Stand for Stan 10 Year Anniversary

Ron Watermon • May 26, 2020

Social Campaign Lessons & Insights Are Still Instructive Today

May 25, 2020 - It was ten years ago today, when I worked for the St. Louis Cardinals, that we launched the Stand for Stan campaign by tweeting images of people posing with a paper doll. At that time, the Cardinals had just over 5,000 followers on Twitter. The Cardinals relatively new to social media and social media itself was relatively new. By all accounts, it was an extraordinary campaign that demonstrated the power of social media, as well as the global reach of the brand behind the birds on the bat.


Our goal was to celebrate Stan Musial, the greatest Cardinal, while also trying to convince President Obama to Award Musial the Presidential Medal of Freedom – the highest honor a civilian can receive in the United States. It is the American equivalent of being knighted by the Queen.

We felt strongly that baseball’s perfect warrior, baseball’s perfect knight deserved the honor.

Stan was more than a great athlete.

Stan was a good man.

Stan Musial was a role model you would want your kids to emulate.

Get this - Stan Musial was never thrown out of a single game during his 22 seasons in Major League Baseball. How about that? Not once.

Stan embodied great sportsmanship. Today the Musial Awards , which celebrate extraordinary sportsmanship, bear his name.

As I look back at the campaign, I see what a profound role it has had on my understanding of modern communications and our path forward. It shifted my view of the world and gave me insights into communication that continue to fuel my work today.

Background

My idea for creating the campaign was born out of a personal sense of failure . We had made two prior attempts to get Musial the Medal of Freedom before we moved forward with the campaign. Up to that point, we had failed to convince two Presidents that the Man was worthy.

It was Senator Kit Bond’s idea to try to convince the President of the United States to award Musial the Medal of Freedom. The Senator approached the team during the twilight of President Bush’s administration. With the Senator's help, we took a run at it late in 2008. Despite Mr. DeWitt’s friendship with the President, we were not able to get it done. In the President’s defense, we were pretty late with the request. The bottom line: it was a swing and a miss .

The following year, after President Obama was sworn in, we took another run at it. While the effort remained behind the scenes from fans, we upped our game. We hired a professional writer to write a formal case statement on why Stan deserved the medal and we asked our regional Congressional delegation to help us make the case to the President. We pulled out a lot of stops to convince the White Sox Fan in the White House to honor the Man.

We honestly thought we had sealed the deal when we learned the President would attend the 2009 All-Star Game in St. Louis. But, alas, it was another swing and a miss . The day after the All-Star Game, I was exhausted and disappointed. I remember feeling like a complete failure.


Following the All-Star Game in St. Louis, in September 2009, I was asked to move into the Baseball Operations Department to begin working with the media relations unit, which had only two full time staffers. I was asked to learn the culture and help with baseball communications, as well as develop our business communication which had been outsourced to a PR agency. I was also expected to develop our approach to social media.

Social media was a relatively new thing then. I didn’t come from the sports information world like my new colleagues. Given my background in campaign and community work, I looked at things differently. To that end, I tried to focus my attention on new things that would add to the good work the two were already doing.

A lot was going on in my world in 2010. I lost my mother to cancer in February shortly after learning that my diabetic wife was pregnant. I lost a 110 pounds to get ready for being a dad. And I had a new job to figure out.

After a friend asked me to take a Flat Stanley to the ballpark for for a photo for his kid, I got this crazy idea for a campaign to engage our fans.

The power of a paper doll. The gifted Post-Dispatch cartoonist and good friend, Dan Martin created Flat Stan the Man.

Dan's compensation was lunch at Pappy’s. Yep, we were pulling out all stops. Spare no expense, it is the Cardinals' way!

We secured permission from Stan’s business manager Dick Zitzmann to turn Stan into a cartoon paper doll. We also secured permission from Dale Hubert, the Canadian educator who created Flat Stanley. Educators, parents and students for generations are likely familiar with Flat Stanley. I'd like to think our version is sorta like a new Fortnite skin...a turbo charged Flat Stan the Man.

We formed a front office committee to do a lot of leg work. We built a landing page that included a new interface that allowed fans to download the paper doll, sign a petition to the President of the United States and even upload a picture of themselves taking a Stand for Stan. While it seems funny to me to look back on it today, the truth is that this was state-of-the-art stuff at the time. MLBAM did a nice job helping us make it all happen.

The secret weapon of the campaign was Andy Cohen. I was introduced to Andy by my colleague Jeff Luhnow about the same time I was preparing the campaign. I helped coordinate a ceremonial “first pitch” for Andy who was coming into town to be inducted into the Clayton High School Hall of Fame. I had no idea what a big deal he was until I met him. Wow! Every woman in the front office showed up in my office when they learned he was coming to the ballpark. Who knew?!

Anyway, since we were in the throughs of getting the campaign together, I told Andy what we were trying to do. I sent Andy back to New York with a paper doll. He got us Sarah Jessica Parker, Mathew Broderick and a host of other celebrities.

Never underestimate the power of celebrity.

It helped fuel our campaign that entire summer. We were shameless in asking every celebrity in our little realm to take a picture with a paper doll. When we posted a picture with a celebrity, the fan photos came pouring in.

Before we launched the campaign, we built an archive of images of people with the paper doll.

The campaign launched at 10AM on May 25, 2010.

We tweeted photos every few minutes. We didn’t rely totally on social media to get the word out.

While we didn’t do a press release; we did give an “exclusive” to the Post-Dispatch which was really effective.

While our first choice was to give the story to Rick Hummel, the Commish was on a mandatory furlough from the Post-Dispatch given that the paper had purchased by Lee Enterprises. Derrick Gould had the honors. In hindsight, it was pure blessing he got the story. He was amazing. He got it. He understand what we were trying to do with social media and (thanks to his editors) gave the story big play.

Within hours the campaign went viral thanks to Derrick’s story.

That night, when I was watching the TV broadcast, some fans in San Diego brought a homemade sign to the ballpark. I couldn’t believe my eyes.

The next morning, when I was looking at the website, I saw a photograph of children in Jordan (yes in the Middle East) holding up the paper doll. The next photo I saw literally brought tears to my eyes. It was a photo of Stan Musial, standing in a parking lot with all of his grandchildren holding up the paper doll.

When I saw that image, I realized that this campaign really wasn’t about the Medal of Freedom. The campaign was really about community. It was about a community fans showing their love and affection for Stan Musial. And, more importantly, for Stan to feel that fan adoration again.

Also, this is something that sticks with me today, it was about linking generations. You had kids who were more technology adept, helping older generations figure out how to use technology. In the meantime, older fans were teaching younger fans about Stan.

Throughout the summer of 2010 we had fun and kept stoking the campaign in creative ways that kept it alive. We even hosted a Stand for Stan day at the ballpark in late October. It was my infant son Charlie’s first game. Pretty cool huh?

That fall, President Obama announced that Musial would be awarded the Medal of Freedom at a ceremony at the White House in early 2011. I remember learning the news when I was at the Winter Meetings in Florida and the news “breaking” as I made my way home with our General Counsel Mike Whittle.

To this day, I get teary eyed when I see the video of Stan receiving the medal from the President and seeing his grown children in the audience in the East Room of the White House waving the paper doll in celebration.

The Stand for Stan campaign showed me that social media could be used to bring people together in a positive way. Brands can use it to ratify a sense of belonging – a sense of being part of something bigger than themselves. Unselfish kindness.

It something to remember today as we live through a challenging period of pandemic induced isolation. At a time when we see near constant manipulation of social media to feed political division (ex. twitter bots), it is nice to take moment to reflect and realize that we once stood together to do something nice for a man who deserved it. Social media can and should be used in a positive - pro social manner.

Just remember the lessons we learned when we all took a Stand for Stan.

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July 22, 2025, St. Louis, MO - There’s a line in Jerry Maguire that has always stuck with me. Young Ray asks his mom, “What’s wrong, Mom?” And she replies: “ First class is what’s wrong, honey. It used to be a better meal. Now it’s a better life. ” That line hits hard. Because access—access to opportunity, tools, and professionals—changes everything. And when it comes to storytelling, access has long been unequal. For decades, only a small group of insiders had the power to tell stories at the highest level. If you weren’t already in Hollywood or publishing, your story stayed in coach—often ignored, misrepresented, or lost. I wrote STORYSMART® Storytelling for ALL to change that. This book is a roadmap. It’s designed to give you—whether you’re a public figure, entrepreneur, athlete, or someone with a life story worth telling—the same tools used by insiders. The same strategies that power studios, presidents, billion-dollar production companies, and bestselling memoirs. It’s also deeply personal. I’ve seen too many remarkable true stories disappear because people didn’t know how to protect them—or worse, were taken advantage of. I’ve felt like an outsider myself. And I know what it means to want your story told right. That’s why I developed the STORYSMART® Framework. To empower people with meaningful stories to protect their rights, preserve their vision, and share it with the world—on their own terms. I’m making the Author’s Note from the book available as a free PDF download as part of this post. And if you’ve got 90 seconds, I invite you to watch the short video message from me below. This is your story. Let’s tell it the right way. About The Book In a world hungry for authentic narratives, STORYSMART® Storytelling for ALL™ : How to Take Control, Own Your True Story and Profit Like a Hollywood Insider delivers a rare insider’s guide to turning a true story into a cultural and financial asset while maintaining control. Designed for public figures, entrepreneurs, and individuals with powerful life stories, the book introduces the STORYSMART® Way, a step-by-step framework to organize, preserve, and professionally develop your story for books, film, and television. The book pulls back the curtain on how stories move through publishing, Hollywood, and streaming—and empowers readers to navigate the process like seasoned insiders. Topics include copyright and licensing, collaborating with elite-level professional filmmakers and ghostwriters, developing a pitch-ready treatment, and monetizing true stories through publishing, streaming, and merchandising. STORYSMART Storytelling for ALL is available currently as both a paperback and e-book. It will be available soon be in hardcover and audiobook formats. About the Author Ron Watermon is the founder of STORYSMART®, a cinematic storytelling consulting service and story development film studio. A lawyer, filmmaker, and Emmy-nominated television producer and writer, Ron’s led strategic communications for an MLB team, advised high-profile clients, and has produced both film and television productions. Ron lives in St. Louis with his family. Learn more about Ron at storysmart.net and ronwatermon.com #STORYSMART #StorytellingForAll #NewBook #MediaRights #TrueStories #BookLaunch
By Ron Watermon April 24, 2025
We are honored to share some big news. Our documentary, A Steak Guerrilla in St. Louis: The Dr. Arturo Taca Story, has been selected as one of five projects to receive funding from the St. Louis Film Project , a collaboration between the Regional Arts Commission (RAC) of St. Louis and Continuity . This recognition comes from a highly competitive pool of 115 applicants. The grant—up to $100,000—represents a decisive vote of confidence in our story and our approach to telling it. It also offers meaningful momentum as we enter the next phase of production. Most importantly, it reinforces what we believe: Dr. Arturo Taca’s story matters and deserves to be told. A Story Rooted in St. Louis — and Felt Across the World “A Steak Guerrilla in St. Louis” is a documentary rooted in the unlikely convergence of midwestern Americana and Filipino resistance. It follows the story of Dr. Arturo M. Taca, a Filipino surgeon and political exile who made St. Louis his home while taking a stand against Ferdinand Marcos's brutal dictatorship. Before terms like “fake news” and “disinformation” became common in American discourse, Dr. Taca uncovered the truth behind the Philippine president's fraudulent war record. That investigation began here—in dusty archives just outside of St. Louis—and set off a chain of events that toppled a brutal dictator. Our film uses a hybrid storytelling format, combining animated reenactments, interviews, and archival research to tell this story in an emotionally resonant and visually striking way. The Grant That Helps Make It Possible The St. Louis Film Project grant, funded through RAC and administered by Continuity, is part of an initiative to uplift the film community in St. Louis. RAC’s press release states that the fund was created to “support local filmmakers and organizations to tell stories rooted in St. Louis.” The evaluation process was rigorous. “Choosing five projects from over 100 submissions was no easy feat," said Vanessa Cooksey, President of RAC. "The talent and stories presented were incredible.” That’s why being one of the five chosen is more than just a financial boost—it affirms this story’s value and connection to our community. It means much to us, and we don’t take it lightly. A Delayed Start But a Firm Deadline While the grant announcement arrived months later than initially expected, we’ve been working behind the scenes to be ready to go once we receive funding. With this grant officially in place, we’re full steam ahead. The grant contractually obligates us to deliver the completed film by January 2026. That’s a fast turnaround in documentary filmmaking, especially for a story with historical depth, international relevance, and a visual style that blends live action with animation. That means every day counts. While the grant covers significant production costs, it also comes with essential parameters: 75% of funds must be spent within the City of St. Louis. We’re proud of that requirement—it aligns with our belief in investing locally and elevating regional talent. But it also means we must be innovative, strategic, and resourceful with every dollar we spend. We have our entire team in place, minus one critical position. We need a gifted DP to join our elite team. We are eager to work with a tremendous city-based production company or cinematographer who calls St. Louis home. If you know a great cinematographer who would like to join us, please have them email me at ron@storysmart.net. Why We’re Still Seeking Donor Support Even with the RAC grant, bringing this film to life in the way it deserves will take more. Animation, archival licensing, original score composition, color grading, distribution planning—it all adds up. And some of this can't be sourced in a way that fits grant guidelines. And because of the ambitious deadline, we’ll need to scale quickly without cutting corners. That’s where you come in. We’re seeking additional donor support to help us: Expand our animation sequences and visual storytelling capacity. Secure the rights to key archival materials that deepen the film’s historical accuracy. Shoot at least a couple of interviews with key individuals who live outside our region, including the Philippines. Invest in editorial and post-production tools that allow us to move efficiently without sacrificing quality. Ensure the finished film reaches the broadest possible audience, from film festivals to classrooms to international broadcast platforms. Your contribution—no matter the size—helps ensure that Dr. Taca’s story is told with the care, accuracy, and cinematic impact it deserves. If you believe in the power of truth-telling… if you value stories that connect communities and illuminate buried history… we hope you’ll consider becoming a supporter. Click here to donate Learn more about our film at steakguerrilla.com A Final Word: Why This Story Matters Now We often think history is distant, locked away in textbooks or museums. But A Steak Guerrilla in St. Louis reminds us that history is constantly being rediscovered—sometimes in our backyard. It’s a reminder that exile doesn’t silence the truth, that one person in one city can stand up to a dictator and change the course of a narrative written in lies, and that the work of defending democracy happens quietly, persistently, and often without recognition. Now, it’s time to give that recognition. With this grant—and with your support—we’re going to finish the film. And when we do, we’ll bring a hidden chapter of St. Louis history that reverberates far beyond our city limits. Thank you for sharing this journey with us, and a special thanks to each member of our talented filmmaking team. I'm grateful for your willingness to work to bring this story to the screen, your patience through this process, and your unselfish (uncompensated) work to make it happen. I have no doubt it will all be worth it! --Ron Watermon, Executive Producer & Director, A Steak Guerrilla in St. Louis: The Dr. Arturo M. Taca Story
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