Jason Fitz has seen many parts of the world while touring with The Band Perry. He’ll now get much more familiar with Bristol, CT after landing a huge opportunity with ESPN. Jason is set to co-host a national show with Sarah Spain weeknights from 6p-9p ET. Spain and Fitz debuts on ESPN Radio Tuesday January 2, 2018, and Jason can also be seen hosting SportsCenter on Snapchat.
During our recent conversation, Jason touched on many things including his approach to the sports industry and his love for girlie drinks. Although he just got called up to “The Show” (shout-out to Kevin Costner in Bull Durham) Jason still has very high goals. You’ll find that his mindset is the opposite of complacent even after receiving a giant promotion. By the way, can you believe Bull Durham came out in 1988? Good Lord. Enjoy.
BN: So, you’re packing your bags and heading to Bristol. How excited are you to start this new gig?
JF: It’s all a little surreal. You set out life to have huge dreams, and then they start to come true and you’re like, “Oh, man. There’s like actual consequence I have to start to figure out now and deal with.” It’s kind of funny. We laugh about it a lot I think in our heads. We thought in a few years I might get this chance, not so quick — kind of a first world complaint that I’m like, “Oh, wow. It’s all happening too fast.” We’re figuring it out and it’s really cool. It’s really exciting.
BN: What was your first gig in the radio business?
JF: I started with a podcast. I was touring with The Band Perry and in our busiest year we were gone 300 days. I came home to my wife one day and I said, “You know what? I realize I’ve worked my whole life to be here and I’m successful. I’m really thankful for that, but I don’t love what I do.” So, she said, “If I ask 100 of your friends what you love, what would the answer be?” I said sports. So she said, “Alright well, find a way to talk about sports.”
I took my microphone that I used for my fiddle part of the string section and I sat in my car because I felt like such an idiot. I didn’t even know what a podcast was at that time. I sat in the car and I recorded a 10-minute ‘here’s me talking about sports.’ I put it up on Facebook for my friends, and everybody was like, “Oh my God, this is great.” Me being me, I sort of ripped it apart and said okay, how can I build a business plan and what’s the next step?
I did the podcast a little over four or five years ago and eventually CBS Sports liked it and we tried a partnership for a little bit. In that process SiriusXM actually took note. They gave me my first shot a couple of years ago doing a one off in the middle of summer, solo hosting for four hours on the NFL channel. I did four hours by myself on NFL radio the first time I ever hosted on radio.
They liked my work and eventually gave me a little bit of a run as a fill in during the holidays on Mad Dog Radio. I think they looked at it like, “Hey, if you’re home and you’re not on the road, and you want to do some shows, then come sit in.” I just kept using that to try to get better, and eventually ESPN noticed. My first TV show with ESPN was almost a year and a half ago. My first ever radio show with ESPN was January of 2017, which is now about a year later. I’m about to have my name on a national show, which is very humbling.
BN: What do you remember from that first experience of doing four hours on the NFL?
JF: Man, the funny thing is, I’ve always been sort of a prep freak anyway, but I think I got to the studio — no kidding — probably six hours before the show. I brought in all these different marker boards and paper and I story boarded it like they do a movie or a music video. I looked at it and I said okay, I’ve got four hours. Four blocks per hour, so I have to have 16 topics. I had a buddy that helped me a lot on the podcast and he actually came into the studio with me and just helped me flesh out ‘okay, here’s what we want this to be.’ I tried to find topics and then research it. I’m not kidding, I think I was in there six hours for a four-hour radio show.
And I’ll be honest, I was scared out of my mind. I didn’t even know how to take a phone call. A lot of people don’t realize this at Sirius, you’re not in the room with anybody. I was at Bridgestone Arena in Nashville where there’s a Sirius studio. I was in a room with a mic and a computer in front of me and that’s it. My producer, who I’d never met, was in New York. He hopped on my headphones three minutes before we went live and said, “Okay, here we go.” I didn’t even know how to press the button to answer a phone call. That’s how crazy it was.
BN: Was your heart beating out of your chest?
JF: Yeah, I think I was amped up more than anything. The weirdest part of it was a bunch of my friends had a listening party at one of my buddy’s places in Nashville. They were all listening to it and they were going to throw a big party afterwards.
The funniest thing is I spent my whole life in music. When you finish a show in music you have a crowd and hopefully applause. You walk off the stage, and with your buddies, you can sort of high five and say, “Heck yeah, good show.” Instead, I was in a studio by myself.
The weirdest part was we finished the show and they have to immediately connect the next show, so it was just a, “Great job, man. Hope to talk to you soon.” And they hang up and you’re like, “Oh, okay?” So I was just sitting there in the studio by myself — self high fiving saying “good job.”
BN: Did sports fill you up a little bit more than music or was there something about music that contributed to your feeling unfulfilled?
JF: I started playing the violin when I was four. It was eight hours a day most of my life growing up being a classical musician that I had to practice. I just turned 40 this year. I played the violin for 38 years and you can say I did it as a full-time job for about 32, 33 of them. That’s a long time for anybody in any career.
When I was a little kid — my dad is a big Raiders fan — Sunday, his rule was that was the one day I didn’t practice. It’s not because we were religious. It’s because my dad didn’t want to listen to it while we watched the Raiders game. He would go get a dozen donuts and we would sit down and we’d watch the Raiders game together.
I think somebody smart in psychology could pinpoint why that was always a release for me, but sports were my release. Even as a kid sometimes when you’re practicing, you’ll mute a game and you’ll watch it. You can have a game on in the background while you’re working on scales and stuff. Rudimentary music stuff was always there with the enjoyment of sports.
As I got older, I think the passion just grew for sports because it was my release. It’s always been my escape and that’s what I love about it. What music is for most people — an escape — it’d become a job for me. Sports has always been my escape, so I just followed that escape passion.
BN: Are there still times when you hear a song and you’re like, man, I wish I was onstage right now?
JF: There’s been a couple of times that I’ve seen buddies play and I’m like, “Oh, it’d be fun.” You always hear athletes say they don’t miss the game as much as they miss the locker room. The comradery of musicians on the road is a very special and unique thing. There’s a part of me that will always miss that. At the same time, no one’s ever going to stop me from picking up a violin when I feel like it, or sitting down at the piano with a bottle of whiskey and writing a song. Nobody’s going to stop me from still having music. It’s just part of who I am.
It’s really nice to not have to worry about — is my song three minutes and 20 seconds? Does it get to the chorus in the first 45 seconds? Will radio play it? What demographic wants it? All the behind-the-scenes business stuff that makes music the music business. I’m so glad to not be a part of, that I haven’t really had that missing-it moment.
BN: Is whiskey your go-to song writing drink?
JF: Well, everything kinda girlie for me, I’m a girlie drinker. Canadian like Crown — I drink a lot of Crown — so Canadian whiskey. There’s always flavored cherry vodka. I get made fun of all the time when I sit down. Most guys, you’ve got this image of a country guy sitting down who’s got the scratchy voice, so he’s going to drink the Jack. I’m the guy that walks in and I’m like, “Oh, do you have a cherry vodka in diet I can drink?” It’s always nice to have that drink now and just sort of relax and try to get in a flow and see what you can write.
BN: What from your history and experiences in music do you apply to your approach in radio?
JF: Everything. I mean literally everything. From the day that I started, I think back to my influences growing up in sports talk radio because it’s all I listened to. Colin was a huge influence. Dan Patrick was a huge influence. Rich Eisen. Stuart Scott. Guys like that were huge influences. Then, when I started piecing together a podcast, my original goal was to — just like in music where you hear something and you say, “Okay, how can I emulate that sound?” — my thing was how can I let those inspirations affect things?
When I solo host especially, taking a look at what guys like Colin do and where they take their pauses at and how they approach their show. That immediately became ingrained in me. Anyone that listens for a little bit knows there are a lot of analogies from me. I’ve always been that guy.
The music business is very similar in a lot of ways. I think it’s why I’ve become fast friends with so many athletes and so many sports broadcasting people. There’s similarities to what that life is and how the connection between guys and the work you put in. Like I just said, the locker room sort of love that you have for everybody.
You think about how all the guys in the NBA seem like they’re friends. Well, I cut my teeth at the same time with the guys that play for Jason Aldean, the guys that play for Rascal Flatts, the guys that play for Florida Georgia Line. We were all sort of coming up together. There’s a special connection and I think that transfers over whether you’re talking about music or you’re talking about sports. I think that’s a huge part. It’s part of what I think makes me different as a host, but it’s a huge part of what is wired into me for sure.
BN: You just mentioned the pausing that you will hear from certain hosts — is there anything along those lines when you heard yourself early on and thought, “Oh gosh, I have to work on that. I didn’t even know I sounded like that.”
JF: I think slowing down was my biggest challenge in the beginning. One thing that I will say is that as I reached out to people in life. I never reached out for people to help me. I always reached out for people to try and make friendships. That was always my goal. Then, eventually as people become your friend and they say, “Hey, you want me to come on your pod? I’d be happy to.” That was sort of my process.
A lot of times I would have people — talent guys or behind-the-scenes guys — that would say, “Hey, if you want me to give your podcast a listen, I’d be happy to.” The biggest thing for me is I took every ounce of coaching I could get.
Early on, I remember one of the pieces of advice I got from a coach was always give people time to catch up. You just said something, you think it makes a ton of sense, but you gotta give it a beat. You gotta let people catch up with what you said. Process it. Agree with you or disagree with you, and then move forward. Stuff like that. Once you hear it, then you know to listen for it in the future.
I think that it wasn’t so much a weirdness of hearing my voice as much as it was, am I applying all of the coaching I’m getting? I looked at every single pod as a demo. Does this sound so good that if I ran ESPN, I would say, “This guy’s got potential.” That was always my approach.
BN: How would you describe your style in radio?
JF: I never want to shy away from saying anything big and important. I have no problem with that, but I also really understand there’s a big part of this that’s entertainment. I’m the guy that is looking at it saying, “What are we doing here? Are we having fun? Is there big energy to it?” Those are all keys for me.
I think when you get in the car especially, and you’re listening to radio — I always said this when I was hosting the morning show in Nashville — you get into the car in the morning. You’re already in a bad mood. You’re going to work. You’re stuck in traffic. And you’re angry because your favorite team is not as good as you think they should be. So how do we have that difficult conversation but still make you smile and laugh along the way? That’s sort of always been my approach. I’m not going to shy away from telling you that your team stinks, but I hope that I can do it in way where we can laugh about it through the process and we can have a good time.
BN: There are players in the NFL that have their welcome-to-the-NFL moment when they’re like, “Oh gosh, I’m not in college anymore. This is a different level.” Have you had your welcome-to-ESPN moment yet?
JF: I’ve had a bunch of them. I think even the first time I actually hosted on ESPN Radio, it was January of 2017. It was a two-hour show. I was flying solo. I was in a remote studio connecting with people in Bristol. I think that when you first hear the voice that everybody knows — the this-is-SportsCenter guy — but he actually says your name. That’s a very holy cow, this-is-real moment.
I’ll even go back to the much talked about talent meeting last week that happened in Bristol, where they brought in everybody that works for ESPN. Walking through the halls and seeing the studios filled with every person you’ve watched for a generation, and you’ve listened to for a generation, all working their butts off. That was a holy cow, I’m not watching this, I’m a part of it. It’s a very inspiring moment.
I’ll give you one more cheesy one. My first TV show with ESPN was College Football Daily with Mike Golic Jr. and Elika Sadeghi. We’d been into that maybe a couple of months. I was walking through the halls of ESPN. I had gone up there to meet with a few people. I didn’t have anything going other than the TV show at the time, but Mike Golic Sr. was in the hallway. He stopped me and he was like, “Hey, Fitz. You’re doing a good job on the TV show. Really like it.” I realize his son is on it and that’s why he’s watching, but the fact that he knew who I was, it was a very kid-in-a-candy-store, man-I’m-making-it moment.
BN: Can you give me an idea of what the process has been like for you over the past few months leading up to this weekday opportunity with ESPN?
JF: Man, it flew by. I did my first solo hosting last January. Then they gave me a Sunday night show with Jordan Rodgers for part of the winter, Jordan & Fitz, that we did in I think February and March. That was sort of the end of my contract. We knew that was going to be the end of contract one. The question was what were they going to do for contract two. They made me another offer, which took me to the next level. In July, my first eligible day to work back, they put me and Golic Jr. together on Mike & Mike, which was another sort of what-the-heck-am-I-doing, how-am-I-already-in-this-chair moment? That was July 3rd this year.
I was working my tail off. I’m not going to deny that, but I think you have to have a little bit of right place, right time in life to make it. In July, everybody was on vacation. I was doing my four hour Braden and Fitz show on ESPN Radio in Nashville. Then I would go home long enough to maybe take a nap or grab a bite. Then I would come back to the studio.
There were a lot of days for six to eight weeks where I was in solo hosting on Jalen & Jacoby, and then filling in with somebody on Izzy and Spain. There were weeks and weeks and weeks of four hours of national at night, and four hours of local in the morning. A lot of times I would just sleep in the studio and then wake up the next morning and do it the next day.
I spent July and August grinding with no idea where that was going to lead me, but I just knew that if I said yes to everything and I worked my ass off, that’s all I could do. You have to trust that process. I said yes to everything. I just kept my head down and did all the work I could, but once football season starts, as you well know, that’s the primetime, the most important time for the sports talk world.
When football season started my ESPN assignments sort of went away because that’s when they want all of the regular hosts in — to be there and make sure that fans are getting the voices they’re used to hearing at the right times. So my work just sort of went away. I just wasn’t sure what was going to happen. You hear rumblings. You hear rumors, but after all the years in the music business I know not to count any chickens before they’re hatched. Again, I just sort of kept my head down and said, well whatever happens happens.
It was really kind of out of the blue. I was up there doing some screen testing for what I now get to do — the SportsCenter Snapchat that I do on Thursday nights and launches on Friday mornings. I got called in to meet with some of the big wigs and thought nothing of it. A couple of days later I got a call and they said, “Hey, we know you’ve worked with Sarah. We know you and Sarah get along. Sarah likes you and you like her. We think it’s a good pairing. What would your level of interest be?” Within days it went from not working all that much and we’ll see what’s going to happen, to by the way, you need to move to Bristol and we’re going to give you a bunch of opportunities.
BN: Your general vibe seems to work really well in radio in terms of a two-person show. Do you find that you have a natural chemistry with whomever you’re working with and it can be even better depending specifically on who you’re working with?
JF: To a certain extent. I spent a lot of the summer hosting solo. I love hosting solo because it’s the Colin in all of us — you get to give a monologue, make a big statement, there’s a lot of nice things to hosting solo. The great thing about the co-hosting in general — I’ve always felt like — as long as I know my role, things are going to go really well. My role in co-hosting is to make it fun and conversational and to facilitate. I feel like I’m at my best in that role when I’m acting as a point guard.
For example, hosting with Jordan. Jordan played football. He played in the NFL. If I can find a way to get a great tidbit, a great story, a great moment out of Jordan, then I’ve done my job. If we’re talking about what quarterbacks we do or don’t believe in in the NFC, of course I have an opinion. I’m going to give you that opinion, but then I’m also going to make sure that Jordan gets his opinion out. His opinion comes with weight because he played in the NFL. I’ve looked at it that way with everybody I’ve hosted with.
I’ve been really lucky at ESPN. They’ve put me with great people and the biggest thing that I find at ESPN that’s sort of empowering, is there’s so much freaking mutual respect for everybody. They believe that because you’re in the room, you belong in the room. I was afraid it was going to be this super cutthroat, I hate you, get off my radio show environment like the music industry can be at times. When you’re sitting in with somebody and they’re like, “Get out of my way. Don’t play on my song. I want my solos.” ESPN’s much different than that.
I look at it and say my job is to make it conversational. That’s why I love working with guys like Golic. Golic Jr. and I have become really good friends. Jordan and I have become really good friends. When you can do that, and you can talk to somebody about sports, that’s when I think you’re giving the world hopefully the most entertaining product. When it can be smart, but it still sounds like a bunch of buddies sitting at the bar having a conversation. That’s when I know I’m doing my job.
BN: I know you just got this major opportunity and it probably sounds strange to ask you about your career goals, but is this it or are there other things that you eventually want to achieve?
JF: Heck no. That’s the thing, the first day I walked into ESPN and actually met with anybody years ago when I was just a podcaster, I had to convince people that they should let me have some sort of a format on air. They asked me what my goal was. My answer to them was quite simply to be the face of the network for a generation. I know that that sounds just as obnoxious as it is.
To me, the goal has always been very simple — I want to combine the things that I love the most about guys like Colin Cowherd, Rich Eisen, and even Jimmy Fallon. They’re so damn likable in what they do, and it’s so much fun to watch them perform, that you feel connected to them. You feel like you are hanging out with a friend. That’s what ESPN offers on all of their platforms.
The radio piece was a huge part of my first step, but there’s also a desire to have a daily presence on TV. I also want to make sure that I’m involved in all the social media things that we’re doing now. I’m really excited by the brand’s focus on Twitter and Snapchat and the things that they’re letting me be a part of.
Mike Golic Jr. and I did a college football playoff rankings reaction show through the course of the fall. The last episode that we did after the final four came out got 3.3 million views on Twitter. I think that we’ve got a format that’s averaging over 1.5 million views for episodes of SportsCenter on Snapchat. There’s a big piece of the future of the network that I’m working hard to try and be a part of.
I think as generations of fans grow up, I want to be to a generation, what the Rich Eisen’s of the world were to me.
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.