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Kenny Albert Expects Alternate Broadcasts To Grow

“That’s the goal for any play-by-play broadcaster is to continue to work big events, playoff games, [and] championships.”

Derek Futterman

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NBC Sports Group

Whether it be baseball, basketball, football, or hockey, one voice is a consistent presence behind the microphone, bringing fans all the action locally in the New York-Metropolitan area, domestically across the United States, and internationally all around the world.

Versatility is a coveted asset across many lines of work in today’s media job marketplace and in the realm of play-by-play announcing, Kenny Albert seems to have set the standard.

Calling all four major sports on a near-regular basis for both regional and national sports television networks — including NBC Sports, Turner Sports, MSG Networks, and Fox Sports — Albert has seen firsthand the shift in the industry from the perspective of a broadcaster. But that’s not all. He calls games on the radio as well, working in various capacities for the New York Rangers, the team with which he got his start in professional broadcasting alongside his father.

Albert was exposed to sports broadcasting from a young age by virtue of growing up in a family of sportscasters, with his father Marv and uncles Steve and Al building careers in the profession. Upon being gifted a toy tape recorder for his fifth or sixth birthday, Albert began to prepare for what quickly became his primary career aspiration; that is, to be a professional play-by-play announcer.

He remembers bringing his toy tape recorder to sports venues including Madison Square Garden and Shea Stadium once of age, and prepared for each game by looking over the rosters and keeping up-to-date with the latest statistics. His big break as a broadcaster later came as a sophomore at Paul D. Schreiber High School in Port Washington, New York by means of volunteering to fill an unaddressed vacancy.

“Cox Cable of Great Neck came to my school to film a girls basketball game,” said Albert. “They had two cameras [and] a small production van, but no announcers. I volunteered and they clipped a microphone onto my shirt [and] I did the game.”

By the end of high school, Albert had turned his volunteering into a job, working 75 to 100 games all over Long Island in sports such as lacrosse, hockey, basketball, baseball, football, and soccer, with his friends serving as color analysts. In college, Albert was a member of WNYU Radio at New York University and continued to call games on the radio. Yet he believes the experience he had in high school positioned him to be ahead of the pack in a profession with substantial levels of competition.

“I felt like I really had a three-year head start on anybody else at that time who wanted to do play-by-play,” said Albert. “There weren’t really any opportunities until college back then in the ‘80s. The three years at Cox Cable were just such an unbelievable experience to get three years of practice and reps under my belt.”

After graduating college with a bachelor’s degree in broadcast journalism, Albert became the radio voice of the Baltimore Skipjacks in the American Hockey League and quickly made his jump to the pros beginning in 1992 as the television play-by-play broadcaster for the National Hockey League’s Washington Capitals.

From there, Albert continued to find and add new opportunities to call professional games in football, baseball, and basketball, both on the radio and on television – and he continues to call games in both mediums today. Being conscious of the audience and how it is consuming the game is central to understanding the differences in calling a sporting event for one medium as opposed to the other.

“On radio, obviously you have to be more descriptive [because] the listener can’t see what’s going on. The description is the key. Location on the ice, on the court, on the field, etc.,” Albert explained. “You have to give the time and the score a lot more often on radio. On TV, it’s up on the upper lefthand corner of the screen, which wasn’t the case before I started working professionally. [Also,] you definitely don’t have to talk as much [on TV]; you can leave more time for the color analyst to come in.”

In broadcasting events across many professional sports, Albert has worked with over 225 color analysts, a figure he surmises might just be the record for a play-by-play announcer.

Whether it be Walt “Clyde” Frazier, Eddie Olczyk, Tim McCarver, or Jonathan Vilma, getting their perspectives on the game at hand is essential in creating and maintaining a seamless broadcast. Since the play-by-play announcer does not need to describe as much of the action occurring on visual broadcast mediums, he is able to afford his partner in the booth, whoever it may be, more time to talk in those instances.

Albert, in his opinion, says hockey is the least difficult sport for him to call, partly because he has been doing it for 32 years, but also due to its rhythmic style of play – especially on the radio.

“You’re just into the flow really for the entire 60 minutes,” he said. “People always ask me about the names and the pronunciations and the fact that the players change on the fly, but to me, it’s almost like riding a bike because I’ve been doing it for so long.”

Conversely, Albert believes baseball is the most difficult sport for him to call since the style of the broadcast is more conversational in nature and because he does not call baseball games on a regular basis. “If it’s a game every week, or 10 [to] 15 games over the course of the season – which is what I’ve usually done – because there is so much downtime, [hopefully] you have a great color analyst that can fill in a lot of that time,” he explained.

While Albert calls baseball the least out of the four major U.S. sports, one of his most memorable moments as a broadcaster was being behind the mic for José Bautista’s iconic bat flip in Game 5 of the 2015 American League Division Series at Rogers Centre in Toronto with the background noise of 49,742 impassioned fans.

He also recently called the 2022 NHL Winter Classic from Target Field in Minneapolis – home of Major League Baseball’s Minnesota Twins – at a game-time temperature of -5.7 degrees Celsius. Despite the frigid temperature, Albert’s experience calling the game was “magical,” especially since it was played at night with natural, aesthetic touches in a setting seemingly made for television, including eight frozen ponds formed in the outfield.

“We had [the window] open at the start because we wanted to feel the elements and experience what it was like for the fans and for the players,” said Albert. “We did keep the window closed in the broadcast booth for a good portion of the game… We were still able to see the ice and see all the monitors in the booth the same as if the window were open. It was a fantastic experience.”

Albert has called other big events as well, including the Stanley Cup Finals, the Winter Olympics, and NFL divisional playoff games. From the days practicing with his toy tape recorder and growing up around family members in the profession, he understood the importance of preparation and professionalism in trying to establish a career for himself in the booth.

“That’s the goal for any play-by-play broadcaster is to continue to work big events, playoff games, [and] championships,” said Albert. “There is a lot of travel and a lot of preparation involved, but it’s just so much fun.”

As the landscape of sports media continues to shift, in spite of its apparent acceleration due to the COVID-19 pandemic, the introduction of emerging technologies, new platforms for content dissemination, and modification of best practices to maximize cost-efficiency have resulted in a paradigmatic deviation from the norms that had been associated with travel and preparation.

Pertaining to travel, Albert and nearly every other play-by-play announcer in the country has experienced the process of calling games remotely to ensure the health and safety of themselves and network crew members. While the decision, which had been in consideration among sports networks prior to the pandemic to cut travel expenses, impacts the range of vision and subsequent understanding of action away from gameplay, Albert sees its implementation as a “new normal” towards which the industry will have to lessen its intransigence.

“To me, I feel like no matter the sport, I [can] probably see about 85 percent on the monitor of what I would [see] if I were at the arena,” said Albert. “You don’t get the emotions or the feel of being there, but it’s probably not as bad as I expected when we started… It does save the wear and tear on the body a little bit for those of us who have been traveling for a long time. That’s probably one positive that’s come out of it.”

Information overload is an offshoot of the development and expansion of the internet, directly affecting the preparation process for play-by-play broadcasters. When Albert started working for the NFL on Fox in 1994, he would receive a shipment of VHS tapes every Wednesday with the games of the teams they would be covering that week, and any news clippings or supplementary materials were received through fax. Following the advent of the internet, Albert received articles through email, began to tape games on television, and see action from all across the country with DirecTV NFL Sunday Ticket.

“It really wasn’t that long ago, but thanks to technology, it’s made the preparation on one hand a lot easier, [but] on the other hand there’s so much information available [that] you could basically 24/7 try to find various nuggets and read that extra article in order to get ready for that week’s or that night’s game,” said Albert.

The role of the traditional play-by-play announcer is also changing with the introduction of concurrent presentations during national games, such as the Monday Night Football ManningCast,” Statcast Edition of the MLB Home Run Derby, and the forthcoming Sunday Night Baseball with Kay-Rod. Though he hopes the role in which he has been employed for over three decades staves off extinction, Albert is cognizant of the ongoing evolution of the industry geared to satisfy consumer demand while minimizing the opportunity cost associated with such evolution in the process.

“I think with a telecast such as the ManningCast, it’s a unique perspective hearing from two guys who were among the top quarterbacks of all time,” said Albert. “Hopefully, the role of a play-by-play announcer on the traditional broadcast doesn’t go away and is around for a long, long time. But I think with so many channels out there with people watching things on their phones and on computers and on [tablets], and all of the technology available now that wasn’t [around] 10, 20, 30 years ago [that] there’s definitely a place for the alternate broadcasts, for sure.”

Whether they want to be a play-by-play announcer, analyst, sideline reporter, or talk show host, Albert’s advice is the same for prospective broadcasters: Come prepared, be versatile in whatever you do, and find opportunities in places where they may seem sparse.

“When I was growing up, we had seven channels; there was no cable [and] no satellite,” said Albert. “There are just so many opportunities out there these days. [While] I was at college at NYU, we had to fight for air time to broadcast the men’s and women’s basketball games because the radio station was the only outlet. These days if you’re at school, you can go broadcast a lacrosse game or a soccer game and put it out there on the internet. It’s just another way to get reps and get practice even if it’s not through the traditional means of a campus radio station.”

Albert has never genuinely “worked” a day in his life and he certainly hopes to keep it that way. Whether it has been on the radio or on television, rinkside or perched behind home plate, at the venue or in a studio, his ability to broadcast different types of sporting events professionally on multiple broadcast platforms both locally and nationally has afforded him various opportunities in sports media. He hopes he can continue to be the voice behind more memorable moments as his career progresses within a dynamic, growing industry.

“I never feel like I’m going to work,” said Albert. “I hope I never lose that feeling.”

BSM Writers

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.”

Derek Futterman

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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.”

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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.”

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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.

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“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.”

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BSM Writers

Should the NBA Nationalize Local TV Rights Like MLS?

The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.

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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.

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BSM Writers

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?”

Jeff Caves

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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.  

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