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Q & A with Ryan Porth

Brian Noe

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It isn’t every day that you bump into a 27-year-old program director in a top-30 market. Ryan Porth is a name to know in the sports talk radio business. He’s the PD of ESPN Radio 102.5 The Game and 94.9 Game 2 in Nashville, TN.

Ryan’s career path is uncommon. He earned a big promotion in the span of 10 days, one which typically takes years to achieve. I had a chance to connect with him and discuss his unique career path, future goals and his thoughts on the best and worst parts of sports talk radio.

Q: What was it about the sports talk radio business that initially interested you in pursuing it?

RP: When I was born and raised in Cincinnati, the voice of the Cincinnati Reds, Marty Brennaman, was an idol of mine. I used to play imaginary baseball in the backyard and act like I was Marty Brennaman. So as a little kid, I always wanted to be the radio voice of the Cincinnati Reds and that desire to work in sports broadcasting stayed with me through middle school and high school. I always knew it was what I wanted to do.

A few years after high school, I got a part-time job here at ESPN 102.5 The Game. That was July of 2012. Five years later I’m the damn Program Director of this thing. It’s crazy to think about. To have a job like this at my age, I pinch myself every day. To be working in the industry that I’ve dreamed of working in my entire life is a real blessing.

Q: Having started at The Game and worked your way up, does that impact the way you look at talent? For example, do you prefer seeing homegrown talent get a promotion rather than taking a look at options outside of your market?

RP: Being here for so long, I’ve seen many people move up the ranks — and it’s mostly been with producers — but I do believe in the theory of promoting from within if you can. You know their strengths. You know their weaknesses. You know everything about them. You can put them in the best position possible to maximize their strengths. That’s one risk with someone out of the market – you don’t know them as well on a personal level.

I’m very fortunate that since I was hired as Program Director, in the last 10+ months I haven’t had to make a change on the air with our lineup. All the guys that I inherited for the live shows from the morning show to the midday show to the afternoon show offer something a little different, and it’s been a pleasure working with them.

I think promoting from within is a trendy way to go. That isn’t to suggest that I won’t consider someone out of the market, but with your on-air talent, you want them to have the backstory knowledge of the Titans, and the Preds, and the Vols and everything that’s a hot-button issue in this town. In Nashville, it’s important to know the history of sports in this town. That goes with any town and radio station. I’m lucky to have a really good staff on board.

Q: It was crazy with the Preds last year. I went to a couple of those watch parties. Broadway street was completely shut down. It was a really, really cool thing. Could you see an MLB or NBA team in Nashville? How big of an impact do you think it’d make in the city and on the sports talk radio scene?

RP: If Major League Baseball or the NBA were to come here, it would only benefit our business in terms of having even more things to talk about. For where the city of Nashville is right now, I think having two pro sports teams with the Titans and the Preds, plus Nashville SC and the Nashville Sounds, is kind of a perfect mix. But with 80 to 100 people moving to Nashville every day, I can see in a decade or two it expanding to meeting a Philadelphia or Detroit in terms of having all the pro sports teams in town and being a hotbed for sports even more than it is now.

Q: Knowing the dynamics of this city, which do you think would make a bigger impact here, the NBA or MLB?

RP: I think Major League Baseball would make a bigger impact because of the timing in which the sport is played. The NBA would be going up against the Preds and I don’t know how successful a team would be here especially with Memphis right down the road. The Grizzlies are kind of viewed as Tennessee’s NBA team.

However, with Major League Baseball — while you do have the Braves, and the Reds, and the Cardinals within a stone’s throw of Nashville — I can envision an American League team working here in the future when the city grows more. I think Nashville in 10 to 20 years will be in a much better position for MLB than it is now.

Q: I hear a lot of negativity about sports talk radio. With all of the bellyaching of ‘this sucks’ and ‘they talk too much this’ and ‘they do too much that,’ what do you think is really, really good about sports talk radio right now?

RP: Whether it’s a negative topic or a positive one, connecting with fans is the most important thing in sports talk radio in my mind. Whether Butch Jones is on the hot seat or the Nashville Predators are going to the Stanley Cup Final, you want to have that connection with the fans.

You’re not going to make everyone happy in this industry, and a listener doesn’t have to agree with everything that a host has to say. But if a host can connect with the listener and make them understand where they’re coming from with their opinions, it makes for great radio. We’re also fortunate at ESPN 102.5 The Game to have two popular former Titans figures – wideout Derrick Mason and GM Floyd Reese – who can take fans behind the curtain on their experiences in the NFL and provide unique insight the listener can’t get elsewhere.

In the social media world that we live in now, it’s a different world than it was 10-15 years ago. You can get a lot of people’s opinions right there on Twitter and Facebook, but the medium of radio is still powerful. The mic that our hosts turn on every day is still powerful and the way that sports talk radio hosts can connect with listeners as they drive to work or lunch, with hosts wearing their emotions on their sleeves as if they’re a fan themselves, is one of many positive things about sports radio right now.

Q: What do you think could be better about sports talk radio?

RP: The one thing that I think people can fall victim to is hot-take radio. I think it only works for so long. Not only in sports talk radio but with TV, it can be a little overbearing at times. That’s something that a lot of listeners or viewers would appreciate seeing or hearing less of. We’ve got an afternoon host, Jared Stillman, that has a lot of opinions about everything in Nashville, but I wouldn’t consider him among the hot-take sports talk radio hosts. He’s just a Nashvillian that wears his emotions on his sleeve. I think those are the type of things that make sports talk radio great. Having a hot take just to have a hot take on something in the sports world, and doing that too much over time, can wear on the consumer.

Q: When you target new talent or hear a host for the first time, what characteristics appeal to you most?

RP: I’m a diehard Cincinnati Reds fan. I remember turning on ESPN 1530 after Game 5 of the 2012 National League Division Series. Mo Egger, who’s one of my favorites in this country in terms of talking sports, said something along the lines of, “I’m paid to know what to say, but I don’t know what to say right now.” It was real emotion, expressing exactly what the entire Reds fanbase was feeling at that time. If a sports talk radio host can connect with listeners and fans in that way, that is one of the best qualities in a host.

You have to be compelling and discuss topics that will make the listeners think, whether they agree or disagree. I think likability is another really good quality for radio hosts. Especially in the south where Southern hospitality is a real thing. Nashville is a different market from anywhere up north where it’s a heritage sports town. Everything is a little bit more laid back in Nashville and having some likability is an important trait in radio hosts. You don’t necessarily need them to like you, but you need them to like listening to you, and enjoy listening to you, because you obviously want to keep them listening. You don’t want to scare listeners away, because they may not come back.

Q: Likability and relatability are important everywhere, but might be even more important in Nashville. Do you think that what separates a good host from an excellent host can range based on the region they’re working in?

RP: I think so. A good host can handle the x’s and o’s of sports talk radio well. They can tease well. They can set up topics well. They can interact with callers well, but an excellent host has to have those intangibles of connecting and forming a relationship with the listeners without actually knowing them on a personal level. Making a listener feel like they’re in the studio with them, or sitting at the bar with them listening to your hosts share what they’re passionate about – those things help put you over the top as an on-air personality in my opinion.

Q: Some topics these days can be divisive. That can damage a host’s likability and relatability. Whether it’s the anthem protests or the sign at the Red Sox game, “racism is as American as baseball,” do you have a certain tactic or approach with your on-air staff about do’s and don’ts when addressing those subjects?

RP: I’m pretty lucky to have a lineup of hosts that know the right and wrong of what to say in those situations. When it comes to political stuff like that, no radio station wants their hosts to say something that will hurt the credibility or likability of a host or the radio station as a whole. But at the same time, giving hosts that freedom of speech when it’s necessary, when it’s valid, I think is important as a Program Director.

A lot of people use sports to escape from some of the crazy happenings going on in our country. There’s a good chance they have no desire to hear about politics when flipping on a sports radio station. So that’s what we try to offer our listener in times like those – talking about the Preds or Titans, or sports in general, to provide that escape.

Q: How do you balance big national stories with your local content? Is there a specific message you relay to your staff?

RP: In the last year, we’ve had the the Chicago Cubs win a World Series. That was a huge national story that our hosts talked about. Maybe not at length, but they talked about them winning it all. While there are Cubs fans in Nashville, they’re not considered a local team at all. But that was a huge story in sports and when those things happen, I think it’s important to talk about them.

At the same time, if there are other storylines going on nationally that we can relate to locally — for instance, if Jon Gruden says that Jameis Winston should be an NFL MVP candidate. Having our hosts take that and frame it in a way where they’re saying, “Jameis Winston, if he’s an NFL MVP candidate, then why isn’t Marcus Mariota?” Just doing things like that — finding that local connection where it can still be a good listen for the people who are tuning in just for local news or local sports talk.

There are so many outlets now where you can get national talk. We’ve got 102.5 The Game, but we’ve also got 94.9 Game 2, and 94.9 Game 2 is mostly the ESPN Radio syndicated lineup. So, we’ve got Mike & Mike in the Morning, and Russillo, and Le Batard, and Paul Finebaum in the afternoon. All of them talk about national storylines. Finding a way to connect the two — local and national — to bridge that gap, is an important thing for our local hosts to do.

Q: In Nashville, you’re up against 104.5 The Zone. Some view it as a huge challenge or a mountain that you’ve got to climb. What are the opportunities that it presents from where you guys are and how you’re going head-to-head with an opponent in the same town?

RP: I think the opportunity for us is the fact that we have a little bit of a different strategy in terms of on air. 104.5 The Zone, while they do talk their fair share of sports, they also like to dip into pop culture, entertainment, and things of that nature. For the listener that wants deep sports talk, they know they can come to 102.5 and we’re going to be talking about the local teams. We’re going to be talking about the Preds. We’re going to be talking about the Titans. We’re going to be talking about the Vols and anything else that is hot in this town. That’s our identity.

We don’t pump ourselves as Nashville’s Best Sports Talk just because it’s a catchy line. It’s something that we all believe in. We truly believe we deliver the best sports talk in this town. When it’s Preds, we have the best Preds talk. When it’s the Titans, we have the best Titans talk. When it’s the Vols, we have the best Vols talk. That’s something that we pride ourselves on. Their model has been successful for them and I respect them for that. At the same time, there are many listeners out there that just want sports talk and that’s what we try to deliver to them on a daily basis.

Q: Having transitioned from APD to PD, when you look back, what’s the biggest area of your personal growth that you’re most proud of?

RP: Well, it was a very quick transition. August 15th last year was my first day as Assistant Program Director. Then on August 26th, I became the interim Program Director. So, I had a grand total of 10 days under my belt as an Assistant Program Director. We were going through a lineup change at that time and I was the EP of our afternoon show, Jared & The GM. During those 10 days I didn’t have any time to learn how to be an Assistant Program Director.

I was put in a position where I went from Executive Producer of the afternoon show, and within two weeks I was steering the ship. It was a scary few weeks stepping into a role where I was learning everything on the fly. Fortunately, I had a great support staff and still do to this day. As a 27-year-old Program Director, I still learn things every single day. Hopefully, a year from now, I’m in an even better position in terms of knowing little nuances of how to be a PD. I feel like I’m light years ahead of where I was at this time last year when I was just worried about keeping us on the air.

I’d say the biggest thing in transition that I’ve had to learn is how to interact with each of our talent. Every single cat is skinned a different way. Learning how to handle the on-air talent, push their buttons and try to get the best out of them is something that I’ve had to learn very quickly. Luckily, as someone who was in the building for 4+ years before the change, I think I benefited because I knew most of our on-air talent already. I wasn’t a brand new PD at a brand new station. I’d say talent coaching and interaction are the biggest things for a Program Director to tackle and I’ve tried to make that a big focus of mine over the past year.

Q: What are your future goals in sports talk radio?

RP: The dream of being the radio voice of the Cincinnati Reds will always be there. If I’m 60 years old and haven’t been the radio voice of the Reds, I think I would still love to do that. Obviously the path that I’ve gone down in radio may not lead to that and I’m okay with it.

To be honest, I have no idea where this whole thing is gonna take me. I’ve been appreciative just to have 5+ years in this business in this building — to develop relationships and friendships that I’ll have forever. If something comes up nationally in the future, then I’m sure I’d consider it. If something suited my strengths well outside of radio, maybe I’d consider that too. But I love Nashville. I may be biased, but it’s the best city in the country to live in. It’s home and I don’t really want to change that.

I just take it day by day and see where each one takes me. Hopefully I can continue to add to what I’ve built during my last five years in this business.

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 interim 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. One month 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 caused by exertion. 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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NHL ON TNT STUDIO

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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Barrett Media Writers

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