk. After the game, the phone lines open, and fans call in to celebrate, to debate and to complain — about the manager, the general manager, the players, maybe even the hot dogs.

The Angels are trying something new this season. They have eliminated the call-in show after road games — and hardly anyone has called in to complain about that.

“I’m not the only one who feels that way.”

A generation ago, a fan’s voice might only be heard by a call to the talk show, or a letter to the local newspaper.

With the rise of the Internet — with blogs and message boards, with Twitter and Facebook — the hosts of those talk shows are debating whether technology is enhancing their programs, or slowly killing them.

On Angel Talk, Smith said, the volume of callers has declined significantly in recent years.

“You don’t want to have the same people on every night,” he said.

David Vassegh, one of the hosts of Dodger Talk, said his program is thriving. In the car culture of Los Angeles, with fans driving home from the game, he said a postgame talk show is a natural fit.

Beyond that, he said, the program engages a much wider swath of fans than a message board would.

“Baseball is built around that feeling of community,” Vassegh said. “Listening to baseball games on the radio is part of that feeling of community.”

Lurie, one of the hosts of the San Francisco Giants’ call-in show, said social media has presented a challenge for him and his colleagues.

“You have to work harder to engage the audience,” Lurie said, “because they have other ways to express themselves.”

Before a show starts, Lurie sometimes takes to Twitter to ignite a debate. The other night, he asked fans via Twitter if they would trade Madison Bumgarner, Mike Leake and Jake Peavy for the top trio of starters on any other team in the National League.

“I must have had 150 people right away,” Lurie said.

He read the best responses on the air, then invited callers to weigh in.

Smith said he would be reluctant to solicit fans to call in and identify, say, their all-time favorite Angels second baseman.

“The idea of Angel Talk, for me, is to talk about the game,” he said.

On the last trip, the Angels invited fans to use Twitter to ask questions during Smith’s broadcast of the game, with replies from as far away as Australia, England and Italy. Smith said the Angels could consider similarly incorporating Twitter into the call-in show.

He said the Angels have made no decisions about the call-in show for next season — including, for that matter, whether he will be part of the radio team. His contract expires at the end of the season.

Smith, whose 14-year tenure is the longest of any radio broadcaster in Angels history, said he understands the team is focused on finding a new general manager and he expects to resolve his situation in the off-season.

“I have no desire to retire,” he said.

Radio was supposed to die when television was born, but the radio industry continues to prosper. Lurie predicted the call-in talk show would continue to prosper as well.

“Calling in on radio is part and parcel of baseball on the radio,” he said. “I think that is something that will live on.”

In that case, Vassegh is well aware of another tradition that will live on.

“When the team wins, you’re not going to get as many calls,” he said. “When the team loses, everybody wants to call in and voice their frustration.”

 

What, Now it’s the Baseball Box Score That’s Dying?

SABR’s Baseball and the Media Committee formed a couple years ago for the purpose of researching how the media cover baseball, both as news (journalism) and as an event (in game).  The thought was that we would seek to examine, illuminate and celebrate the people who and institutions that bring us the game by the pen and over the air (and through the wires).

The one part of covering the game that did not occur to us at the time was the most basic, and probably first, form of transmitting to the public what happened during any given game: the box score.  It is neither poetry nor prose, but it is in the rawest sense the building blocks of telling you, the interested person who couldn’t manage to swing a day off to take in a ballgame, exactly what transpired during those 75 or so minutes.  (Hey, it was 1859.  Games were faster then.) And for the past century and a half, the box scores in the newspaper have been a staple of the baseball fan’s diet, and often the very first thing that fans turned to when they opened up the newspaper in the morning.

Ed Sherman, a sports media writer based in Chicago, just published a pretty good, tight piece on how baseball box scores are dying. Well, not completely dying.  Box scores, in fact, are better and more complete than ever.  Just compare the box score for the Tigers-Indians game from September 10, 1915:

Tigers Indians Box 19150910

To that of the Tigers-Indians game of exactly 100 years later to the day:

2015-09-11_11-07-06

Just about the only thing that’s the same is that both are not good news for Tiger fans.

Sherman’s point is that the newspaper box score is dying, which makes sense, since by most accounts the newspaper medium itself is dying. Personally, I don’t believe that newspapers will completely die off, for the same reasons books made of paper won’t die off: people just like holding things they want to read in their hands, especially now that the riddle of how to keep newspaper ink from smudging your fingers has been solved. The newspaper will transform into something that will still satisfy that need for tactility, but might well be very different from how it looked when the Boomers and Gen Xers were kids, or even from how it looks today. But the baseball box score almost certainly will not be a part of the future of newspapers, which Sherman discusses in his article.

Will I miss the newspaper box score? In a way, I guess. It had been an essential part of my own long history of reading newspapers, but I haven’t relied on newspapers for box scores since years started with 19. It’s been so much easier just to buzz on over the Baseball-Reference, where I can see the box score for any game in every teams’ entire histories like *snap*, or my favorite teams‘ websites. Once you have that convenience available to you, it’s hard to picture ever having to rely on the old way ever again.

But that’s just me.  How do you feel about the “death of baseball box scores in the newspapers”?

Before you comment on that, check out Sherman’s article here:

The slow death of baseball box scores in newspapers

Broadcast Passion Comes Across Loud and Clear for Trenton Thunder Announcers

Ever wonder what it is like to be a broadcaster for a lower level minor league team? That’s what this story from Paul Franklin for the Times of Trenton seeks to shine a light on as he speaks to the two young fellows who do the games on radio for the Trenton Thunder, the Double-A affiliate for the New York Yankees.

You might think that a broadcaster of a Double-A team might actually be able to make a living to some degree of comfort. That might be true of some broadcasters of some Double-A teams, but not for the Thunder’s radio team of Adam Giardino and Jon Mozes.  They are young men in their twenties using this gig as a way-station along the roads of their respective careers, which comes through clearly in the piece, who is reproduced below.  Alternately, you can read the piece on the original website at nj.com here.


 

 

Broadcast passion comes across loud and clear | Trenton Thunder

Paul Franklin | For The Times of TrentonBy Paul Franklin | For The Times of Trenton

Thunder Thunder broadcast announcers Jon Moses (left) and Adam Giardino call a game held on Aug. 23 against the Richmond Flying Squirrels. (h/t: Photo by Michael Mancuso | For NJ.com )
Thunder Thunder broadcast announcers Jon Mozes (left) and Adam Giardino call a game held on Aug. 23 against the Richmond Flying Squirrels. (h/t: Photo by Michael Mancuso | For NJ.com )

TRENTON – Days off are rare, if at all. From early April to early September, Adam Giardino and Jon Mozes are in the broadcast booth doing Trenton Thunder baseball games.

Some baseball fans probably feel they are off every day in a job like that.

Of course, there have been bus rides that would challenge such opinions; like when Giardino worked for the Lakewood BlueClaws and had a 12.5-hour trip to Kannapolis, N.C. Or for Mozes, when a trip from Winnipeg that began at 2 a.m. turned into a 16-hour ride when the bus broke down. An independent baseball team was heading to Gary, Ind., and wound up getting caught in Chicago’s evening rush hour.

Mozes, from Philadelphia, played the game into college and loved listening to Harry Kalas doing Phillies games on radio. Giardino’s parents painted a mural of the Green Monster in his bedroom, and even today when he returns home in the off-season he sleeps in a room painted like Fenway Park. Tupperware protects thousands of baseball cards in the basement.

Each was introduced to announcing as a direct result of their passion for sports; appropriately enough by teachers who happened to be good listeners.

“My high school teacher who was the girls’ basketball coach realized my passion for sports and told me I should take videos and do commentary of their games and submit it to the town-run TV station.”

He did, and that suggestion would pay dividends when Giardino enrolled at the University of Connecticut in 2007. Immediately contacting the student station on campus, WHUS, 91.3 FM, within a week he was doing men’s soccer.

 

Majoring in Journalism and Communications, he would eventually cover the men’s basketball team making a national championship run, as well as calling the Fiesta Bowl game against Oklahoma with a crowd of 60,000 keeping him fired up.

Mozes had a similar introduction to sports media when he was a freshman at the University of New Haven. The dorm Residence Assistant was also campus radio director, and after hearing Mozes talking sports, asked if he would be interested in doing color for the women’s basketball team: WNHU, 88.7 FM.

“I wasn’t sure of my career,” said Mozes, who majored in Sports Management. “By the time sophomore year was over it was pretty clear.”

Internships would follow throughout college; Mozes had stints with ESPN Radio (Hartford affiliate) and the 76ers. Giardino landed a summer job in Pawtucket; Boston’s Triple-A affiliate just outside of Providence.

Being in the right place at the right time can be as crucial as in any profession, and so it was when two weeks before Giardino graduated the media relations intern with the PawSox left. With no job prospects, the kid’s first paying job would be just 30 minutes from where he grew up.

Meanwhile, Mozes, a year behind Giardino, landed his first gig in Abilene, Texas, as an assistant broadcaster. Not all the games were played, however, as the league ran out of money.

“Was making $400 a month,” Mozes said with a smile.

Returning home, he dabbled in part-time opportunities; some Rider University women’s basketball, Montgomery (Pa.) County high school football and Gwynedd Mercy University men’s and women’s basketball teams.

Giardino would go from Pawtucket to Lakewood, and in 2012 flew to Nashville to work the room at Baseball’s Winter Meetings.

Making connections there would land Giardino the Thunder job in 2013, where he is now Broadcast/Media Relations Manager.

Mozes followed Giardino’s path to the Winter Meetings a year later in Orlando, and that in part led to him being hired part-time last year by the Thunder. When the No. 2 guy left in mid-season, Mozes stepped into the assistant’s position.

Giardino goes solo on road games, but the 71 home games are split over the air; one doing play-by-play and the other color.

Ideal job?

“Harry Kalas,” Mozes said, meaning Phillies games on TV or radio.

Mercer County resident Tom McCarthy used to do Thunder radio and is now the TV play-by-play guy for the Phillies. The radio booth at ARM & HAMMER Park is named in McCarthy’s honor.

Giardino wants to return to his roots, doing radio at a Division I program for football and men’s basketball.

“I romanticize more with a job where you get to be excited when a school does well and accomplishes things. At ESPN you get to be excited about the game, but you don’t necessarily care who wins. They want the exciting outcome; the Hail Mary pass to always be caught, the half-court shot to always go in. I’d rather be tied to and emotionally invested in whatever school.”

Mozes agreed about coving a team as opposed to having a producer talk in your ear.

So by the nature of the business, they will continue to grab opportunities season by season, hoping eventually to grab the proverbial brass ring.

Mozes, one of three boys in the family (including a twin), will continue at Rider and Gwynedd, and do some public address announcing for the University of Pennsylvania; staying close to home for now. Giardino recently landed the play-by-play job for Dartmouth football, and in winter will handle color for Holy Cross men’s basketball in Worcester, Mass.; again close to home.

Giardino actually had a visit from his older brother, Sean, last week, a talented musician who stopped by to entertain fans by playing the organ at ARM & HAMMER Park for two nights during games. His full-time job is an engineer for the Long Island Rail Road.

“We have two jokes in the family,” Giardino. “One, my brother is the only guy who drives a train with a Master’s in Music Education. The second is that if you took a snapshot in our house 20 years ago, I’d be sitting there with my baseball cards and he’d be playing with his trains. Twenty years later it’s the exact, same, thing.”

 

On the Road with Minor League Broadcaster Doug Greenwald

Back in July we ran an article reprint about SABR member Doug Greenwald, a SABR member who is the radio voice of the Fresno Grizzlies, the Triple-A affiliate of the Houston Astros.  Doug is also the son of long-time Giants broadcaster and Media Committee member Hank Greenwald. That article originally appeared in the San Francisco Chronicle and was written by John Shea.

Now comes to us an original article written by Gary Herron, another SABR member who specializes in New Mexico baseball history.  Gary corraled Greenwald as he was passing through Albuquerque with the Grizzles, who’d come to take on the local Isotopes in a Pacific League tilt. Gary submitted the article to Jacob Pomrenke, who then passed the article along to us for publication here on SABRmedia.org, and we are very pleased to do so here.


 

On the road with minor-league broadcaster Doug Greenwald
By Gary Herron

When the subject of father-and-son baseball broadcasters comes up, it’s easy to rattle off the Bucks (Jack and Joe), the Brennamans (Marty and Tom) and the Carays (Harry, Skip, and Chip.)

How about the Greenwalds?

Hank, the patriarch and a SABR member for more than 35 years, got some run in Curt Smith’s The Storytellers, first about seeing his batboy/son Doug picking up a bat dropped by the San Francisco Giants’ Brett Butler in 1989 and fearing pitcher Rick Aguilera was about to pitch to him, and later when he laments the drudgery of a pre-game show — and how a “lady of the evening” said she’d do anything for $100, and it was suggested she do the pre-game show for a week.

Weaned on the voice of Tigers broadcaster Harry Heilmann while growing up in the Detroit suburbs, Hank got his start on the air in 1957 while attending Syracuse University and describing the football exploits of Jim Brown and Ernie Davis.

After college, Hank called games for the Hawaii Islanders franchise of the Pacific Coast League, plus basketball games for the NBA’s San Francisco Warriors.

In 1979, KNBR hired him to work San Francisco Giants games, but after some problems with management at the radio station, he went to the other coast to do New York Yankees games for two seasons. He returned to San Francisco to do Giants games in 1989, working there until retiring in 1996.

All told, Hank broadcasted ballgames for 20 years. Yet despite his love for the game, son Doug says his father tried to discourage him from the wandering life of a baseball broadcaster.

The biggest difference between the two: Hank, now 80, didn’t care to get out and see the sights and, despite living in San Francisco, he’s never visited Alcatraz — “a place for bad guys,” is how he views it, Doug says.

Doug, 40 years old and the voice of the Fresno Grizzlies of the Pacific Coast League — a Giants farm team for 17 years until the big shuffle that preceded the 2015 season — can’t wait for an off-day to see the sights.

His Facebook friends are privy to his day trips before heading to the ballpark — and invariably there will be at least one post office among the photos, displaying its ZIP code. Ever heard of Sandia Park, Tijeras or Cerrillos in New Mexico? Greenwald recently ventured there, taking photos of post offices at each village, and visiting what is said to be the first ballpark west of the Mississippi to get lights. That’s found in Madrid, New Mexico, which, to Greenwald’s chagrin, didn’t have a post office. (Some scenes in the film Wild Hogs were filmed in Madrid.)

Doug Greenwald outside of the old ballpark in Madrid, NM, said to have been the first park west of the Mississippi to feature lights for night games. Photo: Gary Herron
Doug Greenwald outside of the old ballpark in Madrid, NM, said to have been the first park west of the Mississippi to feature lights for night games. Photo: Gary Herron

Doug has a fascination for post offices, and has a collection of at least 3,500 photos of different POs. And, yes, he has been told he should write a book: “Going Postal” has been a frequent suggestion for the title.

Born in Sydney, Australia, in 1974, where his parents had ventured hoping Hank could find a job, Doug was schooled in the Bay Area and later educated at Boston University.

It wasn’t hard to admire his father’s work, as Doug loved hanging out at ballparks.

“He did the Golden State Warriors for eight years, him and Bill King,” Doug explained. “Bill King was the man — and still is amongst all Bay Area broadcasters. Bill did the A’s, the Warriors, the Raiders. Bill was like an uncle to me.

“Baseball was always (my dad’s) first love,” he said. “The Warriors were his first major sport, on the West Coast.”

Candlestick Park, where the Giants played before AT&T Park was built, was remembered as “cold.”

“It was really where I grew up. It certainly wasn’t the prettiest ballpark in the world; even the ‘cookie-cutter’ ballparks of the 1980s were prettier,” Doug said. “I was pretty much, once school was out, at every Giants home game. … There were times when the Giants were on the road for an extended period of time and my parents would ship me off to summer camp. But I’m not into the wilderness, I’m into the ballparks.”

Candlestick Park “wasn’t the prettiest place in the world, the neighborhood wasn’t great, the weather was awful for baseball. There’s no dispute about that,” he said. “It is really where I cut my teeth.”

Being the son of a broadcaster had its perks, like being able to take a bunch of friends to Giants games, chatting with ballplayers, even spending time in the opposing team’s broadcast booth: “Vin Scully, the Brennamans, Jerry Coleman, Bob Murphy, Joe and Jack Buck. You can go down the list — I know I’m leaving out tons of guys.”

Doug decided when he was in high school that maybe that, too, would be the life for him.

“Sure, ideally, I’d like to be out playing every day,” he said. “But I’d only known what my dad had done for a living since I was five years old.”

In high school, Doug did morning announcements. At BU, where Hall of Famer Mickey Cochrane once played, “They didn’t have much of a baseball program; in fact, they did away with baseball a few years after I graduated.” The Terriers were better known for their hockey team.

“The site of where BU is, the football field, is the same site where Braves Field was,” he said. “It’s a really good school for journalism, there’s no doubt about it.”

Being able to see Boston Red Sox and Boston Celtics games enhanced the enjoyment of matriculating in Massachusetts.

Doug Greenwald earned his degree in broadcast journalism in 1996 and, he quipped, he minored “in sleeping.”

Next, he said, came “sending tapes everywhere and being willing to move.”

The first opportunity came in Bend, Oregon. As often happens in the real world, being in the right place at the right time is the key. Greenwald learned a friend of his had just left the broadcasting job in Bend; Greenwald made a few calls and had his first job.

“You take a short-season job to start, and then, from there, try to find a full-season job,” he said. “From there, Hawaii Winter League, 1996 and ’97. … Burlington, Iowa; Lafayette, Louisiana; Stockton, California … Shreveport, Louisiana, for two years.

“I found myself back in the Cal League in Modesto after 2001. It was ideally where I wanted to be, after being in the Texas League, but lack of openings or just lack of getting a job here or there,” he said. “I ended up in Fresno in 2003 and I’ve been there since.”

Greenwald has had a “handful of regular-season games with the Giants” and some spring training games broadcast exclusively on the Internet.

“You pretty much name the level, I’ve been there,” he said.

Greenwald also did Centenary University basketball games in Shreveport for about 10 seasons, until they dropped from Division I to Division III.

But, like his old man Hank, baseball is Doug’s first love, and his travels sometimes pop up, he said, in his play-by-play work, once describing a home run socked by Tommy Murphy of the Albuquerque Isotopes as possibly coming down in Santa Fe.

“I guess what makes me different is I like to share my experiences,” he said. “I’ll talk about that on the air. Most of the broadcasters in our league will joke with me: ‘Doug, what post offices did you see today?’

“I like to take advantage of, you know, we get to travel for a living on the company dime,” he said. “Yes, it’s a job; first and foremost, we’re at the ballpark three hours at a time — I’m not showing up (at the ballpark) a half-hour before a game, let me make that clear.

“But I take the early morning, let’s go out and see these places, let’s share what I’m doing today with the listeners. The listeners like you to paint a picture, not just of the ballpark, but what else is in the area?’ What other neat towns are in the area? There might be a fan out there, ‘Hmm, I’m going out to Albuquerque in two weeks. I didn’t know about this ballpark in Madrid. I didn’t know Santa Fe is unique because it’s more like an art gallery than an actual state capital.’

“What also might make me different is I like to get to know the players: Players aren’t [just] batting .267 with 12 homers and 70 RBIs; [rather,] players came from a college and learned from a certain coach. Players were raised by an insurance man and a baker, who took them to Little League. … If a player’s born in Kenosha, Wisconsin, and goes to high school in Hollywood, I’ll ask what’s the connection?

“I don’t know if there’s many broadcasters that dig into that,” Doug said. “I don’t think that’s too personal. … Anybody can read from a media guide.”

And anybody can visit that 95-year-old ballpark in Madrid, but only one has done it.

“They know me as Hank’s kid,” he said, proud of the Greenwald lineage and someday hoping to be at the mic full-time for an MLB team.

Maybe someday, these adventures — Hank Greenwald refers to his son as the “modern-day Charles Kuralt” — could pay off in another occupation.

“If I had to choose another path, I would have gone into furthering my education and becoming a U.S. history professor,” he said. “I’m speaking as the world’s worst student, but that was one subject that I did like. … And it ties into baseball, because baseball goes back to the Civil War and the small mining towns (like Madrid) and the development of the New York City area in the 1850s … Cooperstown is just up the block.

“My appreciation of baseball history ties into U.S. history,” he said, not ruling out a job as a tour guide. “As a baseball broadcaster, you’re informing; that way you’re informing and teaching.”

For now, though, it’s time to “Play ball.”

Doug Greenwald’s advice for aspiring broadcasters:

  • “Don’t get caught up with, ‘He’s in Triple-A, he’s the next guy going up,’” when it comes to broadcasting. Knowing as much as he’d like to be doing Giants games, there’s no guarantee.
  • “You don’t get rich in minor-league baseball.”
  • “Be prepared; at some levels, the hours can be very time-consuming.” In Burlington, he said, he hadn’t read the contract language — “They looked at me more like the janitor and the grounds-crew person and the handyman more than they cared about the broadcast being done. … I’ve learned to ask the proper questions.”

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