One of the most interesting aspects of sports is that no two paths are the exact same. Dallas Mavericks star Luka Doncic is a former No. 3 overall pick from Slovenia. Boston Celtics stud Jayson Tatum is also a No. 3 overall pick, but he was born in St. Louis and went to Duke. Miami Heat forward Jimmy Butler (No. 30 pick) and Golden State Warriors forward Draymond Green (No. 35 pick) are both late-round picks that have made multiple All-Star appearances. However, Draymond has only played for the Warriors while Butler is on his fourth NBA team.
Athletes might have similar experiences along the way, but their journeys often differ. The same is true in sports radio. There are many different roads that zigzag all over the place. Ron “The Show” Hughley definitely has a unique story; he got his start in sports radio at the age of 30 and in six years he ascended to radio market number six, his current home, Houston, Texas. Everyone who has that career path please raise your hand. Okay, you can put your hand down now, Ron.
The Show currently hosts afternoon drive on SportsRadio 610 in the same city Butler was born. One of his former program directors says Ron has a screw loose in a good way. The Show’s background and perspectives are different than the bulk of sports radio personalities. We had a very open conversation about the state of the sports talk industry and what Ron wants to see change. Enjoy!
Brian Noe: Where are you originally from?
Ron Hughley: I’m from Kansas City, Missouri. Born and raised there. That’s where I started my career as well. I grew up a fan of all those teams. Still a big, big Kansas Jayhawk fan. You know I’m feeling really good after the national championship. That’s me. A guy who very much loves where he’s from, just like many Kansas Citians.
BN: How do you think it would play in Houston if you were still a die-hard Kansas City Chiefs fan?
RH: Well hell, Brian, they think I am still. [Laughs] No matter what I say, ‘Go back to Kansas City. You just talk about the Chiefs.’ People here still believe no matter what I say, ‘Just go back to Kansas City. You love the Chiefs. You love Patrick Mahomes.’ I will tell them I’m not a Chiefs fan. I’m happy for my friends and family who are still die-hard when they won the Super Bowl, but it wasn’t the same way for me like in 1995 when I was hanging on trying to believe that Steve Bono could lead the Chiefs to a championship. Or in ’97, that Elvis Grbac could lead them to a championship. I just didn’t have that same feeling. But I’m happy for my family and friends. These people here in Houston, it doesn’t matter. ‘He’s from Kansas City. He’s a Chiefs fan. He has to be.’
BN: What would you say is unique about your radio path?
RH: Started at 30. I did some small stuff at MTSU (Middle Tennessee State University) in Murfreesboro. I mean small. I’ve always been into sports. I didn’t even know sports radio was a thing until I was in college. I never listened to sports radio in Kansas City growing up. I knew [Jason] Whitlock was a writer. I didn’t even know he hosted at 610 [SportsRadio] where I got my start. I was 30 years old and I remember my first son was like five, six months and I was getting up to go to church on a Sunday morning. I was like, man, I’ve got to do something. I had worked for 10 years at that time with at-risk youth. That was kind of a passion. I had worked with the YMCA all the way in high school and college and then I worked at a children’s mental hospital. When I moved back to Kansas City I started listening and Nick Wright was on. That was the big thing I was listening to. I was 30 and I was like I need to give this a shot, man. My situation with my wife allowed me to take a chance. I remember being at church. I shot Carrington Harrison — me and him have a mutual friend — I just shot him a Facebook message at 9:30 in the morning. He responded immediately and said he would meet with me and give me some advice. He told me to just have a demo of some sort. I called a buddy of mine who was a music producer and he helped me out doing some production for me. We did like one 30-minute podcast. I put it on Twitter the next day. Carrington then hit me up like five hours later and was like ‘hey, do you want to come in and see how I do a show?’ I’m like ‘sure.’ I came in the very next day and he introduced me to John Hanson who I forever give my career to. It’s a shame that he’s not working in the industry right now. He is one of the best minds out there. He was the perfect person for me to run into. I don’t think there was another program director sitting in that seat that would have got me. I met with him for like 20 minutes. He was like you’d have to start at the bottom if you started here. You’d have to be a board-op. I’m like, cool. He was like you have a demo or anything? I’m like yeah, I do a podcast. I did one episode the night before. He had me email it to him. I left. I went on with Carrington and Ben Heisler and continued to have them put the show together. About 30 minutes later he came in and he was like ‘you’re sure you’ve never done radio before? This is one of the best demos I’ve ever gotten in 20 years.’ From that point he still didn’t bring me in. He made me do another one and come back the next week. We went over it. Then people just started flying off. One of his board-ops quit that very week so then he found space to hire me. I just kind of moved up from that point on.
BN: There’s been a lot of talent in KC. What’s something important that you picked up along the way from your time there?
RH: A lot, man. Danny [Parkins] is one of the best to sit and watch do it. I will never forget, one of the big things from Danny was you’ve got to win the big day. Every day you’ve got to put together solid shows, but if there’s a big day where the Chiefs are drafting Tyreek Hill and the city’s going nuts, how do you win that day? Opening week, how do you win that? Or some breaking news hits, Alex Smith gets traded and now we know they’re going to go with Patrick Mahomes. How do you win the big day? Because the winning of the big day brings people to say okay, that’s where I need to be everyday. Also John Hanson saying different is good. Keep being you. He would tell me all the time you’ve got a screw loose in your head and it’s a good thing. I think just a difference in how I approach things. I wasn’t classically-trained so I never tried to do that. My perspective as a black man in this industry is kind of different anyway. I would bring in a lot of church elements on the show. Those were two big things that I picked up from guys there in Kansas City.
BN: How did you transition from KC to Houston?
RH: I got fired in Kansas City. It caught me off guard. I did not see it coming at all. None of us on the show saw it coming. I was the only one off the show that didn’t continue with the company. At the time, I’m fresh. I’m 34, 35 years old but not very old in the business. I don’t know the business. At this point this is the first real adversity that I’ve ever faced in the radio business outside of me not feeling like I’m rising to a spot fast enough. It was a tough thing. I didn’t understand it. I knew we had a good show. We did so many things that I don’t even know have been done in Kansas City or much in radio. I’ll stand by it right now to this day. But they felt like I didn’t fit with that market, which is odd. I was the one from that place, but they didn’t feel like it with that market. Now I understand why they had to let me go. There was a spot for Vern [Josh Vernier], he was the pre and postgame Royals guy that everybody loved him for and you can slide him back there. There was a spot for Serda who was the producer. For me, what am I going to do? If I’m not going to host, what am I going to do? I was fired there, caught off guard and I was in an odd situation. At this point we have two children and my wife was pregnant with our third. Thanksgiving was the week that it happened. It was a really odd time and I remember talking to John Hanson. He had moved on to Minneapolis, Steve Spector was the program director at the time. I remember talking to John and he said ‘well, welcome to the radio business. It’s started now that you’ve gotten fired.’ It was a weird time and I gave myself probably about a week to be in my feelings. Then we’ve got to get it going. I got some calls from people. I talked to Jason Barrett extensively for a while about things. I met some really good people in the business. Maybe a month-and-a-half after, Armen Williams is on my voicemail talking to me about an opportunity in Houston. I remember I talked to Armen probably every day for about two weeks on my drive home from work. Just getting to know each other. I remember then talking to Clint Stoerner on a lunch break about things. Then they ended up bringing me down to do a test show, see how I would like Houston. After that, they wanted me to come down. I had to talk with the wife and see how that was. All of our support system was in Kansas City. Her parents, my parents. Both of our families live in Kansas City. We were about to have three kids and my wife had a great job where she was potentially going to take over as the CEO of the company. That was the track she was on. We had to make some real tough family decisions but it’s worked out very, very well for us. It’s one of the best decisions that we’ve made.
BN: That’s great, man. How would you compare the general vibe of the sports radio markets in Houston and Kansas City?
RH: It’s the craziest thing, Brian, I’m going to be completely candid here. I started to agree with Spector and Hanson a little bit about what happened with Kansas City. The thought was maybe my style and bringing the black church elements into it, the references that I would use or things of that nature, maybe didn’t play as well with the radio audience in Kansas City. Then coming to the most diverse city in the country in Houston, maybe that plays differently. But the thing that surprised me is it doesn’t. The very same listener base in Kansas City feels very similar to the same listening base in Houston even though it’s the most diverse city in the country. The radio listenership does not seem to represent what the city is. It was a very similar thing. Some of the response I get is very similar to that in Kansas City. I look at those things and that’s really frustrating. It sometimes gets me frustrated thinking that in the business, we’re really catering to the same audiences no matter where you are in the country. That’s one of the things that gives me a lot of motivation right now. Before this, my whole mindset was let me get this as high as I can. I’m in a top-10 market. Where can I go? How can I take this as far as it can go? Can I replicate what Nick Wright has done? That has completely changed now knowing the business and being in a different market.
BN: Where has your focus shifted to now?
RH: For me the number one thing that I want to see change is being able to put out the content that I want to put out, and having conversations that I want to have without feeling like I’m scaring people or I’ve got to temper myself because this audience won’t listen. I want to see the radio audience change. I know I may be being bullish on that, but I am so motivated that there’s more inclusion. For instance, this is something I’ve carried with myself, and I’m not throwing any shade toward Barrett or anything, but one of the things I look at every year is the top 20 that Barrett does. There were 260 available host seats and 29 were minorities on that list. Twenty-nine out of 260. That was something that jumped out to me and that’s a number that I carry in my head that I want to see change. It’s really eye-opening to see who believes those are the best shows because those are the people who make the decision to bring that in. I get it. Hey, this is what the audience wants to hear so I’ve got to put that out there. But man, it’s 2022. I want to see that change in a major, major way. We’re still pushing toward one audience. That’s my big motivation is to see that change. The example I give all the time is I want to be able to freely use Martin references just as anybody uses Seinfeld references. Right now, I feel the audience, it goes right over their head. That’s my goal and dream in this business.
BN: You’re unique and that’s great, but there are some people who don’t like different. What has your experience been like dealing with some people that might voice their frustration with you being different?
RH: It has happened. As you know change is hard and there are some people who are set in ‘this has been sports radio and this is how it has to be and this is the sound.’ I’m always this — and it sometimes gets me in trouble — I’m going to be me. At least I’m going to try to; I’m going to be me. I think when I first got here to Houston, I felt the pressure of, all right, I’ve got to make this job work. I just uprooted my family. My son is about to start his second different school in elementary school. I’ve moved my wife. I’ve got to make this work. That was maybe the first time I felt that way. But I just think eventually, I’ve got to be me. What’s gotten me here was being Show, was being me. There are going to be some people who don’t like it, but I eventually wear on people like Steve Urkel. I wear you down. I get this a lot: ‘I could not stand you. I just did not understand you. You were so loud. But the more I listen to you, I get it and I like it.’ I grow on folks and as I said I am just hoping also that the audience starts to kind of change and move over as well. We add more people so we’re not just having the traditional sports radio listener, that it’s more all inclusive and my style isn’t as wild or crazy sounding.
BN: Future-wise, what do you think would make you the happiest in sports radio or beyond?
RH: The thing that would make me the most happy has really changed. Moving to Houston really brought that up. I feel like before coming here and learning more about the business and everything about it, I was just living what I thought other people were doing. Hey, it would be great to have a gig like Bomani [Jones]. It would be great to get to a place like Nick [Wright] has. I think now for me the most important thing is doing the type of show that I want to do, putting out the type of content and having the conversations that I want to have. I am super motivated by having more people that look like me having a chance to be able to get into this business and to get different perspectives. And not just me, any minorities, women, anybody with just different perspectives in this business. That to me has been more important over the next 10 years for me than getting to a national level like I thought it was. That’s what I thought it was before coming here, but that has changed for me.
BN: What if Houston or some other market brings in a radio host who’s a white guy? With what you just explained about inclusion, what would be your reaction when you want to see things change and it’s not happening?
RH: I’m not saying any of those guys aren’t capable and aren’t good. I don’t have an issue with it. I think it’s just better if we had more perspectives. I think the audience is going to change if you have more perspectives. I’m going to be real with you, I think a lot of the reason why I didn’t know anything about sports radio growing up is because the people who controlled the radio were listening to people who they felt shared the same things that they shared. There were 29 out of the 260 available seats and we’re talking about this huge Brian Flores lawsuit. I’m not saying everybody has the same views because my views are probably very similar to what Danny Parkins’ views were. I remember getting in the car and listening to Parkins immediately. That was one of the first things I wanted to hear. More times than not you’re going to have a similar perspective being pushed out about a very serious thing, or in many cases because of the audience, that topic is thought to be kind of dangerous or we might scare or run people off so hell, they may just brush past it and not really talk about it. I think that needs to change. I feel like some things that I want to talk about or I have a perspective on are things that could be considered too scary for listeners or could be considered to make listeners uncomfortable enough to not want to listen. But I can tell you a whole lot of people that look like me, if they heard that I was on, they turn it on. That’s a perspective that’s not heard and when you’ve got 29 out of 260, it’s hard to get those other perspectives. I don’t have anything against hosts. Sean Pendergast that I work with is amazing. Seth Paine is great. Clint Stoerner, I work with every day, is great. Landry is great. I’m not talking about that. But at some point, man, 29 out of 260. That’s got to change.
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 email@example.com or find him on Twitter @jeffcaves.