Taking a leap of faith is never easy. No matter what the venture is, putting yourself in a situation with potential failure is one that’s always going to cause a few nerve-wracking moments. But sometimes, it’s the ideas that require betting on yourself that create something truly unique and special. A plan nobody else imagined that revolutionizes an entire industry.
Kevin Jones of Blue Wire is betting on himself and his company to do just that in the podcasting world. A former media member that worked in radio, TV and even for the Cleveland Browns, Jones was certainly talented, but he had a hard time with the realization that nobody was trying to help him grow or develop his talent. So, upon his exit at his last job, KNBR in San Francisco, Jones took a leap of faith with a formula to create successful podcasts unlike anyone else in the industry. Thus, Blue Wire was born.
Jones wants to build an audio space that the young millennial craves. One that can expend across multiple social media platforms into the eyes and ears of the individual that current sports talk radio isn’t connecting with.
“We’re trying to build a radio station for young kids,” said Jones. “In high school I used to talk about the Sports Junkies in Washington DC. I loved sports personalities and we’re trying to be those personalities for the next generation of sports fans.
“We have a bunch of different types of personalities, but the common thread is that we all highly engage communities on social media. I need to know that your followers engage with you. If you have 15,000 followers and your impression rate is really high, I think you can have a successful podcast, because not only do people follow you, they reply to you and you have a little bit of a community here. We’re putting these small communities together and that’s what Blue Wire is.”
A big driving force behind the creation of Blue Wire, was the idea that Jones could help other people grow both their brands and careers. In turn, their success would help grow the start-up company. When the idea came of how to find talent, Jones went with a non-traditional approach. He focused heavily on finding talented people across the internet that, regardless of their experience in radio or podcasting, could have the ability to excel in the audio space.
“I’m taking all really good types of content across the internet, people who are really good at Twitter, Snapchat, YouTube, or even writers, and I’m giving them a podcast,” said Jones.
In September of 2018, Blue Wire officially launched. Almost immediately, the network began to see positive results.
“We started growing,” said Jones. “In September we had three podcasts, by October we had six. November we had 10, by December there were 14 and we just kept adding like 5-6 podcasts a month. We’re growing at a pretty high clip right now and downloads are increasing by 30-40 percent every month.”
Ted Nguyen of The Athletic was the first podcaster to sign on with Blue Wire. Nguyen hosts Coffee House Stunt, focused on the Oakland Raiders and NFL film breakdowns. By luring such a relevant talent with the first hire, it gave the network a sense of instant credibility. This would only help Jones’ recruiting pitch to other potential podcasters as more-and-more talent continued to join Blue Wire in the first few months of its existence. Jones’ other selling point is an infrastructure that has held talented creators outside of the podcasting space.
“We edit the podcast for you and teach you how to use the equipment,” said Jones. “People are a little scared of podcasting right now, there’s a barrier to entry and it’s not the easiest thing to do by yourself. We provide that support and infrastructure.”
Blue Wire distributes “podcaster playbook” coaching documents on a monthly basis to podcasters. These include best practices for microphones, optimal times to release podcasts, posting to Twitter and engaging the audience by structuring the podcast a certain way. Jones is self-taught and had his own podcast for three years before launching Blue Wire.
“I can kind of hold their hand and help things get off the ground,” Jones said. “It’s me helping them grow their brand and it’s them helping me grow Blue Wire at the same time.”
Blue Wire is still in its infancy, but that hasn’t stopped the positive results from rolling in. Last week, Real_Sports with Jack Settleman and Abe Granoff was No. 1 on the Apple Podcasting’s Top Charts – topping Barstool’s Pardon my Take and The Ringer’s Bill Simmons Podcast. Top charts measures the number of new subscribers.
The most impressive thing? Neither of the hosts are over the age of 24. Settleman and Granoff run a Snapchat account, also named Real_Sports, which has amassed 1 million followers. They are a new breed of content creator that other outlets aren’t taking chances on.
“What’s really essential for us is the chemistry my co-host Jack and I have,” said Granoff. “We’ve been best friends since we were nine years old and both die hard sports fans. Even without a mic, we’ve been arguing since then, so we thought we might as well throw a microphone into our discussions.”
Real_Sports is exactly what Jones envisioned with Blue Wire. Two young talents that are pulling in the next generation of sports fans to a podcast they can both enjoy and relate to. But what does it mean for the future of podcasting if a 22 and 23-year-old can lead the charts?
“It says no one is talking to Gen Z like Blue Wire,” said Jones. “Their audience for the podcast is like 16-24. We are building the next generation platform that young kids are getting excited about it.
“Jack and Abe, yeah, they grew up talking about sports and they have good chemistry, but it’s the same thing, we’re giving these people an opportunity. A radio station would never take a chance on a 22-year-old kid. We can take chances at Blue Wire that traditional media outlets can’t.”
Settleman and Granoff are just two of 45 podcasters that believe in Jones’ vision of Blue Wire scaling a network of 300+ podcasts and becoming a main stay in the audio space. Jones plans on unearthing more “non-traditional” talent and bringing more influencers from YouTube and Instagram into the sports fold.
And that’s just the start.
Monetizing the Product
There’s a lot of good podcasts out there, but few have figured out how to monetize their content to make it truly worthwhile. Inevitably, Jones was going to have to try to find a way to monetize a network that he wants to see grow into 200-300 podcasts. Obtaining high-level talent was going to be an obstacle, but not like finding ways to make money off his unique game plan. Luckily, along with early success in the charts, Blue Wire has found a way to bring in digital dollars.
“We bundle most of our ads sales together,” said Jones, who partners with Crossover Media Group for ad sales. “We sell as one unit, instead of one individualized show. That way an advertiser can blast out across 25 different markets in the country.”
Harry’s Razors was Blue Wire’s first major brand to sign up for an entire year. The podcasters ran dual podcasting ad reads with a social media post and Blue Wire’s listeners responded with online orders.
“It’s been attractive to investors that we were able to do a deal right out of the gate with Harry’s as a young company for the whole year,” said Jones.
As previously stated, Jones really wants to help develop and grow his talent. That’s more than just lip service from the Blue Wire CEO, as he backs it up by providing the necessary tools for his talents to improve.
“We coach them, for sure,” said Jones. “It’s something we’re trying to get better at. Essentially, this is a startup and I’m the CEO. I oversee the legal and finance side of things, as well as recruiting podcasters, marketing, everything.
“Coaching is one of those departments. We give everyone monthly feedback with really detailed stuff. I have a support staff of 15 people, all who reached out and wanted to join my team, who work in sports across the country and just chipping in part time.”
The talent across the network, such as Jake Burns of Browns Film Breakdown, have been very open and receptive to the coaching given by Jones and the rest of his team
“They’ve been very hands on with teaching both editing and the best podcast practices,” Burns said. “Kevin has always been very easy to communicate with and he makes it easy to understand. His editors make the process seamless and easy for hosts to get quality work done in a timely fashion.”
A few names that are helping build Blue Wire alongside Jones are Director of Operations Greg Mroz, Director of Podcasting Meredith Kain and Executive Producer Charlie Egli. All three reached out to Jones wanting to be a part of Blue Wire.
“We’ve kind of all come together here over one common idea,” said Jones. “We’re building a sports podcasting ecosystem internally to bring creators together. And we’re scaling to try and build a robust audio channel before other sports media outlets do.”
Currently, Blue Wire has 40 different podcasts. The content ranges from a 49ers podcast to a Bulls podcast, to even one that focuses on the play of the offensive and defensive lines. The goal is to grow to around 200-300 podcasts, but along with quantity, Jones will still heavily focus on the quality of each product.
“I think our roster stacks up with any radio station in the country, in terms of talent,” said Jones. “We know how to talk to talk to fans. Pound for pound, our roster stacks up with any radio station in the country.”
Sam Esfandiari of the Light Years podcast was hoping for growth when he joined Blue Wire. Granted, covering the Golden State Warriors never leaves you short for story lines, but Esfandiari and his co-host Andy Liu just needed the right partnership to take Light Years to the next level.
“We were looking for a place to help grow our podcast,” Esfandiari said. “In Blue Wire we found a motivated team who gave us the tools to expand what we were already doing.”
The first nine months for Blue Wire has been about as good as Jones could have imagined. But even he’d tell you there’s a long way to go to accomplish everything he thinks Blue Wire is capable of. Amongst many other things, Jones’ goal is to continue to find the best creators on the internet.
“Audio is only going to increase,” said Jones. “I don’t read as many articles as I once did. I really think audio is the way to deliver news. The Ringer is its own thing, Barstool is its own thing, ESPN is its own thing, but there can be more audio channels. Blue Wire can get to a level of them if we execute our plan properly.”
Blue Wire is on the verge of something special in the audio space. Though the podcasting industry is one that’s tough to break through in, don’t count out Jones and his plan for success to continue to rise up the charts.
“The No. 1 reason I believe Blue Wire can and will be a huge success is because of Kevin Jones,” said Fallon Smith of Keeping it 300 podcast. “It starts at the top. His tireless effort and drive to learn the business, scout talent, meet with venture capital firms to sell his vision and create a podcast sports network for fans across the country has been inspiring to witness.”
Tyler McComas is a columnist for BSM and a sports radio talk show host in Norman, OK where he hosts afternoon drive for SportsTalk 1400. You can find him on Twitter @Tyler_McComas or you can email him at TylerMcComas08@yahoo.com.
Beyond The Mask: Henrik Lundqvist Embraced 2nd Career in Sports Media
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal.”
Plucking the strings of an acoustic guitar, Henrik Lundqvist found himself beneath the bright lights once again, poised to put on a worthy performance. Just as he aimed to stop pucks from going in the net as the star goaltender of the New York Rangers for 15 seasons, Lundqvist sought to captivate viewers as half of a musical duo featuring former NHL forward Paul Bissonnette.
Their performance of “Good Riddance” by Green Day was in tribute to Rick Tocchet, a former NHL on TNT studio analyst who recently departed the network to serve as head coach of the Vancouver Canucks.
Lundqvist serves as a studio analyst for TNT’s coverage of the NHL, breaking down players and teams throughout the broadcast and bringing his own unique style to the set. His pursuit of a post-playing career in sports media was no guarantee from the moment he retired in August 2021; in fact, he never intended to stop playing the game and competing for a Stanley Cup championship at that time.
During the 2019-20 season, Lundqvist had lost playing time to young goaltenders Igor Shesterkin and Alexandar Georgiev, and by the year’s end, his deal was bought out by the team. In an effort to continue playing, Lundqvist signed a contract with the Washington Capitals – marking the first time in his NHL career that he would not step between the pipes for the Rangers.
Lundqvist never played a game for the team though, as it was discovered in a medical exam that he would need open-heart surgery to replace his aortic valve while also having an aortic root and ascending aortic replacement. Less than two months after the successful five-hour operation, he was back on the ice rehabbing and attempting to make a full recovery – but a few months in, he began to feel unexpected chest pain. Following a medical checkup, Lundqvist was told he had inflammation around his heart. It was a significant setback that required him to step off the ice, take off his goaltender equipment and rest for several months.
After discussions with his family and friends, Lundqvist determined that the risk of taking the ice outweighed the rewards and officially stepped away from the game. Rather than conjuring hypothetical scenarios wherein he did not experience the misfortune and played for the Capitals, Lundqvist looked to the future amid the ongoing global pandemic and thought about how he could best enjoy his retirement.
“I was just mentally in a very good place,” Lundqvist said. “I didn’t have a choice; I guess that makes it easier sometimes when the decision is made because you can’t go back-and-forth – ‘Should I?’ ‘Should I not?’ Yeah, I wanted to play but it was just not meant to be for me.”
Before any definitive resolution on his future endeavors was made though, the Rangers announced that the team would retire Lundqvist’s No. 30 in a pregame ceremony during the 2021-22 season, making him just the 11th player bestowed that honor in franchise history. As a five-time NHL All-Star selection, 2011 Vezina Trophy winner, and holder of numerous franchise records, Lundqvist had the accolades to merit this profound distinction.
Moreover, he was an important component in growing the game of hockey and contributing to the greater community, serving as the official spokesperson for the Garden of Dreams Foundation and founder of the Henrik Lundqvist Foundation. He also was a two-time recipient of the organization’s prestigious Steven McDonald Extra Effort Award, honoring the player “who goes above and beyond the call of duty.”
Throughout the night, attendees regaled Lundqvist with chants of “Hen-rik!” and were treated to flashbacks of some of his memorable career moments. The night was of monumental importance for Lundqvist, during which he expressed his gratitude to the Rangers’ organization, former teammates and fans. Then, Lundqvist — referred to as “The King” — promptly took his place among team legends beneath the concave ceiling of “The World’s Most Famous Arena.”
“When I look back at my career, I know, to me, it was all about preparation; how I practiced and how I prepared for each game at practice,” Lundqvist said. “There’s no regrets, and I hope people, when they think about how I played, [know] that it was 100% heart and commitment to the game.”
Before this ceremony though, Lundqvist and Rangers owner James Dolan had held several meetings with one another. The purpose of these conversations was to determine the best way for Lundqvist to remain involved with the team, its fans, and the community. In the end, he was named as a lead studio analyst on MSG Networks’ broadcasts of New York Rangers hockey before the start of the 2021-22 season: the start of his foray in sports media.
This past summer, Lundqvist negotiated a new deal with Madison Square Garden Sports and Madison Square Garden Entertainment in which he maintained his in-studio responsibilities while increasing involvement in other areas of its sports and entertainment ventures. In this new role, Lundqvist supports the business operations for both companies, assisting in digital content development, alumni relations, and partner and sponsor activities.
When Lundqvist is not in the studio or the office, he can often be found at Madison Square Garden taking in New York Rangers hockey, New York Knicks basketball, or one of the arena’s renowned musical performances. Usually, when he is in attendance, he is shown on the arena’s center-hung video board as an “NYC Celebrity” and receives a thunderous ovation from the crowd.
“The network is just part of it, but it feels great to come there,” Lundqvist said of Madison Square Garden. “Every time I go there – to see the people that I’ve known for so long – but also I love that place; I love The Garden. I think the energy [and] the variety of things that happen there is something I really appreciate. It feels really good to be a part of that.”
Sitting alongside former teammate and studio analyst Steve Valiqutte and sportscaster John Giannone, Lundqvist appears in the MSG Networks studios, located across the street from the arena, for select New York Rangers games. From the onset, he brought his allure and expertise to the set and appealed to viewers – so much so that national networks quickly began to take notice.
“I enjoy watching hockey [and] talking hockey, but the main thing to me is the team; the people that you work with,” Lundqvist said. “The guys on the panel [and the] crew behind. I really enjoy that part of it and having a lot of fun off-camera.”
One month later, Lundqvist was on his first national broadcast for the NHL on TNT where he and Bissonnette famously performed a cover of “Nothing Else Matters” by Metallica that went viral on social media. It had been known that Lundqvist was a musician, famously performing on Late Night with Jimmy Fallon in his Rangers uniform to celebrate the end of the 2012-13 NHL lockout.
In fact, during his retirement ceremony, the Rangers gifted him with a custom-made guitar painted by David Gunnarsson, the same artist who used to paint Lundqvist’s goalie masks.
Aside from occasional music performances, Lundqvist brings an esoteric base of knowledge to the NHL on TNT panel as its only goaltender. Whether it be through player breakdowns, interviews, or dialogue with other analysts, Lundqvist has a perspective to which few professional hockey players can relate. There are various goaltenders among local studio panels surrounding live hockey game broadcasts, and Lundqvist is in a unique situation with MSG Networks in that he and Valiquette are both former goaltenders. Yet on Turner Sports’ national coverage, he is the only voice speaking to this different part of the game.
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal,” Lundqvist explained. “Yes, you need to stop the puck, but a huge part of being a goalie is analyzing what’s going on. We can never really dictate the play so you need to analyze what’s happening right in front of you.”
In broadcasting at both the local and national level, Lundqvist is cognizant of the differences in each network’s studio programs. Lundqvist says appearing on the MSG Networks studio panel is more about being direct with the viewer, whereas the NHL on TNT views its panel as being conversational in nature. With Turner Sports, Lundqvist also asks his colleagues about the different teams around the league since he is most familiar with the Rangers both as a former player and studio analyst.
“I’m closer to the Rangers; I see more of what’s going on,” Lundqvist stated. “When you work [national] games, maybe you focus in on teams on the West Coast or [part] of the league you don’t see as often. You try to talk to the other guys on the panel and the crew and figure out things that are interesting about those teams.”
Hockey is a team sport, and Lundqvist felt grateful to play with his teammates and face his competitors over the years. Now as an analyst though, it is his job to analyze their games and critique them when necessary; however, he does not try to be excessively critical.
Lundqvist knows the trials and tribulations associated with the sport and can relate to scenarios many players face on a nightly basis. Therefore, he thinks about his own experience before giving an opinion, especially a critique, instantiating it with comprehensible, recondite knowledge and/or by recounting a similar situation.
“I’d much rather give them positive feedback obviously because I know it is a tough game,” Lundqvist said, “and sometimes it might look like an easy mistake, but if you can give the viewer a better explanation of why he did that, they might have a different view of that mistake.”
Now metaphorically being beyond the goalie mask, Lundqvist’s vision of the game has evidently shifted. He discerns just how intense the schedule is and the rapid pace of the game, axioms he was aware of while playing but inherently avoided thinking about. He has implemented his refined viewpoint of the game accordingly into his analysis, simultaneously utilizing the mindset and savvy he cultivated on the ice. It is, quite simply, a balancing act.
“I think people can be pretty quick to jump on guys and critique them,” Lundqvist said. “That’s where maybe you take an extra look and try to understand why it happened and give those reasons. I think that’s where it helps if you played the game [for] a long time and just love the game [because] you have a pretty good understanding of why guys react a certain way.”
The challenge tacitly embedded in the jobs of most studio analysts – Lundqvist’s included – is in presenting the information to the audience in a manner through which it learns without being confused. It is a delicate craft that takes time and genuine understanding to master, especially related to promulgating hockey analytics as Valiquette does on MSG Networks and within his company, Clear Sight Analytics.
“There’s a lot of educated viewers out there, but there’s also a lot of people that maybe don’t watch as much hockey,” Lundqvist said, “so you want to find that middle ground where you kind of educate both sides.”
By broadcasting both locally and nationally in addition to working in a specially-designed business operations role, Lundqvist is staying around the rink in his retirement while facilitating the growth of hockey. Despite the profusion of young talent, dynamic action and jaw-dropping plays, viewership of the sport on ESPN and TNT’s linear channels has dropped 22% from last season, according to a report by Sports Business Journal.
For Lundqvist though, he does not feel much has changed from playing regarding his responsibility to advance the reach and appeal of the sport. He played professionally for 20 years, beginning his career in his home country of Sweden, primarily in the Swedish Elite League (SEL). In the 2004-05 season, his final campaign before arriving in New York City, Lundqvist had won the award for most valuable player. Furthermore, he was recognized as the best goalie and best player, leading Frölunda HC to its second Elitserien championship in three seasons.
His NHL debut came five years after he was selected in the seventh round of the 2000 NHL Entry Draft by the New York Rangers but unlike many rookies over the years, he came polished and prepared to embrace the lights of Broadway. Following an injury to starting goaltender Kevin Weekes, Lundqvist was inserted into the starting lineup and, from that moment on, virtually never came out.
By the end of his first year, he had been named to the NHL All-Rookie Team and was a Vezina Trophy finalist for best goaltender. Additionally, he remains the only goaltender to begin his NHL career with seven consecutive 30-plus win seasons.
“I think the league is doing a great job of growing the game,” Lundqvist said. “In the end, it comes down to the product and right now, it’s a great product. I feel really good about, the best way I can, to promote the game [by] talking about it, but… it feels like I’ve been doing that for 20 years.”
One means through which Lundqvist attempts to grow the game is within the studio demos he performs with the NHL on TNT, displaying different facets of the game in a technical manner. The show also embraces the characteristics of their analysts and implements them in lighthearted segments, such as zamboni races, putting competitions, Swedish lessons and, of course, musical performances.
“I’m huge on mindset and the pressure,” Lundqvist said. “I love to talk about that type of stuff and give the viewer a better understanding of what goes through their heads. In terms of personality, I don’t know if I can say [that] I’m a serious guy because I love to have fun and laugh and do fun things.”
Lundqvist thoroughly enjoys what he is doing both locally and nationally, and he ensures he surrounds himself with people he wants to be around. There are plenty of other broadcast opportunities for former hockey players, such as moving into the booth as a color commentator or between the benches as a rinkside reporter. At this moment though, he is more focused on being immersed in his current roles, performing them to the best of his ability while ensuring he allocates time to spend with friends and family.
“I see myself more as an analyst in the studio more than traveling around and being in the rink,” he said. “I think that’s another thing with the schedule; it works really well with my schedule to have one or two commitments with the networks, but then I have other things going on in my life that I commit to.”
Plenty of comparisons can be drawn between playing professional hockey and covering the sport from the studio in terms of preparation and synergy. Yet the end result is not as clearly defined since “winning” in television is quantifiably defined as generating ratings and revenue. Undoubtedly, Lundqvist is focused on doing what he can to bolster hockey’s popularity; however, he also wants to enjoy this new phase of his career being around the game he loves.
“In sports, you win or you lose,” Lundqvist explained. “With TV, you want to be yourself [and] you want to get your point out – but at the same time, if you do it at the same time you’re having a good time, I feel like that’s good TV.”
Once their careers conclude, many athletes think about pursuing a post-playing career and oftentimes end up taking on a role in sports broadcasting. On MSG Networks alone, there are plenty of former players who take part in studio coverage on live game broadcasts, such as Martin Biron of the Buffalo Sabres, Bryce Salvador of the New Jersey Devils, and Matt Martin of the New York Islanders. At the national level, Turner Sports employs Paul Bissonnette, Anson Carter, and Wayne Gretzky for its studio broadcasts, while ESPN’s top studio crew includes Mark Messier and Chris Chelios.
All of these former professional hockey players had an obligation to regularly speak with media members, answering questions about games and the season at large. Lundqvist maintained a professional relationship with journalists and beat reporters, and he most enjoyed taking questions when the team was doing well. Regardless of what the end result of a game was though, he had a responsibility to divulge his thoughts and, in turn, be subject to criticism and/or negative feedback.
His stellar career and persona all came from emanating a passion for the game – and it continues to manifest itself beyond the television screen. Listening to those passionate about the game discuss it usually engenders euphony and lucidity to viewers, analogous to the sound of the puck hitting the pads or entering the glove. It is a timbre Lundqvist created 27,076 times throughout his NHL career (regular season and playoffs) in preventing goals, and one he now aims to explain en masse.
“The reason why I kept going to the rink and put all the hours in was because I really enjoyed it,” Lundqvist said. “If you decide to go into media or whatever it might be, I think the bottom line is [that] you have to enjoy it and make sure you have good people around you.”
Derek Futterman is a features reporter for Barrett Sports Media. In addition, he serves as the production manager for the New York Islanders Radio Network and lead sports producer at NY2C. He has also worked on live game broadcasts for the Long Island Nets and New York Riptide. He previously interned for Paramount within Showtime Networks and wrote for The Long Island Herald. To get in touch, find him on Twitter @derekfutterman.
Should the NBA Nationalize Local TV Rights Like MLS?
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
Diamond Sports has been anything but a diamond in the sports world. As subscribers leave cable and satellite for streaming services, companies are dropping RSNs nationwide because they are too expensive to carry. This has caused an impending bankruptcy for the company, which owns the local rights to dozens of sports teams nationwide. It is also putting the NBA, NHL, and MLB at major financial risk.
In the short term, it is known that teams will still broadcast on their RSNs even if they aren’t getting the paychecks they were promised in previous rights deals. This will affect teams’ ability to pay players and could even create an unfair advantage among the haves of the sports world like the Yankees and Lakers and the have-nots. The NFL doesn’t face the same problems that the other leagues are facing because its rights have been nationalized.
With the NFL’s continued television dominance, college conferences also bundling up games together for more money, and the MLS guaranteeing themselves television revenue after packaging local and national rights together, could we see the other leagues follow suit? It is an option that is much easier said than done but it seems like we are moving closer to it becoming reality.
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
The biggest problem the NBA and other leagues would face are that the local rights to all of its teams don’t expire at the same time. If the league were to sign a deal that included giving all local rights to a streamer, the amount which the league was getting paid would be very unique year after year. It would be crazy for a streamer to pay a huge chunk of money to the NBA all at once if the number of teams they have local rights to changes every year.
It would also be insane to pay an astronomical amount if the streamer is only getting the local rights to small-market teams like the Cavs and the Pistons. A major market team like the Lakers doesn’t renew their local rights until 2032. We’re still in 2023. How does that affect the league’s operating costs?
The NBA would also have to figure out whether teams whose rights don’t expire yet deserve to be included in the pot of money garnered from selling local rights to a streamer. Whether they are or they aren’t, does it put each team at different competitive advantages and/or disadvantages when trying to acquire free agents or front-office personnel?
One of the most interesting puzzles to figure out is what influence a league owner like Washington’s Ted Leonsis has in this potential measure when all is said and done. Leonsis just acquired complete control of the regional sports network — currently named NBC Sports Washington — that broadcasts Wizards and Capitals games for millions of dollars, although the exact amount remains undisclosed.
What does Leonsis do with his network if his team’s games can no longer air there? Can his team opt out of participating in a potential league offering? Or if the games continue to air on his network but are simulcasted locally on the streamer that wins local rights on a national scale, does the streamer have the ability to pay less money for rights?
If so, does that make the deal as lucrative for the NBA? And what does that mean for retransmission fees that cable companies like Comcast pay to Leonsis and other RSNs they’re still carrying?
The league will face a similar problem with the Lakers, Bulls, Knicks and other franchises that either wholly own or partially own a part of the RSNs where they broadcast their games.
I don’t have the answers to any of these questions which is why they are written here in this column. Unfortunately for the leagues, they don’t have the answers either. But if the NBA figures out a way to nationalize their product even more and make streaming games more appealing by ending local blackouts, it’ll benefit the game more than it hurts the game.
NBA, NHL, and MLB games are still some of the highest-rated programs locally in many markets when you look at how they rate vs. other cable and broadcast offerings. But at this point, the ability to charge everyone for a program that only ten percent of subscribers are watching is a losing business proponent.
The leagues should start from scratch and sell a mass package of games for maximum profit. It gives fans a more centralized location to watch their favorite teams and puts the leagues on a much more steady path than where they could be headed sooner rather than later.
Diamond in the rough to sparkling jewel of light? Only time will tell.
Jessie Karangu is a columnist for BSM and graduate of the University of Maryland with a bachelor’s degree in journalism. He was born and raised in Baltimore, Maryland but comes from Kenyan roots. Jessie has had a passion for sports media and the world of television since he was a child. His career has included stints with USA Today, Tegna, Sinclair Broadcast Group and Sightline Media. He can be found on Twitter @JMKTVShow.
Do You Have Affirmations Of Gratitude?
“We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right?”
Having gratitude for your life is all the rage. If you, like me, have trouble starting your day with positive affirmations and maintaining a positive outlook about your job, read on!
We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right? Here is another version. Try a few affirmations of gratitude instead.
“I HAVE A JOB.”
With interest rates rising, inflation increasing, and spending down; corporations are laying people off. PayPal laid off 7% of its entire workforce. Amazon let 18,000 go. Alphabet (Google) said goodbye to 12,000 jobs. Radio sales managers need to hire people like you – experienced sellers with a track record of bringing home the bacon.
“I AM A PROBLEM SOLVER.”
You solve a problem for your company when it comes to revenue. You know people, and you sell advertising better than anything they can come up with…so far.
Yes, they are trying to replace you, but Zoom Info reports iHeart’s self-serve spot buying service, AdBuilder, is doing under 5 million in business. You have time to solidify your value. Be happy you are the rainmaker.
“I WORK IN THE PEOPLE BUSINESS.”
Sports talk radio is the ultimate companion to millions of listeners. They aren’t robots, and your stations improve their lives by talking about what they care about 24/7. Celebrate selling access to callers, Twitter followers and FANS who go to games. You also get to work with local celebrities that everybody knows but you know best. We all need a connection to other people and want to be seen and heard.
“I GET TO CHANGE HOW I FEEL ABOUT MYSELF.”
In this job, you determine your value, feelings about your work, and who you work with. You get to set a strategy and talk to the businesspeople you want to help and do business with. It’s like running your own business with a tremendous support staff. Try to do it independently, and you will appreciate accounting, traffic, production, and sales assistance. Those wins produce deposits in your bank account.
“I HAVE COMPETITION!”
That format competitor across the street does things differently and sometimes better than you or tries to imitate you and looks terrible. They motivate you to beat them to a new account or put a moat around your best clients so they can’t be touched. They keep you sharp and willing to try new things. Good competition schemes to take money from your station, and your management needs you to protect them. And they also provide a place for you to work one day. The FTC wants to eliminate non-competes so you can walk across the street this year.
Jeff Caves is a sales columnist for BSM working in radio, digital, hyper-local magazine, and sports sponsorship sales in DFW. He is credited with helping launch, build, and develop SPORTS RADIO The Ticket in Boise, Idaho, into the market’s top sports radio station. During his 26 year stay at KTIK, Caves hosted drive time, programmed the station, and excelled as a top seller. You can reach him by email at firstname.lastname@example.org or find him on Twitter @jeffcaves.