The thrill of victory and the agony of a defeat are two feelings that we, as sports fans, encounter on a regular basis. They’re two totally different emotions, but each one often leads us to the same destination: the radio dial.
Whether it’s immediately after the game on a post-game show or the next day on a station’s local programming, listeners crave the content from hosts, guests and callers that can match the emotion they felt from the game. But what if there was no destination for your favorite team? What if stations in the area paid way more attention to other area teams, putting the team you follow on the back burner?
On Tuesday night, the Tampa Bay Lightning scored an impressive eight goals, en route to an 8-2 win over the New Jersey Devils. The win put the Lightning at 8-2-1 on the season, which gives them the best record in the Atlantic division and second-best in the NHL. The team is rolling and the excitement is high amongst the fan base. But as fans filed out of the sold-out arena and into their cars for the drive home, there probably wasn’t a whole lot of Lightning’s coverage on the local sports radio stations. Why? Well, Jameis Winston and the Buccaneers, the Jaguars, Florida State, Florida and the rest of the SEC are the main topics in the state of Florida during this time of the year. It’s a tough reality, but one that every non-football team in the Sunshine State routinely deals.
Instead of living with that reality and battling for popularity in the state, the Lightning decided to take a proactive step to help build its brand. In October of 2014, Lightning Power Play was debuted. The idea that had been bouncing around the head of Matt Sammon for over a year, was now a reality. If it worked, it could be a trend setter, in terms of how fans enjoy their favorite team’s product. The concept was simple: put game broadcasts, replays, original content and anything else that was centered on the Lightning on a 24/7 hub that fans could enjoy at any time of the day. Like anything else, small problems were encountered at first. But eventually, they were solved and the product continues to see rapid growth.
Located on iHeartRadio, the station can easily be found by searching ‘Lightning Power Play.’ Whether it’s 6 p.m. on a game day or 2 a.m. on an off day, fans are able to stream content for free. The move proves that teams have more options than just terrestrial radio to get their product in front of the fans. With the business moving more and more digitally, Sammon and the Lightning are hoping they’re a step ahead of what’s to come.
The interesting thing, is if more teams in the NHL and other leagues across the country elect to create their own platform. It could change the way sports fans consume their favorite team’s product. Plus, each team would be able to totally control the content that’s put out to the listener.
Though the idea is already a successful one, there are still hurdles to overcome. How to monetize it correctly, getting the word out to more fans about the product and finding more original content ideas, are just a few that are on Sammon’s mind. However, Lightning Power Play has a plan. Sammon shared more on what could be a revolutionary change for the sports radio business.
TM: What was the original idea of Lightning Power Play and where did it come from?
MS: There was a general shift, not only in the industry, but in consumer habits, along the digital spectrum. IPhones and other mobile devices were becoming more plentiful and content for those devices was being produced more. There’s just that general idea of moving things forward and progressing.
Ever since I’ve been in my role, it’s trying to continue to grow our brand and product throughout the digital platform. Even that’s changed over the years. It was just trying to keep up with the times and stay ahead of the curve. Now, the other big reason, was because Tampa Bay is a very big football market.
Even if we have a very good hockey team, it’s a constant battle to get the word out on how the hockey team is doing. There’s a little bit of frustration, it’s, “okay, we need to do more than just a game broadcast,” but we also need to do it in a way so that we can create a landing zone for our fans, because we know that football is always going to be the big story around here, pro, college and high school. For hockey fans, in particular, Lightning fans, we need a destination for them and that’s really kind of became the foundation of what would become Lightning Power Play.
TM: Do listeners have to pay for the service? And where can I find it?
MS: It’s free for anybody and there’s a number of ways you can listen to it. One, is if you have the IHeart Radio app, it’s on that platform. Just search ‘Lightning Power Play’ and it’s right there. We also have a website, LightningPowerPlay.com, which, essentially, directs you to our page on the Lightning’s website. Also, we’re on the Amazon Echo and Google Home. All you do is ask your device to play Lightning Power Play and it immediately comes up. You can get it outside the market, just anywhere where you have an iHeart Radio stream.
TM: Do any other NHL teams have something similar?
MS: Well, to be honest with you, we were heavily inspired by the Pittsburgh Penguins, who no longer have Penguins 24/7. They used to run their station on an HD2 channel but it also streamed online. They took that off about 3 or 4 years ago, I have no idea why. But the late Ray Walker was such a great inspiration, a really good provider and guidance for us when we were just getting our feet wet.
In terms of 24/7 programming, the only team that’s doing it right now is the Washington Capitals. But there’s more and more teams that are opening the digital door by streaming the games online, with the intent to build content around it. The LA Kings, they’re doing that, as well as the New Jersey Devils and New York Islanders. The Philadelphia Flyers also do some limited ancillary programming, digitally.
Now, you’re seeing more teams get into the digital realm, starting with the games, so I think more and more teams are going to start looking it at that way. There could be more streaming of games online, maybe altering how the flagship relationship is with a team. Then, there’s building content around that to create a station or network online, as supposed to over the air.
TM: What were the biggest challenges in the early stages of Lightning Power Play?
MS: I think the biggest issue was just awareness. We’re still learning how to combat that. We’re doing some social media advertising, mostly with Facebook. We’ve found interesting interactions with our ads that have went out. We’re up for doing more things such as interviews like this, doing more in-game promotion on our terrestrial radio broadcasts, by letting people know there’s stuff out there, besides the regular game broadcast. We’ll see if that chips away a little at the lack of information or knowledge about what we do. We’ve seen our numbers go up significantly in the last several months.
The other big challenge, and thankfully we’re not dealing with this anymore, is you have to program 24 hours a day, 7 days a week. On a game day, that’s easy. There’s all sorts of stuff you can do before, during and after. It’s the time in-between that becomes challenging. The good thing, is when we launched this, we knew we were going to be about 80 percent replay and 20 percent of new, live and local content. The issue has turned around the other way. In fact, I’d say were around the 90-10 ratio of original, live, local, exclusive programming and just a little more of the replay content. That’s ultimately what we wanted to do and we have people knocking on our door wanting to get into the programing, anyway possible. If they have a unique idea that can fit into the programming and stand out from everything else we’re airing, we’ll certainly talk and try to make it happen.
TM: On that, how many different talents do you use?
MS: We actually have 12-14 different shows. Outside of the Lightning play-by-play, we air, when we don’t have a conflict of programming, our minor league affiliate hockey teams. When we’ve got room, we’ll incorporate them in.
Then, we have daily programming. We have a new live and local lunchtime show that airs 1-2 p.m. every weekday. We have a show in the early evening that runs from 6-7 p.m. That’s been running for three years now and it’s called Lightning Power Play Live. That runs not only Monday thru Friday, but if we have a game on Saturday or Sunday, it’s preceding our network broadcast. It’s kind of an extended pregame show. We also have, what I call, some primary programming, with a show on Monday called Game Misconduct. That runs 5 or 6 times throughout the day. We have a different show on Tuesday, a new one on Wednesday, we’ve got a whole collection of weekend shows that offer a nice, different view of the sport and just sports in general. It’s a unique juggling act to make everything work but so far we’ve found a way to manage it. Every show we have is different from the other. That’s what makes it so special.
TM: Is there a way to monetize all this? Can you incorporate ads into your content?
MS: Yeah, that’s the 64 thousand dollar question, quite literally, is how do you monetize this? That’s been a slow and steady progress. The best thing about Lightning Power Play and our organization is we knew going in that for the first 1-2 years that our goal was to not make money. We needed establish programming and establish an audience, then we’ll try to bring in some revenue.
So we attack it from a few different ways. One, is when we sell these bigger packages to companies that advertise in other platforms, within the Tampa Bay Lightning, is Lightning Power Play a part of a bigger package. That’s one way to monetize. We also boil it up to a show host hitting the pavement and trying to sell the show, or the station in general, to help bring in revenue. We found some success with that, small success, but it’s still money coming in the door.
Now, we’re looking at an OTT platform called The Identity in our organization. Do we couple The Identity along with some digital operations we’re doing with the University of South Florida? Now, if you have one big digital sales team that goes out to solve this. We’re still working on that but I’ve really been convinced over the past year or so that the tables are going to turn in the next 4-5 years. Instead of digital being a bonus buy for a terrestrial buy, I think you’re going to see more and more agencies and business buying digital first and then getting the AM and FM thrown in for no additional cost. We’re hopefully ahead of the curve on that.
TM: Do you expect to see more NHL teams come around to this idea? Especially ones in similar market situations as you, such as the Stars and Hurricanes?
MS: It’s interesting you bring up the Stars and the Hurricanes, because those teams simulcast their TV broadcast. It’s certainly up to each club what they want to do, but I think with the Kings, Devils and Islanders coming aboard, you’re dealing with new additions from major markets, good ownership groups with deep pockets and strength in numbers. As long as this continues to grow, I think you’re going to get more teams talking to one another and asking how they did it. Some of the hurdles, when we started and other teams started asking, the hurdles for them were money and man power.
Without the proper cash investment and without the proper man power investment, you can’t really pull this off. Now that you’re getting more and more teams finding ways to do it, now I think some of those hurdles get leapt over. I would guess, more and more teams are going to go this way. It’s not a big money maker for the NHL, but for individual teams it’s a new revenue stream for them. I think you’re going to see more and more teams and leagues that are fighting the NFL for popularity, to just fight through it and create a platform for their own and invite their fans to come there. Especially hockey fans, they’re passionate. If you tell them where to come, they’ll go.
Tyler McComas is a columnist for BSM and a sports radio talk show host in Norman, OK where he hosts afternoon drive for SportsTalk 1400. You can find him on Twitter @Tyler_McComas or you can email him at TylerMcComas08@yahoo.com.
Beyond The Mask: Henrik Lundqvist Embraced 2nd Career in Sports Media
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal.”
Plucking the strings of an acoustic guitar, Henrik Lundqvist found himself beneath the bright lights once again, poised to put on a worthy performance. Just as he aimed to stop pucks from going in the net as the star goaltender of the New York Rangers for 15 seasons, Lundqvist sought to captivate viewers as half of a musical duo featuring former NHL forward Paul Bissonnette.
Their performance of “Good Riddance” by Green Day was in tribute to Rick Tocchet, a former NHL on TNT studio analyst who recently departed the network to serve as head coach of the Vancouver Canucks.
Lundqvist serves as a studio analyst for TNT’s coverage of the NHL, breaking down players and teams throughout the broadcast and bringing his own unique style to the set. His pursuit of a post-playing career in sports media was no guarantee from the moment he retired in August 2021; in fact, he never intended to stop playing the game and competing for a Stanley Cup championship at that time.
During the 2019-20 season, Lundqvist had lost playing time to young goaltenders Igor Shesterkin and Alexandar Georgiev, and by the year’s end, his deal was bought out by the team. In an effort to continue playing, Lundqvist signed a contract with the Washington Capitals – marking the first time in his NHL career that he would not step between the pipes for the Rangers.
Lundqvist never played a game for the team though, as it was discovered in a medical exam that he would need open-heart surgery to replace his aortic valve while also having an aortic root and ascending aortic replacement. Less than two months after the successful five-hour operation, he was back on the ice rehabbing and attempting to make a full recovery – but a few months in, he began to feel unexpected chest pain. Following a medical checkup, Lundqvist was told he had inflammation around his heart. It was a significant setback that required him to step off the ice, take off his goaltender equipment and rest for several months.
After discussions with his family and friends, Lundqvist determined that the risk of taking the ice outweighed the rewards and officially stepped away from the game. Rather than conjuring hypothetical scenarios wherein he did not experience the misfortune and played for the Capitals, Lundqvist looked to the future amid the ongoing global pandemic and thought about how he could best enjoy his retirement.
“I was just mentally in a very good place,” Lundqvist said. “I didn’t have a choice; I guess that makes it easier sometimes when the decision is made because you can’t go back-and-forth – ‘Should I?’ ‘Should I not?’ Yeah, I wanted to play but it was just not meant to be for me.”
Before any definitive resolution on his future endeavors was made though, the Rangers announced that the team would retire Lundqvist’s No. 30 in a pregame ceremony during the 2021-22 season, making him just the 11th player bestowed that honor in franchise history. As a five-time NHL All-Star selection, 2011 Vezina Trophy winner, and holder of numerous franchise records, Lundqvist had the accolades to merit this profound distinction.
Moreover, he was an important component in growing the game of hockey and contributing to the greater community, serving as the official spokesperson for the Garden of Dreams Foundation and founder of the Henrik Lundqvist Foundation. He also was a two-time recipient of the organization’s prestigious Steven McDonald Extra Effort Award, honoring the player “who goes above and beyond the call of duty.”
Throughout the night, attendees regaled Lundqvist with chants of “Hen-rik!” and were treated to flashbacks of some of his memorable career moments. The night was of monumental importance for Lundqvist, during which he expressed his gratitude to the Rangers’ organization, former teammates and fans. Then, Lundqvist — referred to as “The King” — promptly took his place among team legends beneath the concave ceiling of “The World’s Most Famous Arena.”
“When I look back at my career, I know, to me, it was all about preparation; how I practiced and how I prepared for each game at practice,” Lundqvist said. “There’s no regrets, and I hope people, when they think about how I played, [know] that it was 100% heart and commitment to the game.”
Before this ceremony though, Lundqvist and Rangers owner James Dolan had held several meetings with one another. The purpose of these conversations was to determine the best way for Lundqvist to remain involved with the team, its fans, and the community. In the end, he was named as a lead studio analyst on MSG Networks’ broadcasts of New York Rangers hockey before the start of the 2021-22 season: the start of his foray in sports media.
This past summer, Lundqvist negotiated a new deal with Madison Square Garden Sports and Madison Square Garden Entertainment in which he maintained his in-studio responsibilities while increasing involvement in other areas of its sports and entertainment ventures. In this new role, Lundqvist supports the business operations for both companies, assisting in digital content development, alumni relations, and partner and sponsor activities.
When Lundqvist is not in the studio or the office, he can often be found at Madison Square Garden taking in New York Rangers hockey, New York Knicks basketball, or one of the arena’s renowned musical performances. Usually, when he is in attendance, he is shown on the arena’s center-hung video board as an “NYC Celebrity” and receives a thunderous ovation from the crowd.
“The network is just part of it, but it feels great to come there,” Lundqvist said of Madison Square Garden. “Every time I go there – to see the people that I’ve known for so long – but also I love that place; I love The Garden. I think the energy [and] the variety of things that happen there is something I really appreciate. It feels really good to be a part of that.”
Sitting alongside former teammate and studio analyst Steve Valiqutte and sportscaster John Giannone, Lundqvist appears in the MSG Networks studios, located across the street from the arena, for select New York Rangers games. From the onset, he brought his allure and expertise to the set and appealed to viewers – so much so that national networks quickly began to take notice.
“I enjoy watching hockey [and] talking hockey, but the main thing to me is the team; the people that you work with,” Lundqvist said. “The guys on the panel [and the] crew behind. I really enjoy that part of it and having a lot of fun off-camera.”
One month later, Lundqvist was on his first national broadcast for the NHL on TNT where he and Bissonnette famously performed a cover of “Nothing Else Matters” by Metallica that went viral on social media. It had been known that Lundqvist was a musician, famously performing on Late Night with Jimmy Fallon in his Rangers uniform to celebrate the end of the 2012-13 NHL lockout.
In fact, during his retirement ceremony, the Rangers gifted him with a custom-made guitar painted by David Gunnarsson, the same artist who used to paint Lundqvist’s goalie masks.
Aside from occasional music performances, Lundqvist brings an esoteric base of knowledge to the NHL on TNT panel as its only goaltender. Whether it be through player breakdowns, interviews, or dialogue with other analysts, Lundqvist has a perspective to which few professional hockey players can relate. There are various goaltenders among local studio panels surrounding live hockey game broadcasts, and Lundqvist is in a unique situation with MSG Networks in that he and Valiquette are both former goaltenders. Yet on Turner Sports’ national coverage, he is the only voice speaking to this different part of the game.
“It’s not a coincidence you see a lot of goalies working [on] panels and analyzing the game because that’s a huge part of playing in goal,” Lundqvist explained. “Yes, you need to stop the puck, but a huge part of being a goalie is analyzing what’s going on. We can never really dictate the play so you need to analyze what’s happening right in front of you.”
In broadcasting at both the local and national level, Lundqvist is cognizant of the differences in each network’s studio programs. Lundqvist says appearing on the MSG Networks studio panel is more about being direct with the viewer, whereas the NHL on TNT views its panel as being conversational in nature. With Turner Sports, Lundqvist also asks his colleagues about the different teams around the league since he is most familiar with the Rangers both as a former player and studio analyst.
“I’m closer to the Rangers; I see more of what’s going on,” Lundqvist stated. “When you work [national] games, maybe you focus in on teams on the West Coast or [part] of the league you don’t see as often. You try to talk to the other guys on the panel and the crew and figure out things that are interesting about those teams.”
Hockey is a team sport, and Lundqvist felt grateful to play with his teammates and face his competitors over the years. Now as an analyst though, it is his job to analyze their games and critique them when necessary; however, he does not try to be excessively critical.
Lundqvist knows the trials and tribulations associated with the sport and can relate to scenarios many players face on a nightly basis. Therefore, he thinks about his own experience before giving an opinion, especially a critique, instantiating it with comprehensible, recondite knowledge and/or by recounting a similar situation.
“I’d much rather give them positive feedback obviously because I know it is a tough game,” Lundqvist said, “and sometimes it might look like an easy mistake, but if you can give the viewer a better explanation of why he did that, they might have a different view of that mistake.”
Now metaphorically being beyond the goalie mask, Lundqvist’s vision of the game has evidently shifted. He discerns just how intense the schedule is and the rapid pace of the game, axioms he was aware of while playing but inherently avoided thinking about. He has implemented his refined viewpoint of the game accordingly into his analysis, simultaneously utilizing the mindset and savvy he cultivated on the ice. It is, quite simply, a balancing act.
“I think people can be pretty quick to jump on guys and critique them,” Lundqvist said. “That’s where maybe you take an extra look and try to understand why it happened and give those reasons. I think that’s where it helps if you played the game [for] a long time and just love the game [because] you have a pretty good understanding of why guys react a certain way.”
The challenge tacitly embedded in the jobs of most studio analysts – Lundqvist’s included – is in presenting the information to the audience in a manner through which it learns without being confused. It is a delicate craft that takes time and genuine understanding to master, especially related to promulgating hockey analytics as Valiquette does on MSG Networks and within his company, Clear Sight Analytics.
“There’s a lot of educated viewers out there, but there’s also a lot of people that maybe don’t watch as much hockey,” Lundqvist said, “so you want to find that middle ground where you kind of educate both sides.”
By broadcasting both locally and nationally in addition to working in a specially-designed business operations role, Lundqvist is staying around the rink in his retirement while facilitating the growth of hockey. Despite the profusion of young talent, dynamic action and jaw-dropping plays, viewership of the sport on ESPN and TNT’s linear channels has dropped 22% from last season, according to a report by Sports Business Journal.
For Lundqvist though, he does not feel much has changed from playing regarding his responsibility to advance the reach and appeal of the sport. He played professionally for 20 years, beginning his career in his home country of Sweden, primarily in the Swedish Elite League (SEL). In the 2004-05 season, his final campaign before arriving in New York City, Lundqvist had won the award for most valuable player. Furthermore, he was recognized as the best goalie and best player, leading Frölunda HC to its second Elitserien championship in three seasons.
His NHL debut came five years after he was selected in the seventh round of the 2000 NHL Entry Draft by the New York Rangers but unlike many rookies over the years, he came polished and prepared to embrace the lights of Broadway. Following an injury to starting goaltender Kevin Weekes, Lundqvist was inserted into the starting lineup and, from that moment on, virtually never came out.
By the end of his first year, he had been named to the NHL All-Rookie Team and was a Vezina Trophy finalist for best goaltender. Additionally, he remains the only goaltender to begin his NHL career with seven consecutive 30-plus win seasons.
“I think the league is doing a great job of growing the game,” Lundqvist said. “In the end, it comes down to the product and right now, it’s a great product. I feel really good about, the best way I can, to promote the game [by] talking about it, but… it feels like I’ve been doing that for 20 years.”
One means through which Lundqvist attempts to grow the game is within the studio demos he performs with the NHL on TNT, displaying different facets of the game in a technical manner. The show also embraces the characteristics of their analysts and implements them in lighthearted segments, such as zamboni races, putting competitions, Swedish lessons and, of course, musical performances.
“I’m huge on mindset and the pressure,” Lundqvist said. “I love to talk about that type of stuff and give the viewer a better understanding of what goes through their heads. In terms of personality, I don’t know if I can say [that] I’m a serious guy because I love to have fun and laugh and do fun things.”
Lundqvist thoroughly enjoys what he is doing both locally and nationally, and he ensures he surrounds himself with people he wants to be around. There are plenty of other broadcast opportunities for former hockey players, such as moving into the booth as a color commentator or between the benches as a rinkside reporter. At this moment though, he is more focused on being immersed in his current roles, performing them to the best of his ability while ensuring he allocates time to spend with friends and family.
“I see myself more as an analyst in the studio more than traveling around and being in the rink,” he said. “I think that’s another thing with the schedule; it works really well with my schedule to have one or two commitments with the networks, but then I have other things going on in my life that I commit to.”
Plenty of comparisons can be drawn between playing professional hockey and covering the sport from the studio in terms of preparation and synergy. Yet the end result is not as clearly defined since “winning” in television is quantifiably defined as generating ratings and revenue. Undoubtedly, Lundqvist is focused on doing what he can to bolster hockey’s popularity; however, he also wants to enjoy this new phase of his career being around the game he loves.
“In sports, you win or you lose,” Lundqvist explained. “With TV, you want to be yourself [and] you want to get your point out – but at the same time, if you do it at the same time you’re having a good time, I feel like that’s good TV.”
Once their careers conclude, many athletes think about pursuing a post-playing career and oftentimes end up taking on a role in sports broadcasting. On MSG Networks alone, there are plenty of former players who take part in studio coverage on live game broadcasts, such as Martin Biron of the Buffalo Sabres, Bryce Salvador of the New Jersey Devils, and Matt Martin of the New York Islanders. At the national level, Turner Sports employs Paul Bissonnette, Anson Carter, and Wayne Gretzky for its studio broadcasts, while ESPN’s top studio crew includes Mark Messier and Chris Chelios.
All of these former professional hockey players had an obligation to regularly speak with media members, answering questions about games and the season at large. Lundqvist maintained a professional relationship with journalists and beat reporters, and he most enjoyed taking questions when the team was doing well. Regardless of what the end result of a game was though, he had a responsibility to divulge his thoughts and, in turn, be subject to criticism and/or negative feedback.
His stellar career and persona all came from emanating a passion for the game – and it continues to manifest itself beyond the television screen. Listening to those passionate about the game discuss it usually engenders euphony and lucidity to viewers, analogous to the sound of the puck hitting the pads or entering the glove. It is a timbre Lundqvist created 27,076 times throughout his NHL career (regular season and playoffs) in preventing goals, and one he now aims to explain en masse.
“The reason why I kept going to the rink and put all the hours in was because I really enjoyed it,” Lundqvist said. “If you decide to go into media or whatever it might be, I think the bottom line is [that] you have to enjoy it and make sure you have good people around you.”
Derek Futterman is a features reporter for Barrett Sports Media. In addition, he serves as the production manager for the New York Islanders Radio Network and lead sports producer at NY2C. He has also worked on live game broadcasts for the Long Island Nets and New York Riptide. He previously interned for Paramount within Showtime Networks and wrote for The Long Island Herald. To get in touch, find him on Twitter @derekfutterman.
Should the NBA Nationalize Local TV Rights Like MLS?
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
Diamond Sports has been anything but a diamond in the sports world. As subscribers leave cable and satellite for streaming services, companies are dropping RSNs nationwide because they are too expensive to carry. This has caused an impending bankruptcy for the company, which owns the local rights to dozens of sports teams nationwide. It is also putting the NBA, NHL, and MLB at major financial risk.
In the short term, it is known that teams will still broadcast on their RSNs even if they aren’t getting the paychecks they were promised in previous rights deals. This will affect teams’ ability to pay players and could even create an unfair advantage among the haves of the sports world like the Yankees and Lakers and the have-nots. The NFL doesn’t face the same problems that the other leagues are facing because its rights have been nationalized.
With the NFL’s continued television dominance, college conferences also bundling up games together for more money, and the MLS guaranteeing themselves television revenue after packaging local and national rights together, could we see the other leagues follow suit? It is an option that is much easier said than done but it seems like we are moving closer to it becoming reality.
The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.
The biggest problem the NBA and other leagues would face are that the local rights to all of its teams don’t expire at the same time. If the league were to sign a deal that included giving all local rights to a streamer, the amount which the league was getting paid would be very unique year after year. It would be crazy for a streamer to pay a huge chunk of money to the NBA all at once if the number of teams they have local rights to changes every year.
It would also be insane to pay an astronomical amount if the streamer is only getting the local rights to small-market teams like the Cavs and the Pistons. A major market team like the Lakers doesn’t renew their local rights until 2032. We’re still in 2023. How does that affect the league’s operating costs?
The NBA would also have to figure out whether teams whose rights don’t expire yet deserve to be included in the pot of money garnered from selling local rights to a streamer. Whether they are or they aren’t, does it put each team at different competitive advantages and/or disadvantages when trying to acquire free agents or front-office personnel?
One of the most interesting puzzles to figure out is what influence a league owner like Washington’s Ted Leonsis has in this potential measure when all is said and done. Leonsis just acquired complete control of the regional sports network — currently named NBC Sports Washington — that broadcasts Wizards and Capitals games for millions of dollars, although the exact amount remains undisclosed.
What does Leonsis do with his network if his team’s games can no longer air there? Can his team opt out of participating in a potential league offering? Or if the games continue to air on his network but are simulcasted locally on the streamer that wins local rights on a national scale, does the streamer have the ability to pay less money for rights?
If so, does that make the deal as lucrative for the NBA? And what does that mean for retransmission fees that cable companies like Comcast pay to Leonsis and other RSNs they’re still carrying?
The league will face a similar problem with the Lakers, Bulls, Knicks and other franchises that either wholly own or partially own a part of the RSNs where they broadcast their games.
I don’t have the answers to any of these questions which is why they are written here in this column. Unfortunately for the leagues, they don’t have the answers either. But if the NBA figures out a way to nationalize their product even more and make streaming games more appealing by ending local blackouts, it’ll benefit the game more than it hurts the game.
NBA, NHL, and MLB games are still some of the highest-rated programs locally in many markets when you look at how they rate vs. other cable and broadcast offerings. But at this point, the ability to charge everyone for a program that only ten percent of subscribers are watching is a losing business proponent.
The leagues should start from scratch and sell a mass package of games for maximum profit. It gives fans a more centralized location to watch their favorite teams and puts the leagues on a much more steady path than where they could be headed sooner rather than later.
Diamond in the rough to sparkling jewel of light? Only time will tell.
Jessie Karangu is a columnist for BSM and graduate of the University of Maryland with a bachelor’s degree in journalism. He was born and raised in Baltimore, Maryland but comes from Kenyan roots. Jessie has had a passion for sports media and the world of television since he was a child. His career has included stints with USA Today, Tegna, Sinclair Broadcast Group and Sightline Media. He can be found on Twitter @JMKTVShow.
Do You Have Affirmations Of Gratitude?
“We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right?”
Having gratitude for your life is all the rage. If you, like me, have trouble starting your day with positive affirmations and maintaining a positive outlook about your job, read on!
We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right? Here is another version. Try a few affirmations of gratitude instead.
“I HAVE A JOB.”
With interest rates rising, inflation increasing, and spending down; corporations are laying people off. PayPal laid off 7% of its entire workforce. Amazon let 18,000 go. Alphabet (Google) said goodbye to 12,000 jobs. Radio sales managers need to hire people like you – experienced sellers with a track record of bringing home the bacon.
“I AM A PROBLEM SOLVER.”
You solve a problem for your company when it comes to revenue. You know people, and you sell advertising better than anything they can come up with…so far.
Yes, they are trying to replace you, but Zoom Info reports iHeart’s self-serve spot buying service, AdBuilder, is doing under 5 million in business. You have time to solidify your value. Be happy you are the rainmaker.
“I WORK IN THE PEOPLE BUSINESS.”
Sports talk radio is the ultimate companion to millions of listeners. They aren’t robots, and your stations improve their lives by talking about what they care about 24/7. Celebrate selling access to callers, Twitter followers and FANS who go to games. You also get to work with local celebrities that everybody knows but you know best. We all need a connection to other people and want to be seen and heard.
“I GET TO CHANGE HOW I FEEL ABOUT MYSELF.”
In this job, you determine your value, feelings about your work, and who you work with. You get to set a strategy and talk to the businesspeople you want to help and do business with. It’s like running your own business with a tremendous support staff. Try to do it independently, and you will appreciate accounting, traffic, production, and sales assistance. Those wins produce deposits in your bank account.
“I HAVE COMPETITION!”
That format competitor across the street does things differently and sometimes better than you or tries to imitate you and looks terrible. They motivate you to beat them to a new account or put a moat around your best clients so they can’t be touched. They keep you sharp and willing to try new things. Good competition schemes to take money from your station, and your management needs you to protect them. And they also provide a place for you to work one day. The FTC wants to eliminate non-competes so you can walk across the street this year.
Jeff Caves is a sales columnist for BSM working in radio, digital, hyper-local magazine, and sports sponsorship sales in DFW. He is credited with helping launch, build, and develop SPORTS RADIO The Ticket in Boise, Idaho, into the market’s top sports radio station. During his 26 year stay at KTIK, Caves hosted drive time, programmed the station, and excelled as a top seller. You can reach him by email at firstname.lastname@example.org or find him on Twitter @jeffcaves.