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Q&A with John Mamola

Brian Noe

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Never confuse a person that has fun with someone who doesn’t work hard. The ’85 Bears made the infamous “Super Bowl Shuffle,” but no one ever accused Walter Payton and Mike Singletary of being slackers. Head coach Mike Ditka could be seen roller skating through the hallways of Halas Hall. However, it wasn’t exactly hard for Iron Mike to flip a switch and become incredibly intense.

It’s the same concept with John Mamola. Just like the childhood team he grew up rooting for, John knows when to have fun and when to get serious. It’s easy to tell that he has a great blend. “The Rock” can easily go from constructing a funny bit, to giving a professional critique and conducting a conference call. Hosts aren’t the only ones who succeed by being versatile. PD’s flourish too.

I don’t know if Jenna Jameson or the Kielbasa Queen had a bigger impact on John’s pursuit of a sports radio career, but the movie Private Parts played a big role in his journey. As the program director at WDAE in Tampa, it’s ironic that he has the same gig as Paul Giamatti’s character Pig Vomit — John’s creativity and charisma more closely resembles Howard Stern’s. Read below and find out yourself.

Brian Noe: How did you get the nickname John “The Rock” Mamola?

John Mamola: (laughs) Well, in high school I fell for a girl and it was my best friend’s girlfriend. We got into a little bit of a fistfight. I kept getting up and a guy said, “Man, he keeps getting up like a rock.” That’s just how it stuck. I have a Midwest work ethic. I work all morning, all afternoon, all night, and continue to grind on the weekends. It just kind of stuck and it just morphed itself into a personality in Chicago where that’s what I’m known as up there. Down here I’m known as John, but it’s inked on my arms and it’ll live with me forever.

Noe: So you have “The Rock” on your arms?

John: I do. I have my nickname on my right forearm and my last name on my left forearm.

Noe: That’s awesome, man. And is that your wife right now?

John: Ahh, no. No. The girl lasted about four months.

Noe: Oh, gosh. (laughs) But the nickname has stuck forever, huh?

John: The nickname has stuck for, God, how many years has it been? It’s 19 years. The nickname has stuck for 19 years.

Noe: So your early days in Chicago — is that where you initially broke into the sports talk business?

John: Yeah, I went to the Illinois Center for Broadcasting originally. I lived in Fort Worth, Texas for about 12 years. Went to high school down there and I was taking some junior college courses for Pre-Pharm. I wanted to be a pharmacist. I worked in pharmacy for about 3-4 years and I got that bug. I figured, “Okay, well, becoming a pharmacist out of school you’re making probably around $120-$130K a year. That seems like a pretty good living. I think I can do that.”

I started taking some junior college courses and working on the basics. Long story short we had a death in the family back in Chicago. My mom was needed to run the family business so we decided to ship everything back up to Chicago. Then, at that moment when you find out that your credits don’t transfer, especially after you move — it’s like, “Okay, well I have 62 credit hours and none of them transfer up here and I’m not in a place where I’m ready to live on my own yet, so I have to find something else.

The backstory is literally I watched Private Parts late at night. Got pretty hammered, looked up broadcasting schools on the internet just for the fun of it. I emailed a guy and literally got a response at like four in the morning that very night. He said come on in for a tour in the morning and I’ll show you around. You’ve had probably that same moment that we’ve all had — you walk into that radio studio for that first time and there’s something that seems very right about that. You don’t necessarily know what it is, but when you walk in that room and you see that board and you see the mic and all the equipment that goes with it, and you sit down in that chair, it’s like, “There’s something about this that feels right. So I’m going to go down that road in investigating a little bit.”

The basis of the curriculum up there was you have to get an internship about two and a half months into the 10-month course. I applied at about six different radio stations in Chicago. The Score was the only one I got an interview at. Matt Fishman, who writes for the [BSM] website as well, was the sports director at the time. I interviewed with him and got an internship and the rest is history.

I went from intern to part-time producer. I worked as a weekend producer, and then moved up to full-time producer in morning drive — that was my first full-time job in the market. It turned into a bunch of different opportunities at many of the CBS now Entercom brands in Chicago working with the Bears Radio Network. Then, it turned into hosting, co-hosting, etc. I spent about eight and a half years in the Chicago market.

Noe: I know that you worked with Mike North going back to your WSCR days. What was your favorite bit that North did while you were there working with him?

John: (laughs) We did a lot of bits because the crux of the show was we were going to be Imus for Chicago and it was something that at the time The Score had never done before — we were kind of straying away from an all-sports program. Especially in morning drive that can be a little risky, but that’s what Mike wanted to do. The execs at CBS at the time allowed him to do that. We tried to be a little edgy.

We had a three-man room between him, Fred Huebner, and Anne Maxfield. We brought in Steve Buckman — he used to work at WGN and we brought in Jen Patterson who was a waitress at Gibsons Steakhouse that went to I think Columbia. She wanted to get into media in some sort of fashion. I was just kind of there because I produced the Murph & Fred Show before that. I was the lone guy seeing over, outside of Fred Huebner.

We came up with some really risqué stuff. We had the Fred Huebner hip-hop moment of the day, which was basically — we imaged it (me and Russ Mitera) — because Fred hates hip hop and rap. I got him the dirtiest rap lyrics you can find and we read them like prose — like if you’re in a Def Jam Comedy kind of thing. We had the snaps in the background and the golf claps and the cheesy bass going on in the background. That was fuckin’ hilarious and actually got a lot of play for us.

We had the Bookie Priest, which I think Mike still does that on YouTube. That was a trip in itself coming up with that each and every morning at five in the morning. Here comes in Mike North and he’s going to sing basically his picks for the day.

We did a lot of risky kind of stuff, but it was fun. The one thing I’ll say about my time in Chicago — we had the freedom to be creative with whatever we wanted to do and have the backing of management in about 95 percent of the cases. That allowed the show to grow within itself and also extended into Mully & Hanley who have been dominating Chicago now for a while. Also for me personally, the fact that they trusted my vision within certain limits and gave me that flexibility to do what I wanted to do as long as it fit the show model then, “Yeah, let’s do it.” That’s the one thing that I took a lot of umbrage in is that they allowed me that window. It’s led me to some really, really great and memorable things. Now in my current role I’m trying to pay it forward. I’m trying to give my guys that same kind of door as long as obviously within the window of making sense.

If I had to list a couple, definitely the hip hop moments were my favorite because it’s funny watching Fred Huebner read hip hop lyrics that are just dirty as all sin. At the same time, the Bookie Priest was fun too. We had a lot of fun times on that show.

Noe: If you think about those days that you’re describing and the current climate of sports talk radio — do you think that it’s gotten a little less fun and more serious — maybe too serious?

John: I think it depends on the talent. The one thing I always respected about working for Mitch Rosen is he gave you tons of feedback. In my current role I try to do that for each and every one of my shows as much as I can, but there are just so many more duties now that are being put on the program director position in radio that it’s really, really hard to keep a keen ear on things. I always found it — when Mitch had great responses or even critiques to the stuff we were doing, that’s what made it more fun because we knew that the boss was paying attention. So, what more can we do to where he comes in the office and says, “Yeah, man, that’s awesome.” It was almost like motivation. Ya know?

Now look, you also need talent and producers and production staffs to work together and work on what is the image that we want to cast on what our show is. Too often I think people get stuck in this mentality as far as talent is concerned, where they got to be the Stephen A. Smith. Or they got to be the guy on Around the Horn. Or they got to be the Francesa type that basically everything is super serious and super sports geared.

Look at a station like KFAN up in Minneapolis. Their morning show is a good 50-50 split on sports and just other general stuff, but there are also characters, there are parodies, there are game shows. I mean that’s what works. What they’re doing with KFAN in Minneapolis is amazing, but it fits that market. I don’t know if you can do that in New York. I don’t know if you can do that honestly in Chicago. You could probably do something like that down here. Some of the more successful shows here are the ones that laugh a lot. It’s trying to find those avenues to have a little fun and kind of break away from sports a little bit, but it has to fit your market and it has to fit what the listeners are demanding of you. That’s where a very involved program director will help facilitate that and guide you on the right path.

Noe: How much of that have you done in Tampa in terms of coming up with bits and trying to encourage them from your hosts?

John: We have daily meetings with the morning show. I want them to be creative and try new things. I’ll give them feedback on things as soon as I hear it, believe me, you’re going to get an email, or text message, or in-person feedback thing to let them know. If it’s not right away, it’ll definitely be sent that night. I’m very involved when it comes to coming up with ideas and bits.

I have some very, very creative production staff members that are producers and co-hosts now. We have a lot of great ideas flowing all at the same time. Some are great, some are awful, but the fact that we’re trying to come up with new and fresh ideas to create unique opportunities for programming and on-air, that’s what you should be doing on a day-to-day basis because that’s what your audience is demanding.

Noe: What was it like when you initially moved from Chicago to Tampa and got away from your comfort zone?

John: Tampa’s very different. The people are extremely kind. When it comes to the area, it’s like living in Suburbia all over the place. I tried public transportation for a day and it took three and a half hours to get from where I lived to work when it used to take 45 on the brown line. It’s a culture shock because you’re going from a really busy, robust city of different cultures and diehard sports fans that have been there for 50, 100 years, and you’re coming to a market where the Rays are celebrating their 20th anniversary this year. The Lightning just celebrated I believe their 25th anniversary.

It’s a football state. It’s a college state. In Chicago, if DePaul was in the tournament maybe you talked about DePaul. Northwestern never really brought anything to the table at the time when I was there so we never embraced college outside of finding the local Michigan bar and going there on Saturday. Here though it’s religion. Gators, Noles, Miami, USF, UCF now with their recent success. It’s SEC country down here so I’m not used to that. It’s a little weird.

The weather — there’s no change in seasons, so it kind of bothers me that I have to wear shorts in December. I know a lot of people would say, “Oh, that’s paradise,” well yeah but I kind of like to dig in the snow in the slush a little bit once in a while. Not every day but it’d be nice to have a little snow on the ground during the holidays and it makes it easier for a cup of coffee and that kind of thing.

It’s a smaller market with a lot of great properties. It has very different fan bases because this is where a lot of people retire. There’s a lot of New York, Boston, Philly and the Midwest. You don’t have that hundreds of years of passion and attachment to the franchises that I had back home.

Look, I’m still a White Sox fan. I’m still a Blackhawks fan. Bulls, Bears, love ‘em. I have firsthand knowledge of moving here and it’s difficult to try to grasp onto the teams because all of your life you grew up knowing one thing. When that becomes the town you obviously want to go see that one thing because that’s what you grew up with. I can understand how it’s tough for some people to unplug.

But I’ll say this — all three of the pro franchises here have done a great job of welcoming in newcomers, and marketing themselves in a way that says, “Hey, give us a chance when it’s not your team playing here.” The Lightning sell out every single night. The Rays have a lot of attendance struggles but their TV and radio ratings are pretty good. Buccaneers, that’s the staple here. When it’s football season it’s all about the Bucs.

It’s a bit of culture shock, but you adjust and do the best job you can with the new staff you have, the new duties you have, and you just kind of go from there.

Noe: How exactly did you get to Tampa in the first place?

John: It got to a point in Chicago where I was working about six jobs all at the same time between The Score and a couple other Entercom properties. I was also doing stuff for the Chicago Tribune — they had this blog website called ChicagoNow.com, and I had just gotten married and became a new father. There was a lot on the plate. It reached a point where I walked into Mitch’s office one day and said, “Hey, man, I just kind of need to know where’s my future at here?”

The one thing I give Mitch Rosen a lot of credit for — and there will be many, many other people if you ever ask about Mitch Rosen that have worked or work for him, they will say the exact same thing that I’m about to say — that guy will tell you point blank exactly what he thinks and he will help you get somewhere else if you want to go somewhere else. And that’s exactly what he did. We sat down in the office and he told me, “Look, you’re doing a great job, but unfortunately right now there’s just no possible way to crack the daily lineup.” So I asked him, “Well in that case if I were to find something, could you assist in that process?” He didn’t hesitate. He said, “Absolutely. You’ve worked very hard for me. I’ll do my very best to help you build your future here in this business.”

I found a job posting at that time, I think on STAA. It was the APD job at DAE. I applied. Steve Versnick was the program director at the time for DAE as well as WFLA and WHNZ. I had a great interview process. It took about four and a half months to finally land the gig, and we moved here in April of 2011. That’s how I got to Tampa.

I always wanted to have a programming background because I felt that I understood radio and how to create good content. Being a host, sometimes you don’t listen to and critique yourself, but as a programmer you’re listening to other elements and everything that surrounds it and you’re expected to be able to critique it, mold it and turn it into something successful. That’s what I really enjoy.

Noe: What do you think might differentiate between your ear as a programmer and a host’s ear when it comes to their own show?

John: They’re always right. (laughs) Whatever they say, they’re always right. Different talent work differently. Not every piece of advice or critique that you give as a PD is going to be heard. For me it’s always been to focus on what they’re doing well and make it great. Then focus on something that they’re maybe like 50 percent good at, and make it 75. It doesn’t have to be 100 percent. It doesn’t have to be great. It just needs to be better than the last time you listened. That’s the way I’ve always gone about it.

It takes a great talent that’s receptive to criticism or critiques to be worthy of getting those critiques. If you’re going to be a talent and you think that everything you do is gold even though you’ve never listened back to your show, that’s where you’re going to run into problems. More people consume our product differently now. If it’s a tune out immediately, more often than not those people are going to go somewhere else. There are so many different options for an audience to get the content they’re looking for.

Noe: What aspect of being a program director is the most fun and the most rewarding?

John: The most fun aspect of my job is when I can stop at a gas station or go to a ball game or a sports bar, and you’re sitting there and you just overhear people talking about stuff on the station. That’s the most rewarding part because it means I’m doing my job. I never go out and introduce myself as, “Hey, I’m John Mamola from 620 WDAE” or iHeartMedia or anything like that. I’m a normal person outside of the office just like anyone else, but if I’m by Ferg’s down by the Trop and they’re talking about what Ronnie and TKras said that morning — it happens a lot more often than you think — that’s fulfilling because it means the station and our hosts are stirring the conversation that gets people talking.

I love going to Rays Fan Fest and seeing all the listeners come out and shake hands with all the talent. I love how our talent has been — especially in the past couple of years — more visible. We do suite nights with Ronnie and TKras where they go out to a Rays game and take a bunch of listeners out. We stay in a suite and we watch a ball game together. We do the same thing at Amalie Arena when there’s a Lightning game. We’re just much more focused on reaching out and making those bonds and getting stronger with face-to-face interaction with the listening base.

Jay Recher, who’s one of our producers, is now a fill in co-host on 12 to 3. He does a lot of stuff on high school baseball getting local communities involved with him. Putting local baseball content on our website and getting coaches on. At the University of Tampa, the Saladino Tournament is really big out here. Doing coverage of that just tying yourself to the community a little bit. That’s rewarding. The charity golf tournaments we do and all those kind of things. They’re all rewarding.

It’s a grind of a job as you well know talking to other PD’s around the country, but there are moments where you can just sit back and smile and say, “Yeah, we’re doing the right thing and we’re doing a really, really good job.” That’s when I’m smiling probably the most.

Noe: You mentioned the grind of the gig — what is your biggest challenge?

John: I don’t have enough time in the day. I wish I had more time to sit down and listen and have immediate critiques. Right now I’ll wake up at 5:30 in the morning. Take the kids to school. Listen for an hour on the way in. Then it’s the usual day-to-day stuff for a PD — meet with the sales staff, meet with the promotion staff. There are other daily meetings and conference calls you have to do to. A lot of web elements, social stuff. Then you’re done at four and you try to catch some of the afternoon show, but then the phone rings and you’re on a family call, and pick up the kids from daycare.

I just wish I had a little more time in the day. It’s all in how you delegate too. I’m a very hands-on person. I like having my feet in the mud and digging in with my teams. We all do too much already so I’d hate to put some of my stuff that I can take of on their plate. I don’t mind delegating, but I also know they don’t have as much time for it.

We work as a very well-oiled machine in this building between the production staff and the talent where everybody knows their role and what they have to do. Everybody picks up for each other when one’s out. It’s just the time element. I wish we had more time to sit down and intensively listen to what we’re doing as opposed to catching it on a podcast or something like that.

Noe: 5-10 years from now, what type of scenario do you think would make you the most happy when it comes to work? What does that situation look like?

John: I think radio in general is going to look dramatically different in the next 5-10 years. I guess it depends on how we evolve and manage the change that’s going to judge how successful we are with it. I love working for iHeart because I think iHeart is by far and away the most forward-thinking company in radio. Between the app and all of the tremendous things that you can do with it. I think smart speakers are going to be a huge, huge thing for radio and lead to more on-demand listening tools for people to consume content.

For me personally, I would love to be at DAE or at a station — because you never know in this business — but I would love to be at a station that has adapted to the change where they’re the most successful at it in the country. I’m not just talking locally because I think it’s going to get to a point where people can be in their car — and a perfect example is Tampa — I think it’s going to be a real challenge for a lot of people that move to listen to local content because the accessibility of the content from their home or on demand is going to be so much easier when you get 5-10 years down the road. It’s going to be really interesting to see how success is judged when it comes to radio.

That’s what I’m excited about. I think we’re at a turning point where audio has never been bigger between terrestrial radio, satellite radio, podcasts, the on-demand audio on all the iHeart channels is just an example. I think we’re at an interesting point in the history of this business where we’re going to see some real quick and rapid change. I’m interested to see how it plays out.

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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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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