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Ramie Makhlouf Has a Laugh Track In His Head

“Ultimately this is entertainment, man. There’s no reason to take it too seriously.”

Brian Noe

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Imagine how you’d feel if an opportunity to audition at your favorite radio station came about. Not just the station you simply enjoy the most; the station you grew up listening to in your hometown; the station you dreamed of working for one day. You might be the opposite of Leonardo DiCaprio in The Departed — “My hand does not shake. Ever.” This surprisingly was not the experience of sports radio host Ramie Makhlouf when he tried out for 670 The Score in Chicago. He felt at ease the whole time. 

The Bears, Bulls, and Cubs fan who was born in Palatine, a suburb on the north side of Chicago, never thought he’d be that comfortable. Ramie talks about his experience at The Score, a series of events at SKOR North in Minneapolis, and his rapport with a man named Mitch that led to him reuniting with 1250AM The Fan in Milwaukee. If you’re scoring at home that’s The Score, SKOR, The Fan and about four moves in two years. Someone get this man a beer.

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Ramie has been a stand-up comedian for the past eight years. It’s really interesting to hear how he applies aspects of stand-up to sports radio. Ramie describes what it’s like to have a laugh track in his head. He also talks about the necessity of having thick skin, the horrors of country music, and the meaning of “put a roof on it”. I thoroughly enjoyed our chat and didn’t even once mention that the Cardinals are better than the Cubs.

Oops. Enjoy.

Brian Noe: How did you get your start in sports radio?

Ramie Makhlouf: When I graduated from college I saw that there was this brand new sports talk radio station starting up in Milwaukee. I had graduated from a small college in Kenosha, Wisconsin — UW Parkside. I grew up listening to two things; The Score in Chicago and the Howard Stern Show. Howard Stern would always say the best place to go especially if you’re getting your start in radio is either a really shitty radio station that was getting no ratings, or a brand new startup station. So I was like man, this is perfect. There’s this brand new startup station right here about 30 miles north. Really just got a foot in the door, man, a really low-level, entry-level job, weekend board up and doing a few things here and there during the week. Just climbed the ladder there over the course of about 14 years. After about seven, eight years I was hosting the afternoon show.

BN: With you being a Stern guy, do you think that sports talk is sometimes too sportsy?

RM: Yeah, for sure. Absolutely. I think the debate show phenomenon on ESPN and FOX Sports 1 and these networks has made that problem even worse. One of the things that — and not to say that I wasn’t having fun my first time around in Milwaukee, I had a great time my first time around in Milwaukee and couldn’t ask for a better group of guys to work with and to learn from — but when I went up to Minneapolis at SKOR North with Phil Mackey and those guys, there was a real emphasis put on let’s have fun. It was almost part of the job description that we need to have fun when we’re doing these radio shows because if we’re not having fun, then the people listening to us aren’t having fun. Ultimately this is entertainment, man. There’s no reason to take it too seriously. Not to say that you can’t have sportsy sports talk and you can’t get passionate about things, but at the end of the day there’s hardly ever anything going on in our world that needs to be taken that seriously that we can’t find a way to have fun and have some laughs around it.

BN: How does being a stand-up comedian help you build a show or choose content?

RM: I think it helps a lot. I think that they both help a lot. To be honest with you some of my best bits — not that I’m trying new material or running bits on the air, that’s something that I actively try not to do. Once I’ve written something into a joke or into a bit, I try not to recite that later on, on the air. But some of my best bits have just sort of come up accidentally on the air where I’ll be talking about something and just riffing and I’ll notice that the guys I’m working with are laughing or I’ll get a bunch of tweets like hey man that was hilarious. I’ll sort of form that into a joke or a story or a bit that I can tell on stage. It’s helped my stand-up comedy.

On the other end I think you kind of get a laugh track in your head after you do comedy for a while. When you’re going through the process of writing comedy, you can kind of hear where you’re getting the laughs over the course of writing a joke or writing a story. I think the same thing kind of applies. In radio you don’t get to hear their laughs, you don’t get to see how many people are tuning in or tuning out. I think that you do get sort of a sense of, or even a clock, that people are interested or are losing interest in what you’re doing and it’s time to move on.

BN: In stand-up comedy, the crowd is right there and you learn quickly what the crowd responds to. How do you take that and use it toward sports radio?

RM: I wrote a piece for Barrett Sports Media a few months ago and I talked about the similarities of the two and where there is crossover. One thing I talk about in that article, there’s what’s called the 12-second rule in stand-up comedy that you want to get a laugh every 12 seconds of a joke, or a story, or a bit that you’re telling. Otherwise you’re going to lose that crowd. You need to keep them hooked in to what you’re saying and what you’re doing so that they’re not — in our industry turning off the radio — or when they’re sitting in a comedy club losing interest, or talking to the person at their table next to them, or just spacing out and thinking about what they have to do the next day.

Ramie Makhlouf - Insult and Batter, March 23rd, 2018 - YouTube

While it’s not always a joke or a punchline or a laugh that you’re trying to get when you’re doing the radio show, I think that there needs to be something every 12 seconds, or a handful of times every minute that’s keeping an audience — or I like to think of it as just one listener — that keeps them interested and keeps them hooked in to your radio show. That could be a sound bite. It could be a joke or a punchline where you’re going for a laugh. It could be an inflection or a change in your tone or a pregnant pause. But there has to be something where you’re changing it up and it’s not just you talking for 60 seconds straight. There has to be a handful of things every minute where you’re changing it up and giving the listener something to hook in to and stay tuned in to.

BN: Can you walk me through your timeline with SKOR North? Once the station went away, how did it unfold from there with The Score in Chicago and with Milwaukee?

RM: So I was laid off from SKOR North on May 31 last year. I had been in contact with Mitch Rosen before that. I had applied for jobs in Chicago at The Score and he kind of was coming into The Fan in Milwaukee just as I was on my way out. We had established a bit of a relationship already and a bit of a rapport. A few months after I was laid off in the Twin Cities, he asked me if I’d like to come back to Milwaukee and start doing some fill-in work there. I was doing that for a little bit.

Then the incident with Dan McNeil; one of the afternoon hosts at The Score tweeted some unfortunate things and lost his job as a result. They were looking for a co-host for Danny Parkins. I ended up on the short list. I tried out. It started off with a field of five or six people that they were trying out for that. Nobody told me this but just based on how far I went in the auditions, I think it came down to me and Matt Spiegel, who was already Danny Parkins’ co-host in a previous radio life before Dan McNeil came back to The Score. And Spiegs won it. And rightly so, man. 

I got to know Matt Spiegel a little bit in my time working there and worked with him a handful of times. He’s a great dude and a radio professional. He gets this thing as well as anybody gets it. Obviously he and Danny have a lot of chemistry and a lot of history together. I’ve caught their show when I’m not working — we’re on at the same time — and those guys are great together. I’m happy for everybody involved and who knows? Like I said, I’m doing some weekends there so who knows what’s in the future. But I had a great time doing it, man. It was a dream come true being on those airwaves and that team of guys they have working behind the scenes with Danny Parkins and Matt Spiegel, the best in the business. They couldn’t have been nicer and more welcoming to me. It was a great experience.

BN: Is there anything about Danny’s approach to radio that differs from other hosts?

RM: I think he puts an emphasis on fun and being entertaining and not taking this thing so damn seriously. Bringing your life on to the air is something that I think Danny puts an emphasis on. It’s something that I put an emphasis on too. If there’s something that can make you relatable and entertaining to the audience that’s about you and outside the world of sports, I think that’s always a good thing to bring to a show. He does that and he encourages the people that he works with to do that.

As a kid growing up in Chicago listening to The Score and getting your shot on that station auditioning for the afternoon job that you always dreamed about having, there’s a lot of pressure with that. It can be a little bit nerve-racking. From day one starting with Danny and down to Shane Riordan and Chris Tannehill, his former producer Nick Shepkowski, and Spiegs when he was in there, all of them just made me feel like part of the team. Like hey, come in here and contribute, do what you do, just act like you’re part of the show and do what you’ve done on every other show that you’ve been on. I can’t tell you how easy that made the whole thing. I felt very at ease the first time I sat in that chair and was working in the shift on the station in the city that I had always dreamed about working with. I never thought I’d be that comfortable and a big part of the reason was because Danny and all those guys were so easy to work with and so welcoming to me.

BN: What do you like most about working for Mitch Rosen?

RM: One thing I love about working for Mitch Rosen — and I can’t say that about everybody who sits in that chair in radio stations across this country — he treats all of his employees like human beings and checks in on you and sees how you’re doing. How you’re doing on the air and with the job and if you need anything from him, he’ll help with that, but also how you’re doing just in general outside of work and in your day-to-day life. That’s a trait I’ve noticed about him in terms of how he handles the people that work for him is the same across the board whether you have the top rated show in the number three market in the country out there in The Score, or if you’re working at the 30th ranked market or whatever we are currently in Milwaukee. He treats all of his guys the same and I love that about him, man. He’s a really good sports radio program director, but he’s just a really good dude, and I appreciate working for a good dude.

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BN: You’ve been outspoken about the abuse that Muslim people have faced and continue to face. What’s the reason you’ve been so involved?

RM: I’m not Muslim, but I am an Arab. Many people assume that all Arabs are Muslim, and so I catch blowback. When there’s an issue that has to do with Muslim people or the Muslim religion that might come up in sports or in the news or in pop culture, I get tweets, I get blowback, I get hate.

Just in general I try to push back on that stuff even if it has nothing to do with me. It has become like a personal thing even though it’s not my religion. I’ve caught so much flak for it. If there’s Muslim hate or just general Arab hate out there, I kind of feel like I need to take up for them in a sense. It’s an unfortunate part of people’s ignorance and blind spots that they don’t even know who they’re hating. Somebody told me to go back to Mexico on Twitter one time. I was like man, I’ve never been but I hear it’s nice. [Laughs]

BN: [Laughs] When you get off-the-wall hatred like that, does it ever make it hard to be funny if you aren’t feeling upbeat?

RM: Oh no. Nah, man. I learned a long time ago to let that stuff roll off my back. I feel like I had built-in defenses before I ever stepped on a stand-up comedy stage in terms of people heckling or throwing hate your way because when you work in the public eye, if you can’t handle that stuff and let it roll off your back, it’s going to be a long road to hoe and you probably won’t last long in this business. One of the things I always tell younger people when they’re getting into the business, if they’re dumb enough to ask me for advice, is have thick skin, man. Have thick skin about what’s going to happen in the industry and what people are going to throw your way from outside the industry because that’s just part of the job unfortunately.

BN: I have to ask about your stance that every stadium in the Midwest should have a roof. What’s this about?

RM: Not just every stadium in the Midwest, every stadium that’s not on the West Coast or in a desert should have a roof in Major League Baseball. Especially if it was built in the modern era. It blew my mind when I went to Minneapolis to work at SKOR North that you had a stadium built in 2010, in the northern most baseball city in these United States of America, where it regularly snows into April, and we have the technology to put retractable roofs onto buildings in 2010, and you just chose not to? You just decided, nah we’re good, we’ll play baseball in this crap? It makes no sense. It’s not good for the game. It’s not good for the fans who are sitting in the stands watching the game. There’s no benefit to it. 

All you have to do is look however many miles to the east in Milwaukee and see what that stadium has done for the Brewers and the city of Milwaukee in terms of financial and business impact. People flock to the stadium because they know there isn’t going to be a rainout. And they just chose not to do that in Minneapolis and Detroit and in Cincinnati? It makes absolutely zero sense to me, so I started the ‘put a roof on it’ movement when I got to Minneapolis. I was surprised how it caught on. I just went with it because it became a thing that people knew me for. I’d go out to Target Field and people would be like, “Hey Ramie, put a roof on it.” I was like oh, this thing is working. I’m gonna keep going with it.

BN: That’s awesome, dude. It just pops into my head, Miguel Cabrera sliding into second base in Minneapolis because he didn’t know he hit a home run.

RM: He didn’t know! He couldn’t see the ball clearing the wall because there was just a curtain of snow covering the field. It was ridiculous. Why are we doing this?

BN: [Laughs] I have to ask you — your long hair made me think of music — what are your musical favorites?

RM: I’m all over the board. The one thing I can’t do — people think that I’m making this up just to be funny and I do maybe exaggerate a little bit but I have a literal phobia of country music. I have a fear of flying. I have a fear of heights. And I have a fear of country music. I get the same feeling in the pit of my stomach when I hear Luke Bryan or Morgan Wallen or whoever is today’s hot country music artist. I get the same bad feeling in the pit of my stomach as I do when I feel the wheels lifting up on an airplane and I’m sitting on that thing. [Laughs] I can’t do it.

I do love classic rock. That’s probably something that you would have assumed from the hair. The Beatles are the greatest band of all time and if you don’t believe that, don’t talk to me. Led Zeppelin, Jimi Hendrix, all the classics from those days. But more recently — the hair probably doesn’t indicate this — I’m more into hip-hop and rap. Kanye, Drake, Run The Jewels, that’s more often what I’m listening to nowadays than anything else.

BN: In terms of goals, is there anything specific that you would like to accomplish in the next few years?

RM: You know, man, to be honest I’ve never been shy about the fact that I want to land in Chicago. Like I said that’s the station I grew up listening to. That’s the city I grew up loving and the teams that I grew up rooting for.

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The last few years of my life have been constant change. I think that if there’s one thing that I’ve learned through all of that it’s always be ready for change and be prepared for it and embrace it. I think we all kind of learned that lesson over that last year. A lot of things in my life have changed multiple times over the course of the last two years. That’s probably the case for a lot of people, so whatever comes, I’ll be ready for it.

Landing in Chicago would be great and I’m going to start getting some at-bats out there, but if that doesn’t happen, I’d love to build something great here in Milwaukee. I’m focused on what I’m doing now and whatever comes next I’ll be ready for it.

BSM Writers

Beyond The Mask: Henrik Lundqvist Embraced 2nd Career in Sports Media

“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal.”

Derek Futterman

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Plucking the strings of an acoustic guitar, Henrik Lundqvist found himself beneath the bright lights once again, poised to put on a worthy performance. Just as he aimed to stop pucks from going in the net as the star goaltender of the New York Rangers for 15 seasons, Lundqvist sought to captivate viewers as half of a musical duo featuring former NHL forward Paul Bissonnette.

Their performance of “Good Riddance” by Green Day was in tribute to Rick Tocchet, a former NHL on TNT studio analyst who recently departed the network to serve as head coach of the Vancouver Canucks.

Lundqvist serves as a studio analyst for TNT’s coverage of the NHL, breaking down players and teams throughout the broadcast and bringing his own unique style to the set. His pursuit of a post-playing career in sports media was no guarantee from the moment he retired in August 2021; in fact, he never intended to stop playing the game and competing for a Stanley Cup championship at that time.

During the 2019-20 season, Lundqvist had lost playing time to young goaltenders Igor Shesterkin and Alexandar Georgiev, and by the year’s end, his deal was bought out by the team. In an effort to continue playing, Lundqvist signed a contract with the Washington Capitals – marking the first time in his NHL career that he would not step between the pipes for the Rangers.

Lundqvist never played a game for the team though, as it was discovered in a medical exam that he would need open-heart surgery to replace his aortic valve while also having an aortic root and ascending aortic replacement. Less than two months after the successful five-hour operation, he was back on the ice rehabbing and attempting to make a full recovery – but a few months in, he began to feel unexpected chest pain. Following a medical checkup, Lundqvist was told he had inflammation around his heart. It was a significant setback that required him to step off the ice, take off his goaltender equipment and rest for several months.

After discussions with his family and friends, Lundqvist determined that the risk of taking the ice outweighed the rewards and officially stepped away from the game. Rather than conjuring hypothetical scenarios wherein he did not experience the misfortune and played for the Capitals, Lundqvist looked to the future amid the ongoing global pandemic and thought about how he could best enjoy his retirement.

“I was just mentally in a very good place,” Lundqvist said. “I didn’t have a choice; I guess that makes it easier sometimes when the decision is made because you can’t go back-and-forth – ‘Should I?’ ‘Should I not?’ Yeah, I wanted to play but it was just not meant to be for me.”

Before any definitive resolution on his future endeavors was made though, the Rangers announced that the team would retire Lundqvist’s No. 30 in a pregame ceremony during the 2021-22 season, making him just the 11th player bestowed that honor in franchise history. As a five-time NHL All-Star selection, 2011 Vezina Trophy winner, and holder of numerous franchise records, Lundqvist had the accolades to merit this profound distinction.

Moreover, he was an important component in growing the game of hockey and contributing to the greater community, serving as the official spokesperson for the Garden of Dreams Foundation and founder of the Henrik Lundqvist Foundation. He also was a two-time recipient of the organization’s prestigious Steven McDonald Extra Effort Award, honoring the player “who goes above and beyond the call of duty.”

Throughout the night, attendees regaled Lundqvist with chants of “Hen-rik!” and were treated to flashbacks of some of his memorable career moments. The night was of monumental importance for Lundqvist, during which he expressed his gratitude to the Rangers’ organization, former teammates and fans. Then, Lundqvist — referred to as “The King” — promptly took his place among team legends beneath the concave ceiling of “The World’s Most Famous Arena.”

“When I look back at my career, I know, to me, it was all about preparation; how I practiced and how I prepared for each game at practice,” Lundqvist said. “There’s no regrets, and I hope people, when they think about how I played, [know] that it was 100% heart and commitment to the game.”

Before this ceremony though, Lundqvist and Rangers owner James Dolan had held several meetings with one another. The purpose of these conversations was to determine the best way for Lundqvist to remain involved with the team, its fans, and the community. In the end, he was named as a lead studio analyst on MSG Networks’ broadcasts of New York Rangers hockey before the start of the 2021-22 season: the start of his foray in sports media.

This past summer, Lundqvist negotiated a new deal with Madison Square Garden Sports and Madison Square Garden Entertainment in which he maintained his in-studio responsibilities while increasing involvement in other areas of its sports and entertainment ventures. In this new role, Lundqvist supports the business operations for both companies, assisting in digital content development, alumni relations, and partner and sponsor activities.

When Lundqvist is not in the studio or the office, he can often be found at Madison Square Garden taking in New York Rangers hockey, New York Knicks basketball, or one of the arena’s renowned musical performances. Usually, when he is in attendance, he is shown on the arena’s center-hung video board as an “NYC Celebrity” and receives a thunderous ovation from the crowd.

“The network is just part of it, but it feels great to come there,” Lundqvist said of Madison Square Garden. “Every time I go there – to see the people that I’ve known for so long – but also I love that place; I love The Garden. I think the energy [and] the variety of things that happen there is something I really appreciate. It feels really good to be a part of that.”

Sitting alongside former teammate and studio analyst Steve Valiqutte and sportscaster John Giannone, Lundqvist appears in the MSG Networks studios, located across the street from the arena, for select New York Rangers games. From the onset, he brought his allure and expertise to the set and appealed to viewers – so much so that national networks quickly began to take notice.

“I enjoy watching hockey [and] talking hockey, but the main thing to me is the team; the people that you work with,” Lundqvist said. “The guys on the panel [and the] crew behind. I really enjoy that part of it and having a lot of fun off-camera.”

One month later, Lundqvist was on his first national broadcast for the NHL on TNT where he and Bissonnette famously performed a cover of “Nothing Else Matters” by Metallica that went viral on social media. It had been known that Lundqvist was a musician, famously performing on Late Night with Jimmy Fallon in his Rangers uniform to celebrate the end of the 2012-13 NHL lockout.

In fact, during his retirement ceremony, the Rangers gifted him with a custom-made guitar painted by David Gunnarsson, the same artist who used to paint Lundqvist’s goalie masks.

Aside from occasional music performances, Lundqvist brings an esoteric base of knowledge to the NHL on TNT panel as its only goaltender. Whether it be through player breakdowns, interviews, or dialogue with other analysts, Lundqvist has a perspective to which few professional hockey players can relate. There are various goaltenders among local studio panels surrounding live hockey game broadcasts, and Lundqvist is in a unique situation with MSG Networks in that he and Valiquette are both former goaltenders. Yet on Turner Sports’ national coverage, he is the only voice speaking to this different part of the game.

“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal,” Lundqvist explained. “Yes, you need to stop the puck, but a huge part of being a goalie is analyzing what’s going on. We can never really dictate the play so you need to analyze what’s happening right in front of you.”

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In broadcasting at both the local and national level, Lundqvist is cognizant of the differences in each network’s studio programs. Lundqvist says appearing on the MSG Networks studio panel is more about being direct with the viewer, whereas the NHL on TNT views its panel as being conversational in nature. With Turner Sports, Lundqvist also asks his colleagues about the different teams around the league since he is most familiar with the Rangers both as a former player and studio analyst.

“I’m closer to the Rangers; I see more of what’s going on,” Lundqvist stated. “When you work [national] games, maybe you focus in on teams on the West Coast or [part] of the league you don’t see as often. You try to talk to the other guys on the panel and the crew and figure out things that are interesting about those teams.”

Hockey is a team sport, and Lundqvist felt grateful to play with his teammates and face his competitors over the years. Now as an analyst though, it is his job to analyze their games and critique them when necessary; however, he does not try to be excessively critical.

Lundqvist knows the trials and tribulations associated with the sport and can relate to scenarios many players face on a nightly basis. Therefore, he thinks about his own experience before giving an opinion, especially a critique, instantiating it with comprehensible, recondite knowledge and/or by recounting a similar situation.

“I’d much rather give them positive feedback obviously because I know it is a tough game,” Lundqvist said, “and sometimes it might look like an easy mistake, but if you can give the viewer a better explanation of why he did that, they might have a different view of that mistake.”

Now metaphorically being beyond the goalie mask, Lundqvist’s vision of the game has evidently shifted. He discerns just how intense the schedule is and the rapid pace of the game, axioms he was aware of while playing but inherently avoided thinking about. He has implemented his refined viewpoint of the game accordingly into his analysis, simultaneously utilizing the mindset and savvy he cultivated on the ice. It is, quite simply, a balancing act.

“I think people can be pretty quick to jump on guys and critique them,” Lundqvist said. “That’s where maybe you take an extra look and try to understand why it happened and give those reasons. I think that’s where it helps if you played the game [for] a long time and just love the game [because] you have a pretty good understanding of why guys react a certain way.”

The challenge tacitly embedded in the jobs of most studio analysts – Lundqvist’s included – is in presenting the information to the audience in a manner through which it learns without being confused. It is a delicate craft that takes time and genuine understanding to master, especially related to promulgating hockey analytics as Valiquette does on MSG Networks and within his company, Clear Sight Analytics.

“There’s a lot of educated viewers out there, but there’s also a lot of people that maybe don’t watch as much hockey,” Lundqvist said, “so you want to find that middle ground where you kind of educate both sides.”

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By broadcasting both locally and nationally in addition to working in a specially-designed business operations role, Lundqvist is staying around the rink in his retirement while facilitating the growth of hockey. Despite the profusion of young talent, dynamic action and jaw-dropping plays, viewership of the sport on ESPN and TNT’s linear channels has dropped 22% from last season, according to a report by Sports Business Journal.

For Lundqvist though, he does not feel much has changed from playing regarding his responsibility to advance the reach and appeal of the sport. He played professionally for 20 years, beginning his career in his home country of Sweden, primarily in the Swedish Elite League (SEL). In the 2004-05 season, his final campaign before arriving in New York City, Lundqvist had won the award for most valuable player. Furthermore, he was recognized as the best goalie and best player, leading Frölunda HC to its second Elitserien championship in three seasons.

His NHL debut came five years after he was selected in the seventh round of the 2000 NHL Entry Draft by the New York Rangers but unlike many rookies over the years, he came polished and prepared to embrace the lights of Broadway. Following an injury to starting goaltender Kevin Weekes, Lundqvist was inserted into the starting lineup and, from that moment on, virtually never came out.

By the end of his first year, he had been named to the NHL All-Rookie Team and was a Vezina Trophy finalist for best goaltender. Additionally, he remains the only goaltender to begin his NHL career with seven consecutive 30-plus win seasons.

“I think the league is doing a great job of growing the game,” Lundqvist said. “In the end, it comes down to the product and right now, it’s a great product. I feel really good about, the best way I can, to promote the game [by] talking about it, but… it feels like I’ve been doing that for 20 years.”

One means through which Lundqvist attempts to grow the game is within the studio demos he performs with the NHL on TNT, displaying different facets of the game in a technical manner. The show also embraces the characteristics of their analysts and implements them in lighthearted segments, such as zamboni races, putting competitions, Swedish lessons and, of course, musical performances.

“I’m huge on mindset and the pressure,” Lundqvist said. “I love to talk about that type of stuff and give the viewer a better understanding of what goes through their heads. In terms of personality, I don’t know if I can say [that] I’m a serious guy because I love to have fun and laugh and do fun things.”

Lundqvist thoroughly enjoys what he is doing both locally and nationally, and he ensures he surrounds himself with people he wants to be around. There are plenty of other broadcast opportunities for former hockey players, such as moving into the booth as a color commentator or between the benches as a rinkside reporter. At this moment though, he is more focused on being immersed in his current roles, performing them to the best of his ability while ensuring he allocates time to spend with friends and family.

“I see myself more as an analyst in the studio more than traveling around and being in the rink,” he said. “I think that’s another thing with the schedule; it works really well with my schedule to have one or two commitments with the networks, but then I have other things going on in my life that I commit to.”

Plenty of comparisons can be drawn between playing professional hockey and covering the sport from the studio in terms of preparation and synergy. Yet the end result is not as clearly defined since “winning” in television is quantifiably defined as generating ratings and revenue. Undoubtedly, Lundqvist is focused on doing what he can to bolster hockey’s popularity; however, he also wants to enjoy this new phase of his career being around the game he loves.

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“In sports, you win or you lose,” Lundqvist explained. “With TV, you want to be yourself [and] you want to get your point out – but at the same time, if you do it at the same time you’re having a good time, I feel like that’s good TV.”

Once their careers conclude, many athletes think about pursuing a post-playing career and oftentimes end up taking on a role in sports broadcasting. On MSG Networks alone, there are plenty of former players who take part in studio coverage on live game broadcasts, such as Martin Biron of the Buffalo Sabres, Bryce Salvador of the New Jersey Devils, and Matt Martin of the New York Islanders. At the national level, Turner Sports employs Paul Bissonnette, Anson Carter, and Wayne Gretzky for its studio broadcasts, while ESPN’s top studio crew includes Mark Messier and Chris Chelios.

All of these former professional hockey players had an obligation to regularly speak with media members, answering questions about games and the season at large. Lundqvist maintained a professional relationship with journalists and beat reporters, and he most enjoyed taking questions when the team was doing well. Regardless of what the end result of a game was though, he had a responsibility to divulge his thoughts and, in turn, be subject to criticism and/or negative feedback.

His stellar career and persona all came from emanating a passion for the game – and it continues to manifest itself beyond the television screen. Listening to those passionate about the game discuss it usually engenders euphony and lucidity to viewers, analogous to the sound of the puck hitting the pads or entering the glove. It is a timbre Lundqvist created 27,076 times throughout his NHL career (regular season and playoffs) in preventing goals, and one he now aims to explain en masse.

“The reason why I kept going to the rink and put all the hours in was because I really enjoyed it,” Lundqvist said. “If you decide to go into media or whatever it might be, I think the bottom line is [that] you have to enjoy it and make sure you have good people around you.”

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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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