Connect with us

Culture

From Dairy Daddies to Trash Pandas: How branding creates fans for lower-league baseball teams

Published

on

From Dairy Daddies to Trash Pandas: How branding creates fans for lower-league baseball teams

Maybe you’ve seen him.

Perhaps his sideways glance and piercing blue eyes have crossed your timeline. His smirk might be all over your TikTok. If you follow baseball or if your algorithm has decided you like livestock, you may have encountered McCreamy, the muscular mascot of the Danville Dairy Daddies.

The brawny bull with a bright pink nose dons blue jeans and a “DD” belt buckle but no shirt, propping one hoof on his hip while the other rests against a bat standing by his feet. His unveiling went viral, providing a level of exposure not usually seen for a collegiate summer baseball team from an unincorporated Virginia city of 42,000 people in the regional Old North State League.

But this was no accident. The Danville Dairy Daddies knew exactly what they were doing.

There’s a story behind their name, a thought process behind their color palette and an award-winning designer behind their logo. Such is the case for many of the eccentric team names filling the minor leagues and collegiate summer leagues in recent years. The magic lies in the quirks that tie the clubs to their communities. The fun comes from the winks, nods and Easter eggs that teams incorporate in their branding to tell locals, “Hey, we know what makes this town special, and we’re leaning into it.”

Advertisement

That’s partially how a topless bull came to represent a team in Pittsylvania County, which boasts three of the five largest dairy farms in Virginia. The Dairy Daddies moniker was initially suggested to general manager Austin Scher as a potential name for Danville’s first collegiate summer team, the Otterbots, in 2021. Over the next three years, the alliteration stuck in Scher’s brain, and when he learned of the local connection, there was no denying the divining of the Dairy Daddies and their main man McCreamy.

“While it is quirky and silly and somewhat tongue in cheek, there is a very real community connection,” Scher said. “The blue and pink are designed to elicit feelings of newness, of birth, of rebirth. You see those two colors together and you might think of a gender reveal party or a nursery. Then you look at this muscle-bound cow, and you’re thinking, ‘Well, that’s not a baby. That’s very much full-grown.’ Danville and all of southern Virginia are in the middle of this massive resurgence.”

Each component of McCreamy conveys a characteristic of his community. Paul Caputo, host of the “Baseball by Design” podcast, which explores the origin stories for minor-league nicknames, sees that same quality in team names across the country.

“You can tell the story of America by understanding why minor-league baseball teams have the names that they have,” he said.

Advertisement

The Dairy Daddies are just the latest in a long line of lower-league baseball teams that shirk traditional names in favor of more eye-catching identities. Pinpointing the origins of the trend is difficult — you could trace it all the way back to the late 1800s, when a team called the Dudes existed in Pensacola, Fla. — but the recent surge of silliness stems in part from Major League Baseball’s downsizing of the affiliated minor leagues from 163 teams to 120. Forty-three franchises lost their affiliation in 2020. Many of those teams played under the same names as their former MLB parent clubs and had to rebrand. Former rookie-league teams like the Burlington (N.C.) Royals and Pulaski  (Va.) Yankees re-emerged as the Sock Puppets and River Turtles to play collegiate summer ball in the Appalachian League.

Teams that maintained their MLB affiliations have also jumped on the funky name train with hopes of invigorating their brands. Pick nearly any league, at any level, and there’s a nickname or logo that will make you stop and gawk. The Carolina Disco Turkeys. The Montgomery (Ala.) Biscuits (formerly the Orlando Rays). The Minot (N.D.) Hot Tots. The Rocket City (Ala.) Trash Pandas (formerly the Mobile BayBears). The Wichita Chili Buns (an alternate identity of the Wichita Wind Surge).

Without the constant media coverage and cash flow MLB organizations enjoy, lower-league teams have to get creative to stir up engagement, increase exposure and keep their franchises afloat.

“I see pictures of people visiting the Eiffel Tower and the Taj Mahal and they’re wearing Trash Pandas shirts when they do it,” Rocket City’s director of marketing Ricky Fernandez said. “It blows my mind that someone’s like, ‘We’re going to the Eiffel Tower today! I better get my finest raccoon astronaut T-shirt on so I can snap a selfie!’”

Even with a local connection, an unusual name can take time to accept. Take the Jacksonville Jumbo Shrimp. The Miami Marlins’ Triple-A affiliate played as the Suns from 1990 to 2016, when new ownership took over. Though the new team name has a tie-in to the local shrimping industry, the public wasn’t immediately sold. Noel Blaha, Jacksonville’s vice president of marketing and media, said the antipathy was expected and they planned the reveal accordingly.

“We very purposefully had some elementary school kids in the front row of the press conference because if things turned sideways and people were throwing tomatoes, they weren’t gonna go after the kids,” he said.

Still, someone started an online petition to change the name back to the Suns. Five thousand people signed within two hours.

“We got angry Facebook posts. We got some very offensive emails,” Blaha said. “People were pissed, point blank.”

But slowly, the tide turned.

Advertisement

“What it resulted in was incredible merchandise sales in the months leading up to the start of the season, and then the season started and we set an attendance record that weekend,” he said.

The DubSea (Wash.) Fish Sticks (previously the Highline Bears) experienced the same rejection-turned-resurgence after their new identity won an online poll pitting Fish Sticks against Seal Slingers as the two options for the team name.

“I had zero people get angry about the name the Highline Bears. I also had zero people get excited about it,” team president Justin Moser said. “Before we rebranded, I don’t think we ever sold anything online. Maybe one or two t-shirts as the Highline Bears.”

Despite social media comments calling the new name stupid and “a disgrace to the area,” the Fish Sticks have since shipped orders to all 50 states and nine countries. They recorded five sellouts last summer and announced that their June 1 season opener sold out on April 23.


Fin Crispy Jr. is the mascot for the DubSea Fish Sticks, a summer collegiate baseball team in Washington. (Photo: Blake Dahlin / courtesy of the DubSea Fish Sticks)

These days, teams that aren’t getting creative with branding can seem a bit stale, said Caputo.

Advertisement

“Being named for a local animal just feels very 1990s,” he added. “It feels old.”

That’s where sports branding companies come in. In the minor-league baseball space, there are two heavy hitters responsible for most of the new, splashy nicknames: Brandiose and Studio Simon. Team staffers work with designers to brainstorm an identity linked to the local history, industries, cuisine, natural landmarks or traditions.

“Every community has a story waiting to be told, and the goal is that when you visit a sports experience, particularly in minor-league baseball, we want you to step into a whole other world,” Brandiose co-founder Jason Klein said. “We want you to step into a story, a nine-inning vacation as we call it. But that story is the story of your hometown.”

Anchoring each team’s story is its logo, the main character of the narrative. Amarillo Sod Poodles GM Tony Ensor knew that nailing his Texas League team’s logo would be key to winning over naysayers, so he went to Brandiose with detailed instructions.

“I want the mouth to be John Wayne,” he said of the animated black-tailed prairie dog, “and the eyes to be Clint Eastwood.”

Advertisement

The Amarillo Sod Poodles are the Double-A affiliate of the Arizona Diamondbacks. (Photo: John E. Moore III / Getty Images)

Scher, the Dairy Daddies GM, had similarly specific requests for Studio Simon creative director Dan Simon when molding McCreamy. Simon envisioned the bull as having a dad bod. The response was a swift “no.”

“They wanted him built but not Arnold Schwarzenegger-built. He’s fine-tuned,” Simon said. “This cow was going to be kind of a ladies’ man. Or, in this case, a male cow is a bull. So he’s a cow’s man.”

Partially inspired by McDreamy, the surgeon Patrick Dempsey portrays in “Grey’s Anatomy,” McCreamy also embodies the spirit of another beloved TV character. Simon sees the bull as boasting the charisma of Joey Tribbiani from “Friends” with a facial expression that seems to ask, “How you doin’?”

These flirty, wacky, happy characters do get some blowback for deviating from traditional logos, or for being kitschy tactics intended to sell T-shirts. But Simon, Klein and the teams that proudly play as Sock Puppets, Trash Pandas and Sod Poodles shrug off that notion.

“The sports fans are going to go to the games anyway,” Simon said. “These identities are drawing people who wouldn’t otherwise come, and hopefully when they do come, they go, ‘Hey, this was fun! I’m going to come again!’ It’s not like you drew them in under false pretenses. It’s not that at all. Minor-league and collegiate summer league baseball, it’s fun! It’s fun to go to those games, so you bring in new fans and you’ve made new fans who hopefully come back.”

Advertisement

The players, whether they’re college athletes trying to get on scouts’ radars or minor leaguers assigned to the clubs by their MLB organizations, also benefit from the increased exposure and engaged crowds.

“I’ve heard from several players that it’s like a little taste of the majors before you actually make it to the show,” Fernandez of the Trash Pandas said. “The old team we had before they moved, we were getting like 200, 300 people a game. It was kinda sad to be at a game because there’d be so many empty seats. Here we’ve led the league in attendance every single season. We average 5,000 people a night.”

Los Angeles Angels starting shortstop Zach Neto, who played 37 games for Rocket City (based in Madison, Ala.) on his path to the majors, had a pair of custom Trash Panda cleats made and said he still rocks the team’s merch.

“We got to play there in an awesome atmosphere every night,” he said. “Even to this day, I still see myself as a Trash Panda.”

The college kids feel it, too. East Carolina catcher Ryan McCrystal, who spent the last two summers as a Burlington Sock Puppet, said the North Carolina community embraced all the players but admitted it can take a bit of effort to convince friends and family you’re playing for a real team.

Advertisement

“They think it’s a joke, but I think it’s really cool because it’s easier to rally around a team with that kind of name. It’s easier to build up a community around a team name that is something that brings people together,” he said.

“It’s the only sport that you can really do it where it makes sense. It’s something small but beautiful about the game.”

(Illustration: Daniel Goldfarb / The Athletic; top photos courtesy of Rocket City Trash Pandas, Jacksonville Jumbo Shrimp) 

Advertisement

Culture

I Think This Poem Is Kind of Into You

Published

on

I Think This Poem Is Kind of Into You

Advertisement

A famous poet once observed that it is difficult to get the news from poems. The weather is a different story. April showers, summer sunshine and — maybe especially — the chill of winter provide an endless supply of moods and metaphors. Poets like to practice a double meteorology, looking out at the water and up at the sky for evidence of interior conditions of feeling.

The inner and outer forecasts don’t always match up. This short poem by Louise Glück starts out cold and stays that way for most of its 11 lines.

And then it bursts into flame.

Advertisement

“Early December in Croton-on-Hudson” comes from Glück’s debut collection, “Firstborn,” which was published in 1968. She wrote the poems in it between the ages of 18 and 23, but they bear many of the hallmarks of her mature style, including an approach to personal matters — sex, love, illness, family life — that is at once uncompromising and elusive. She doesn’t flinch. She also doesn’t explain.

Here, for example, Glück assembles fragments of experience that imply — but also obscure — a larger narrative. It’s almost as if a short story, or even a novel, had been smashed like a glass Christmas ornament, leaving the reader to infer the sphere from the shards.

Advertisement

We know there was a couple with a flat tire, and that a year later at least one of them still has feelings for the other. It’s hard not to wonder if they’re still together, or where they were going with those Christmas presents.

To some extent, those questions can be addressed with the help of biographical clues. The version of “Early December in Croton-on-Hudson” that appeared in The Atlantic in 1967 was dedicated to Charles Hertz, a Columbia University graduate student who was Glück’s first husband. They divorced a few years later. Glück, who died in 2023, was never shy about putting her life into her work.

Advertisement

Louise Glück in 1975.

Gerard Malanga

Advertisement

But the poem we are reading now is not just the record of a passion that has long since cooled. More than 50 years after “Firstborn,” on the occasion of receiving the Nobel Prize for literature, Glück celebrated the “intimate, seductive, often furtive or clandestine” relations between poets and their readers. Recalling her childhood discovery of William Blake and Emily Dickinson, she declared her lifelong ardor for “poems to which the listener or reader makes an essential contribution, as recipient of a confidence or an outcry, sometimes as co-conspirator.”

That’s the kind of poem she wrote.

Advertisement

“Confidence” can have two meanings, both of which apply to “Early December in Croton-on-Hudson.” Reading it, you are privy to a secret, something meant for your ears only. You are also in the presence of an assertive, self-possessed voice.

Where there is power, there’s also risk. To give voice to desire — to whisper or cry “I want you” — is to issue a challenge and admit vulnerability. It’s a declaration of conquest and a promise of surrender.

What happens next? That’s up to you.

Advertisement

Continue Reading

Culture

Can You Identify Where the Winter Scenes in These Novels Took Place?

Published

on

Can You Identify Where the Winter Scenes in These Novels Took Place?

Cold weather can serve as a plot point or emphasize the mood of a scene, and this week’s literary geography quiz highlights the locations of recent novels that work winter conditions right into the story. Even if you aren’t familiar with the book, the questions offer an additional hint about the setting. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the books if you’d like to do further reading.

Continue Reading

Culture

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Published

on

From NYT’s 10 Best Books of 2025: A.O. Scott on Kiran Desai’s New Novel

Inge Morath/Magnum Photos

Advertisement

Advertisement

When a writer is praised for having a sense of place, it usually means one specific place — a postage stamp of familiar ground rendered in loving, knowing detail. But Kiran Desai, in her latest novel, “The Loneliness of Sonia and Sunny,” has a sense of places.

This 670-page book, about the star-crossed lovers of the title and several dozen of their friends, relatives, exes and servants (there’s a chart in the front to help you keep track), does anything but stay put. If “The Loneliness of Sonia and Sunny” were an old-fashioned steamer trunk, it would be papered with shipping labels: from Allahabad (now known as Prayagraj), Goa and Delhi; from Queens, Kansas and Vermont; from Mexico City and, perhaps most delightfully, from Venice.

There, in Marco Polo’s hometown, the titular travelers alight for two chapters, enduring one of several crises in their passionate, complicated, on-again, off-again relationship. One of Venice’s nicknames is La Serenissima — “the most serene” — but in Desai’s hands it’s the opposite: a gloriously hectic backdrop for Sonia and Sunny’s romantic confusion.

Advertisement

Their first impressions fill a nearly page-long paragraph. Here’s how it begins.

Sonia is a (struggling) fiction writer. Sunny is a (struggling) journalist. It’s notable that, of the two of them, it is she who is better able to perceive the immediate reality of things, while he tends to read facts through screens of theory and ideology, finding sociological meaning in everyday occurrences. He isn’t exactly wrong, and Desai is hardly oblivious to the larger narratives that shape the fates of Sunny, Sonia and their families — including the economic and political changes affecting young Indians of their generation.

Advertisement

But “The Loneliness of Sonia and Sunny” is about more than that. It’s a defense of the very idea of more, and thus a rebuke to the austerity that defines so much recent literary fiction. Many of Desai’s peers favor careful, restricted third-person narration, or else a measured, low-affect “I.” The bookstores are full of skinny novels about the emotional and psychological thinness of contemporary life. This book is an antidote: thick, sloppy, fleshy, all over the place.

It also takes exception to the postmodern dogma that we only know reality through representations of it, through pre-existing concepts of the kind to which intellectuals like Sunny are attached. The point of fiction is to assert that the world is true, and to remind us that it is vast, strange and astonishing.

Advertisement

See the full list of the 10 Best Books of 2025 here.

Continue Reading

Trending