Choosing the right music to accompany graphics or transition to a commercial break during FOX Sports’ World Series coverage is a blend of artistry, personal taste, and strategic planning. Let’s delve into how this process takes shape.
As the World Series broadcast on FOX cuts to a commercial, the deep, resonant tones of an Oberheim synthesizer introduce Rush’s iconic track, “Tom Sawyer.” This Canadian rock anthem plays just as the Toronto Blue Jays prepare for their next inning, creating a seamless connection: Rush, a celebrated Canadian band, aligns perfectly with the Canadian team. The synergy is evident: Toronto, Canada, Rush—everything clicks into place.
The mastermind behind this musical choice is Joe Carpenter, FOX Sports’ Lead Audio Engineer and a recipient of multiple Sports Emmys.
Carpenter’s journey with FOX Sports began through a series of fortuitous events. A passionate fan of jam bands, he spent years capturing live performances by groups like the Grateful Dead—whom he saw perform nearly 200 times—and Widespread Panic. His foray into television started in the 1990s while he was a student at Syracuse University. A friend introduced him to a production manager at the Indianapolis 500, leading to his first TV gig as a runner. This opportunity connected him with ABC’s audio team at the US Open golf tournament in Chatham, Minnesota. “It was one of those moments where someone got sick or couldn’t make it,” Carpenter recalls, “so I was brought on as a shotgun mic operator, trailing golfers with a microphone. My passion for live music recording naturally led me into audio work. I never imagined this role existed, but I climbed the ranks over the years.”
During the MLB postseason, and especially the World Series, Carpenter handpicks music for broadcast graphics. Collaborating with Joe Davis, the play-by-play announcer, Carpenter chooses background tracks that complement the broadcast’s rhythm. Broadcasters each have a unique style—some are more verbose than others—which influences whether they opt for vocal tracks or instrumental pieces. Carpenter notes that Davis’s straightforward style offers a lot of creative latitude.
However, it’s the “jump music”—the tracks leading into commercial breaks—that truly become a creative expression.
But it is the “jump music” – the music heading into commercial breaks, where it becomes art.
Carpenter works from an interface of several dozen song snippets, all of which are licensed through ASCAP or BMI for use. And depending on the action, he will make the call on what music makes the jump. Some clips are obvious, such as Tom Sawyer. Some, like Carpenter playing “Alive” by Pearl Jam when the Mariners were down to their last half inning of the ALCS, may not be as clear. Pearl Jam and Seattle are obvious. But to Carpenter, “Alive” was about the Mariners’ last chance to stay alive.
Other selections are more personal. Being a jam band fan, you’ll hear a snippet of Jerry Joseph with his first band Little Women playing Chainsaw City, or Widespread Panic, or maybe Electric Man by Rival Sons, which allows Carpenter to give audiences a personal taste in music. Sometimes it’s art. Night game? Are the Dodgers coming up to bat? How about Bark At The Moon by Ozzy Osbourne? Maybe it will be Feel It by Portugal The Man. How about Sweet Emotion by Aerosmith
With the Dodgers coming into the Fall Classic for the second year in a row, expect to hear a lot of music with Los Angeles ties. Maybe it’s Tinashe who came out of Pasadena, and certainly Shakedown Street by the Dead.
So, listen closely to the music going into the commercial breaks during the World Series games. It’s a fantastic bit of art and great insight into how music ties into sports.
