Connect with us
BSM Summit
blank

BSM Writers

A Conversation with Christopher Gabriel

Tyler McComas

Published

on

It’s 4:00 a.m. inside a smoky bar somewhere in Queens, New York. The year is 1986 and just like a scene straight out of a Martin Scorsese film, a crowd of rough and downright scary individuals with unorthodox ways of making money, have flooded into the after-hours establishment. The bartender, 28-year-old Christopher Gabriel, knew he didn’t need to be mixing it up or getting involved with the type of people he’s serving scotch to. However, the struggling actor needed money way more than he needed a lecture on who to be hanging around. 

The former Chicago sports nut never saw his life taking this drastic of a turn. Just a decade earlier, Gabriel was majoring in broadcast journalism at Temple University in Philadelphia, with the vision of being an anchor for the evening news. Far removed from the life of getting paid “under the table” to serve drinks in a shady bar. Trips to Wrigley Field, Soldier Field and Comiskey Park filled his childhood, but Gabriel’s desired career path didn’t begin with the intent on covering the athletes he grew up watching. In Gabriel’s eyes, the sports business just didn’t seem have the same draw as being a news anchor.

Fate seems to work in mysterious ways. Gabriel would learn that early on at Temple. While hosting his college radio show, a loud commotion came from the theatre office next door, totally throwing off what he had planned to deliver over the air waves that day. In a rage to see what had derailed his show, Gabriel stormed into the theatre office to confront whoever was responsible. What he found, was a woman behind the desk suggesting he would be perfect for the one of the roles in an upcoming show. After initially being caught by surprise, Gabriel agreed to an audition where he showed instant talent. The rest was history.

Gabriel’s change of fate would land him from Philadelphia all the way to Los Angeles to chase his newly found passion of being a theatre major at USC. By the summer of his last semester, he was back on the east coast in New York City where his acting career took flight. From there, Gabriel began to get casted in commercials as well as receiving Under-5 work, meaning he was given five lines or less on soap operas, including a recurring role on the hit show All My Children. A project known as the 1983 Commercial Olympics became Gabriel’s big break as he and the four other actors involved all signed with agents. Soon after, he would be performing in places such as the Edinburgh Fringe Festival in Scotland and working on stage with esteemed talent such as James Earl Jones and Julie Harris. 

Though he experienced the highs of working as both an actor and in theatre, he also suffered the lows. Trying constantly to make ends meet during his 20-year stint in New York City, Gabriel took jobs as a cook, caterer, bartender or anything else he could to make money. Every day was a grind and it was starting to take its toll.  

His escape wasn’t different than most males during the 90’s in New York City. While always keeping his passion for sports, Gabriel became enamored with Mike and The Mad Dog on WFAN. So much so, that the thought of doing sports radio crept into his mind for the first time in his life. A trip to Montreal for a Candiens playoff game would end with Gabriel stopping on the side of the road at 1:00 in the morning to call WFAN overnight host Steve Summers just to hear himself over the radio and to enjoy a few moments of sports talk. Sports on the radio had always been a big part of Gabriel’s life, but WFAN along with Mike and The Mad Dog would fuel a passion for the business that he never had before. 

blank

In Gabriel’s words, trying to make a living off being in theatre is truly a grind. The process of getting an audition in New York City would start as early as 5:30 in the morning without the guarantee of even getting an opportunity. After over 100 plays across the country, complete with thousands of hours of auditioning and rehearsing, Gabriel found himself burnt out and needing a fresh, new creative challenge. After a role in Tuesdays with Morrie, he met Mitch Albom, who later invited him to work on a production called “Duck Hunter Shoots Angel” at Jeff Daniels’ Purple Rose Theatre Company in Detroit. Over a cup of coffee, Gabriel voiced his frustrations about the grind of the theatre business with Albom. It’s then, when Gabriel found fate again. Albom suggested talk radio to Gabriel as a potential avenue to explore and even became a mentor to his success in the business. At the age of 47, Gabriel’s career in radio was finally about to begin. 

January 6th, 2006 became Gabriel’s first day as an intern at the formerly 100.3 KTLK in Minneapolis. At the time, the running joke across the station was that he was the oldest intern in radio. That may have been true. However, Gabriel immediately fell into a good situation by serving as a producer for the Pat Kessler Show. Pat opened up the whole world to Gabriel by letting him do a number of things within the show. His big break would come almost two months later on March 5th, as Minnesota mourned the passing of Twins legend Kirby Puckett. As the news broke, nobody was available at KTLK or its sister station KFAN to do a live hit from the Metrodome. That’s when KFAN program director Doug Westerman gave Gabriel his big chance by giving him the assignment on arguably the biggest sports figure in Minneapolis’ history. Not sure if he was ready or even capable, Gabriel was sweating nervously all the way to the Metrodome as he delivered an 8-minute report that turned out to be excellent. From there, more opportunities came along such as being selected by Andrew Zimmern, host of the TV show Bizarre Foods, to produce and contribute on-air for his show. 

Zimmern quickly took a liking to Gabriel’s work ethic and on-air talent. When it came time to travel the world to shoot new episodes of Bizarre Foods, the station wanted hosts such as Bobby Flay, Alton Brown or even Rachel Ray to host the show in Zimmern’s absence. But Zimmern fought for Gabiel to host while he was overseas. Management soon agreed and Gabriel now had the opportunity he was waiting on. There was just one problem. 

The on-air light flashed in front of Gabriel in studio as he set to host for the first time. The intro came to an end and…nothing. All was dead quiet. It was his time to shine, but Gabriel didn’t know what to say. He completely froze. That’s when his producer came over his ear and reminded Gabriel he now had to talk. Though he was 47 years old, he quickly experienced his ‘welcome to the business moment.’

blank

Gabriel would host every brokered show that was offered on KTLK. Gardening shows, shows for motivational speakers, he did it all. The drive and work ethic that landed him so many acting and theatre opportunities had carried over into radio. All Gabriel wanted to do was get in front of a mic, learn from his mistakes and get into the business. He was going to do whatever it took to make that happen. 

After hosting any and every kind of show imaginable, Gabriel finally had a reel he could send to other stations around the country. In his words, he sent his resume and reel to everyone he could think of, including stations in Guam. He didn’t care where he was sending it, as long as people were listening to it. 

One station that was willing to listen was 970 WDAY in Fargo, North Dakota. On the air since 1922, WDAY was one of the first 35 stations in the United States. After several days of auditioning in May of 2009, Gabriel was offered a job on his birthday as an on-air host. Though it was a jump to another news talk station, Gabriel spent 6 years in Fargo as he dabbled, amongst many other topics, with North Dakota State athletics and Minneapolis pro sports on his show, which gave him the entry into sports radio.   

Gabriel’s time in Fargo came to an end after he was offered a job at a political station in Fresno, Calif., at Power Talk 96.7. However, the fit never matched and the two separated after 53 weeks. Though it was his first set back in the radio business, Gabriel considers it one of the best things that ever happened to him, because it allowed him to fill-in at numerous stations across the country. 

If you take anything away from this story, take away what last August proved to be for Gabriel. It’s never too late to chase what you truly love and are passionate about. When 940 ESPN in Fresno came calling, it was a dream realized. From being the kid that listened to every Chicago sports team on the radio to the 30-year-old that escaped his daily problems by listening to WFAN in New York City, Gabriel was now fulfilling a dream. Though it took him 59 years to make his dream possible, the long journey he took to the host seat at 940 ESPN is unlike any other in the business. Not only is Gabriel a success story, he’s an incredible story of perseverance that should be celebrated across the sports radio community. 

blank

Today, you can hear Gabriel living out his passion on weekdays from 3-6 p.m. on 940 ESPN in Fresno.

TM: Let’s say you were able to bump into the 28-year-old version of yourself that was bartending in Queens. What do you think he would say to you if you told him in just over 30 years he’d be doing a sports radio show? 

CG: He would say, you’re pretty cocky to think you’re ever going to be able to do that. But you better learn some skills on getting in front of a microphone, because it’s not going to be like it is on stage. That’s what he would say. However, I’ve found out there’s not a whole lot of difference. As a sports talk show host, my job is to engage people, to entertain and inform them. My job is to tell stories and that’s essentially what we do in theatre. The only difference, is that I always envision doing it to one person instead of standing in front 1,500 people. 

TM: Do you think hosting gardening shows, shows with motivational speakers and other unusual programming helped you out a lot as a show host, in the sense that, if I can do that, I can do anything? 

CG: I thought, sure, I can do this. If I can do these kind of shows, then piece of cake. But what I learned is it’s not easy or a piece of cake. I’ve always been big on prep and you have to be prepped for wherever a conversation might take you. When I was doing gardening shows and I was talking to motivational speakers, I thought I was going to get in there and make jokes and entertain…no. This was much more serious than I thought it was. We have a great time and have a lot of fun but it’s much more serious than I thought it was and much more difficult. My respect level for this industry and the people who do it well, it just went through the roof because it requires so much preparation and the ability to think on your feet. Just like on stage, when the other person screws up, you’re the one that has to pick things up and carry it on. 

TM: You speak to a lot of groups and classes about your journey. What’s the message you really want to get across? 

CG: I really feel strongly that you have to be a person of your own convictions. You have to follow your passions and you cannot let anyone else validate or invalidate what it is you’re doing and where it is you’re trying to go. Only you know the journey you’re on. Only you know the limits you have and how to burst through them. Early in my radio career, I had a person once tell me that I’d never get a daily hosting job, it’ll take at least 10 years. Well, it took 3 years, 5 months and 2 days. That number 352 is inside my head. What I tell young students is that you have to be focused and have a mentality that allows you to get to your desired destination. There’s off ramps but there’s also always on ramps.

Some people don’t, but I look at my age as a bonus. I’ve been able to live in New York, Philadelphia, Chicago, Detroit, Los Angeles, Fargo and now Fresno. With more age comes more experience and hopefully I’m able to apply that. 

TM: What’s the best advice you received during your journey in radio?

CG: It would be from a host that told me, “be selected in your savagery.” What he meant was, you better be careful if you’re the ranting host. If you do that too much, people aren’t going to pay attention. You need to find layers of depth and go further and further. Don’t take the easy way out, find the nuance of the story and really press something out. Ask the questions your guests aren’t expecting. When you feel like going off on every caller – don’t. Be selective on how you handle things. It’s been great advice for me. 

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

Published

on

blank

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.”

blank
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.”

blank
LUNDQVIST 4

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.

blank

“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.”

Continue Reading

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.

Avatar photo

Published

on

blank

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.

Continue Reading

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

Published

on

blank

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.  

Continue Reading
Advertisement

blank

Barrett Media Writers

Copyright © 2023 Barrett Media.