Networking tips for getting hired as a bull riding broadcaster
You are standing in the dust and the din of a sold-out rodeo. The chute gate slams open, and a 1,800-pound bucking machine explodes into the arena. The crowd roars. You have the microphone in your hand, and you are painting the picture for thousands of people who can't see the action from the cheap seats. It's a dream, right?
Here is the reality check: That microphone is not handed to you because you have a radio degree. It isn't given to you because you can talk fast. In this industry—specifically in the niche world of bull riding—you get the job because someone trusts you. And trust, in this business, is built on relationships, not resumes. I've spent over a decade in the broadcast booth, and I can tell you flat out: the best bull riding broadcaster I've ever heard almost got fired his first week because of a bad introduction. He recovered because he had a buddy in production who vouched for him. That is the power of networking.
So, let's cut the fluff. If you want to land a sports broadcasting gig calling the most dangerous eight seconds in sports, you need a strategy that is as aggressive and precise as a bull rider himself. These are the networking tips that actually work, drawn from the grime and glory of the arena floor.
The Unwritten Rule of the Bull Pen (Why Your Resume Won't Cut It)
Look, I've seen guys walk into a production truck with a gorgeous, laminated resume and a demo reel that sounds like they are calling the World Series. They get three minutes of polite conversation and then a pat on the back. Why? Because nobody in the bull riding broadcasting world cares if you can pronounce "Lajitas" correctly if you don't know the difference between a flank strap and a back cinch.
The industry is a small town. Seriously. The same fifty stock contractors, event producers, and broadcast engineers see each other every weekend from February to November. They are a tribe. To break in, you don't apply for a job. You get invited to the campfire. This means your cold email has to sound like a human being, not a robot.
Stop Applying, Start Connecting
Here is the truth that most career guides won't tell you: The job boards for broadcasting jobs in pro rodeo and PBR are practically non-existent. The big events are staffed by the same rotating group. If I am the lead color commentator for a Built Ford Tough Series event and I get sick, the producer doesn't call HR. He calls a guy he drank a beer with six months ago who knew how to spell "Phenom" correctly on a teleprompter.
Your first step is to identify the gatekeepers. This isn't the CEO of the PBR. This is the production manager. This is the freelance video board operator. This is the guy who runs the social media account for the local rodeo committee. Connect with them. Slide into their DMs—but do it with respect. Comment on their recent post about an event. Ask a specific question about a round they called. Don't pitch yourself immediately. Plant the seed.
The 'Cold Drink, Warm Intro' Method
I have a rule: I never send a cold LinkedIn message to a bull riding broadcaster unless I have a clear reason. And the best reason is a warm introduction. Who do you know that knows someone? Seriously, think. Did you go to college with a rodeo secretary? Did you sell a truck to a chute boss? Use that connection.
When you ask for the intro, be specific. Don't say, "Can you introduce me to someone in broadcasting?" Say, "Hey, I know you work with the stock contractor for the Red Bluff Round-Up. I'm trying to learn about the audio setup for the chute-side camera. Could you ask if Tom has five minutes to chat next week?" Specificity shows you are serious. It's a big deal to the person receiving the request—it shows you've done your homework.
How to Be Seen Without Being a Nuisance (The Physical Event)
There is a right way and a wrong way to approach a broadcasting career at a live event. The wrong way is to walk up to a broadcaster during a 30-second commercial break and shove your phone in their face with your demo reel playing. I have seen this happen. It ends poorly. Usually with a security guard getting involved.
The right way is to be invisible until you are valuable. You need to understand the rhythm of a bull riding event. It is chaotic. There are delays. There are injured cowboys. There are angry stock contractors. The last thing a producer needs is a distraction. Your goal is to become a solution, not a problem.
The Green Room Etiquette Handbook
If you manage to get a credential (aim for a media pass or even a volunteer role), you will likely end up in a green room or production office. Here is your operational manual:
- Keep your mouth shut for the first hour. Just listen. You will learn more about the politics of a bull riding organization in one hour of eavesdropping than in a month of Googling.
- Anticipate needs. See a bottle of water on the mixer board? Don't touch it. But if you see the play-by-play anchor looking for a pen, have one ready. Small acts of service build trust faster than any business card.
- Never pitch your reel during the show. Absolutely never. Wait until the final animal is loaded into the trailer. Then, and only then, can you say, "Hey, I really enjoyed listening to your call of that 95-point ride. I've been working on my own tapes. If you ever have a spare ten minutes, I'd love your feedback." You are asking for advice, not a job. It's a subtle but massive difference.
The 'I'll Fetch That' Strategy
Honestly? The fastest way into the booth is through the truck. The broadcast truck is the nerve center. If you can get in there as a runner, a gopher, or a utility person, you are golden. I started my career fetching coffee for a director who smelled like cigarettes and bad decisions. I didn't say a word for three events. I just handed him the right cable at the right time.
That director eventually gave me a shot on a small webcast because he trusted me not to screw up the audio. You have to be willing to do the grunt work. If you show up to a local rodeo and ask the video board operator if he needs a hand running cables or checking levels, you have just become the most valuable person in the building. That operator is often the same guy who mixes the audio for the bull riding broadcast. Help him, and he will help you.
The Art of the Cold Message (Without Being a Creep)
Okay, let's assume you can't get to the event. You are stuck in Nebraska, and the broadcast is in Texas. You have to go digital. But listen—your email or message must be so good that the recipient reads it twice.
Most people send garbage. They send: "I have a passion for sports and I think I would be a great asset to your team." Delete. That gets sent to the trash folder of the gods. You need to be specific, knowledgeable, and humble.
How to Find the Right Producer (and Avoid the Wrong One)
Don't hunt down the main on-air talent right away. They are busy. They get hundreds of messages. Target the associate producer, the replay operator, or the technical director. These are the people who actually do the heavy lifting and often have a say in hiring freelancers.
Find them on Twitter or Instagram. Look at their posts. See if they tweeted about a specific issue during the last event (like a camera angle that failed). Your message should reference that. Here is a template that works:
- The Hook: "Hey [Name], saw your work on the [Event Name] broadcast. The slow-motion replay of the dismount on the 5-second buzzer was crisp." (Be specific about their work).
- The Connection: "I've been studying the broadcasting jobs in the rodeo circuit for a while, and I'm focusing on the production side. I notice you handle the X-truck feed for the PBR." (Shows you understand the system).
- The Ask: "I know you are crazy busy, but if you ever have a spare 5 minutes, I would love to ask you one question about how you handle the audio sync for the chute cam. No stress if not."
The Voice Memo: Your Secret Weapon
Forget the polished demo reel for the first contact. Send a voice memo. Seriously. It sounds more human. It shows you have a voice that works on the radio. It also bypasses the email spam filter in a way.
Record a 45-second clip of you calling a ride from a recent webcast (without the original sound). Talk about the cowboy's position, the bull's kick, the judges' score. Send it via text or DM. Say, "I was messing around with this call. I know it's rough, but I'd love your honest critique." You are inviting them into a conversation, not asking for a signature. This is how you build a relationship. It's disarming. It's effective.
Common Questions About Networking for a Bull Riding Broadcasting Career
Do I need to be a former bull rider to get a job as a broadcaster?
Absolutely not. Some of the best play-by-play announcers I know have never straddled a rope in their life. However, you absolutely must understand the sport. You need to know the rules of scoring, the lineage of the bulls (like names and bloodlines), and the math behind the world standings. If you can't explain why a 92.5-point ride beats an 87-point ride, you won't last. Learn the sport, not just the talk.
Should I pay for professional headshots and a demo reel first?
No. Not until you have your foot in the door. The industry values raw talent over polish. I'd rather hear a rough, passionate call recorded on a cell phone than a sterile, over-produced demo that sounds like a ESPN promo. Spend your money on travel to local events and on beer for the production crew. Invest in relationships, not production value.
How do I handle rejection at a live event?
With grace and a smile. If a producer tells you to "beat it," you say, "No problem, thank you for your time." Then you walk away. You do not argue. You do not justify. You walk to the other side of the arena and find another person to help. The industry is small. The guy who rejected you today might be the guy who hires you tomorrow because you handled the rejection well. Never burn a bridge in the bull pen.
Is it better to network online or in person for a bull riding broadcasting role?
Both are critical, but in-person wins by a landslide. Online gets you the introduction. In-person gets you the job. Once you make a digital connection, your single goal is to get to a physical event where they are working. Show up, wear a clean shirt, and offer to help. The trust gained from a handshake and a shared bottle of water in a hot truck is worth a thousand LinkedIn endorsements.
What if I live far away from the major rodeo circuits?
Start local. The rodeo circuit has a massive grassroots level. Find a local PRCA rodeo in your state. Volunteer for the media team. Offer to run the scoreboard. Offer to announce the rough stock events for free. Build your local reputation. Once you have tape from a recognized rodeo, you can use that to convince a PBR or major event producer that you are worth a risk. Geography is an excuse, not a barrier.