Connect with us
BSM Summit
blank

BSM Writers

Robbie Hummel Beat Others His Age to the Broadcasting Booth

“I thought about how, in a way, not wanting to play overseas and giving up professional basketball at the age of 28 or 29; I kind of beat people my age to the profession.”

Derek Futterman

Published

on

blank

For most basketball team personnel and fans, the injured list garners a negative connotation because it sidelines athletes, alters routines and threatens the longevity of playing careers, like that of Robbie Hummel.

Sometimes, though, athletes simply get unlucky and suffer injuries because of external factors, some of which are not even related to the game itself. Then when one fully recovers, it can seem like a matter of time before they are penciled in on the injured list and within a state of limbo. Oftentimes, injuries on any given night seem inevitable, and unfortunately for Hummel, he knows this tale all too well.

Throughout his collegiate and professional career, Hummel experienced a deluge of obstacles when it came to staying healthy. As a top recruit out of Valparaiso High School, he matriculated at Purdue University where he studied management and played for the Boilermakers men’s basketball team.

Following a successful freshman season in which he was named a member of the First Team All-Big Ten, Hummel suffered from back spasms and a broken vertebra, limiting his availability and minutes on the court. The next year amid a stretch of 10 straight wins in conference play, Hummel tore his right ACL and in recovery, re-tore it, forcing him to sit out of his senior year and redshirt to play again and prove his worth.

After his redshirt senior year where he stayed relatively healthy and was named the recipient of the Thomas A. Brady Comeback Award, Hummel was drafted 58th overall by the Minnesota Timberwolves in 2012. In that first year though, he played professionally in Spain and endured a right meniscus injury.

Upon his recovery, he took the court with the Timberwolves in 2013, appearing in 98 games over two seasons with the team. In the middle of that second year, his professional career was cut short when he fractured the fourth metacarpal in his right hand and was ruled out indefinitely – but he never gave up on the NBA or the sport of basketball.

As a native of Valparaiso, Indiana, Hummel was often around the hardwood either as a player or a fan. The game was rooted in the area’s culture and a regular part of people’s lives, especially in the wintertime when the weather was not conducive to playing sports outdoors.

Whether it was watching Bryce Drew hit “The Shot” for Valparaiso University, attending high school basketball games in his youth, or following the Chicago Bulls’ dynasty of the 1990s, basketball was the center of Hummel’s world.

“I was a kid that filled out 20 brackets just to see if I could get one that was right,” Hummel said. “….I loved to play and I still love to play. I wish I could move better – now that I’m 33, I don’t move great – but I love the game; I’ve been around it for such a long time.”

Upon enduring the injury as a member of the Timberwolves, Hummel traveled to Syracuse University to participate in Sportscaster U. The program, offered for free to NBA players, was organized by the National Basketball Players’ Association in conjunction with the university’s heralded S.I. Newhouse School of Public Communications and taught by Syracuse Orangemen color commentator Matt Park.

Over the years, some of the camp’s attendees have included Charles Barkley, Shaquille O’Neal and Tobias Harris, all of whom learn from Park and other program contributors in settings meant to replicate the industry.

“It was just a crash course in all things broadcasting,” Hummel said. “….We called a game for TV; we called a game for radio; we did a demonstration at Syracuse’s practice facility like you’d see on a College GameDay-type setting. You got a really good idea of all the things you could possibly do in the media.”

Hummel began the subsequent year playing overseas in Italy with Olimpia Milano with the thought of broadcasting in the back of his mind. It became more prevalent though when he tore the labrum in his shoulder, forcing him to return to the United States to get surgery and undergo rehabilitation for six months.

During this time, Purdue Boilermakers head coach Matt Painter reached out to Hummel and asked if he wanted to help out with the team, offering his home as a place of residence. Hummel agreed to work with the team in West Lafayette, Ind. and continued to work his way back from the injury.

Shortly thereafter, the Big Ten Network called Hummel to inquire about his interest in becoming involved with some of its in-studio coverage of conference tournament games. To reiterate, Hummel had not given up on returning to play in the National Basketball Association but wanted to experiment working in the space and gradually adapted as time went on.

In fact, he proceeded in the 2016 preseason with the Denver Nuggets but was waived before the start of the regular season. As a result, he signed to play internationally in Russia but longed to be home with his family and friends. Making one last attempt at an NBA comeback, Hummel was preparing for a workout with the Milwaukee Bucks but hurt his back the day before, an occurrence he considered a sign that it was time to move on.

Luckily for Hummel, he had accepted the chance to appear on the Big Ten Network and was noticed by a broadcasting agent during the stint. Despite lacking broadcasting experience, the agent was interested in potentially representing him and the two kept in touch regarding future opportunities in the industry.

Once Hummel knew his playing days were over, he and his agent worked on closing a deal for him to join the Big Ten Network and ESPN as a color commentator and studio analyst. He looks at the misfortunes in his career on the bright side, associating his various injuries as steps to his discovery of a career in sports media.

“I thought about how, in a way, not wanting to play overseas and giving up professional basketball at the age of 28 or 29; I kind of beat people my age to the profession,” Hummel said. “A lot of people play until they’re 32-33 years old and I have been doing this for five years now. They’re retiring now and trying to get into this and I kind of beat people my age to it.”

Although Hummel has continued taking the floor as part of FIBA 3×3 World Cup – in which he was named the 2019 USA Basketball Male Athlete of the Year after leading his team to a gold medal finish – broadcasting is his primary focus and means to stay connected to the game. His travel schedule is quite intensive and sometimes involves multiple cities in the span of just a few days in which he broadcasts basketball games on different mediums.

This requires continuous preparation to be sure he is ready for the next broadcast and his process is intensive: it consists of watching 30-40 clips of individual player highlights using Synergy Sports Technology; compiling a spreadsheet with relevant stats and information; and keeping a notebook with information about the previous games he has called.

Yet relying on comprehensive preparation and knowledge of tendencies usually goes out the window by gametime, instead focusing on what is taking place on the floor and reacting to it. When the game takes place, the preparation instead serves the purpose of contextualizing situations and enabling Hummel to more effectively think in the moment.

“I make a sheet – but I only make one just because writing stuff down helps me remember,” Hummel said. “I think that I’ve gotten to a point where I’ve been very comfortable not having to look down. If I put it on the sheet, I look it over before the game and I can draw from that as I’m watching the game. I think [that] has been a process because early on, I’m sure I was looking down a decent amount and you’re missing stuff.”

Just as most color commentators aim to do, Hummel brings a different perspective to the broadcast than his play-by-play announcer thanks to the perspectives afforded to him playing professional basketball. He tries to simplify his deft knowledge of the game, acquired through years of experience at different levels, to make it coherent for the average viewer. He looks at Jay Bilas and Jim Spanarkel for validation in his style in which he simply tells it like it is using familiar vernacular to best serve his audience.

“I think I would be somebody who’s not speaking in cliché,” he said. “I think that I really try to watch what’s happening on the floor, and I think my favorite guys that do this that I listen to have been people who have been very good at making complex basketball plays more simple for the viewer.”

Hummel is not far removed from playing professional basketball when comparing him to other color commentators or studio analysts – but the haste evolution of the sport has engendered him to adapt. The game today is predicated on an increased volume of three-point shooting and a positionless style of play prioritizing defensive matchups. Much like sports media, its rapid transformation coerces flexibility in thinking and versatility in performance.

“I think that going through those situations and understanding how you want to guard these things is really beneficial to then talk about that on air,” Hummel said. “You can see the way that teams are scheming and you can kind of relate [it to] your own experience.”

Throughout his time working in sports media, Hummel has paired with several play-by-play announcers – most regularly Jason Benetti, Brandon Gaudin and Kevin Kugler. In frequently working with the same group of play-by-play announcers (although that has somewhat changed this year), Hummel is able to do his part in fostering synergy, facilitating a more seamless broadcast.

The familiarity with Benetti, for example, kept Hummel from interfering with his call of David Jean-Baptiste’s game-winning three-point shot on Westwood One Radio. The last-second heave, which took place just past halfcourt, defeated the Furman Paladins in the Southern Conference Tournament championship game to send Jean-Baptiste’s team, the Chattanooga Mocs, to the NCAA tournament for the first time since 2016.

“He talked for a minute straight and I’m glad I wasn’t jumping in or interrupting him because he was so good,” Hummel said of Benetti’s call. “Just kind of taking that in and watching those Chattanooga kids get to go to the NCAA tournament; then on the other side of that [to] see Furman – and you hate this part – the devastation on one side [and] the elation on the other.”

The process of cultivating synergy demands time and genuine investment, along with cooperation on both sides in order to effectuate a compelling broadcast product for consumers on a nightly basis. Through activities such as going out to dinner or conversing about topics not related to the job, colleagues are able to learn more about one another and bring a personal element to the broadcast when appropriate.

“I think getting to know your partner is incredibly helpful,” Hummel said. “I’ve been very lucky that I’ve worked with great people. It’s something that I definitely recognize and am thankful for because those guys are great.”

When Hummel is doing games for Westwood One Radio, it is more difficult to find space in which to intersperse his analysis and opinion than it is on the Big Ten Network and ESPN. During one broadcast, it was apparent to him that the Michigan State Wolverines were pushing the pace of play during the NCAA tournament, necessitating the play-by-play announcer to keep up with the game and call the action.

“You feel like you’re maybe stealing a paycheck in the sense that it’s so much more of a play-by-play guy’s game,” Hummel explained regarding broadcasting games on radio, “and it makes sense because the play-by-play guy has to really let the viewer know what’s going on. TV is much more of [an] analyst’s game because you can watch; you can see it with your two eyes [and] the play-by-play guy doesn’t have to say every little thing that’s happening.”

Hummel enjoys calling college basketball games and hopes to continue doing it for a long time, but he would like to pair it with another job down the road: calling NBA games. Last season during an outbreak of COVID-19 within the Chicago Bulls organization, he was asked to step in on a few broadcasts to fill in for radio analyst Bill Wennington. It was representative of a full-circle moment, as Hummel grew up listening to former Bulls announcer Doug Collins and followed the dynasty led by Hall of Fame guard Michael Jordan since the team played just one hour away from his hometown.

Yet it came in an unfavorable circumstance, a scenario Hummel did not wish had occurred, but nonetheless gave him his first chance at broadcasting an NBA game. It was the beginning of an unprecedented stretch in which Hummel worked with a slew of different commentators – including K.C. Johnson on three minutes’ notice for one game in January – and experienced back-to-back game-winning shots by all-star forward DeMar DeRozan.

“To do the Bulls games and get to be back in that setting was terrific,” Hummel said. “….It was a great time [and] I hope I get to do more. I hated the fact that I was doing it because Stacey King and Bill Wennington got COVID; that’s not what you want to have happen to get that opportunity.”

It just so happened that during his stretch on the Bulls broadcasts, another team had experienced a similar outbreak of COVID-19 and needed Hummel to be prepared not to fill in on its broadcast – but to potentially suit up and appear in an NBA game. On Dec. 19, the Bulls were facing the Los Angeles Lakers and Hummel was not sure whether he would be broadcasting or playing in the game. Thankfully, no Lakers players ended up testing positive for the infectious disease and Hummel was behind the mic.

In a similar mold to what Kirk Herbstreit just completed in regularly broadcasting college football with Chris Fowler on ESPN and NFL Thursday Night Football games with Al Michaels on Amazon Prime Video, Hummel has interest in potentially one day taking on a dual role. There are subtle differences between basketball at the college and professional levels, according to Hummel, largely because of the elevated style of play in the latter. It was after filling in on the Bulls’ broadcasts when he recognized the margin between both entities in terms of shot-making and athleticism.

“I love the atmosphere of college basketball and the pageantry,” Hummel said. “I think that playing for your school is such a special, unique thing for these kids and just the atmospheres that we see in college hoops…. To see those things up close is very special but the NBA, from a talent perspective, is just [at] a different level.”

Off the court, a difference between these two levels of basketball is in the responsibilities of the athletes. In college, the athletes are students majoring in different subjects; therefore, they are responsible for attending classes and achieving a satisfactory level of academic performance. In the NBA, the athletes are students of the game of basketball, immersing themselves in the sport although some pursue additional outside business ventures. No matter the level or the circumstance though, there is a quality Hummel believes he must exhibit to earn and maintain the respect of team personnel, fans and colleagues.

“I think fairness is the biggest part,” he said. “[Being] critical and giving a guy his props when those props are due; [and] it’s not personal saying a kid takes a bad shot or makes a bad decision. [It] doesn’t mean he’s a bad player or a bad kid. I think as long as you’re verbalizing that, it’s okay to be critical when that time [comes].”

Hummel has broadcast the first two weeks of the NCAA tournament on Westwood One Radio and would like to one day have a chance to do it on television. If the right situation were to become available in which to coach, he would consider lending his vision and expertise to help a team win in that way as well. No matter what the future holds for him though, he aspires to remain involved in the game of basketball, the sport that continuously knocked him down but, in so doing, gave him a lucky break and fostered a new career.

“This is a career that I want to do for a long time,” Hummel said. “I feel fortunate that I get to do it because it is a privilege to get to watch high-level basketball whether it’s in the Big Ten or other conferences or doing some Bulls games…. I am fortunate in that regard and it is kind of crazy to look back as to how it can be a silver lining.”

For athletes, stepping away from any sport can be a difficult challenge, leading them to want to remain immersed in it. Throughout his time playing basketball, Robbie Hummel had a sense that his future may lie working in sports media since he was always fascinated with who was calling the games in which he played and listening to their commentary.

He also became friendly with Larry Clisby, the play-by-play announcer at Purdue University, and, from him, learned about the industry and the art of broadcasting itself. Without his indefatigable drive to succeed in a new chapter of his life, Hummel may not have made it to where he is today: one of the nation’s top college basketball analysts with an auspicious future ahead.

“I think taking advantage and picking the brain of the play-by-play guy at your college when you’re there [and] talking to guys who are doing games [is important],” Hummel advised former athletes, “and then if anything kind of comes by chance, [it could] maybe be something that you could do. I do look back and [ponder] if I had said ‘No’ to [the] Big Ten Network and said, ‘You know what? I’m just going to focus on helping the team.’ I might not be doing this.”

Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

BSM Writers

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

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

Derek Futterman

Published

on

blank

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

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

blank

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

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

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

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

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

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

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

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

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

blank

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

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

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

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

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

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

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

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

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

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

blank

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

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

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

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

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

Continue Reading

BSM Writers

Should the NBA Nationalize Local TV Rights Like MLS?

The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.

Avatar photo

Published

on

blank

Diamond Sports has been anything but a diamond in the sports world. As subscribers leave cable and satellite for streaming services, companies are dropping RSNs nationwide because they are too expensive to carry. This has caused an impending bankruptcy for the company, which owns the local rights to dozens of sports teams nationwide. It is also putting the NBA, NHL, and MLB at major financial risk. 

In the short term, it is known that teams will still broadcast on their RSNs even if they aren’t getting the paychecks they were promised in previous rights deals. This will affect teams’ ability to pay players and could even create an unfair advantage among the haves of the sports world like the Yankees and Lakers and the have-nots. The NFL doesn’t face the same problems that the other leagues are facing because its rights have been nationalized.

With the NFL’s continued television dominance, college conferences also bundling up games together for more money, and the MLS guaranteeing themselves television revenue after packaging local and national rights together, could we see the other leagues follow suit? It is an option that is much easier said than done but it seems like we are moving closer to it becoming reality. 

The NBA’s upcoming rights negotiations will be this transformational idea’s first testing grounds.

The biggest problem the NBA and other leagues would face are that the local rights to all of its teams don’t expire at the same time. If the league were to sign a deal that included giving all local rights to a streamer, the amount which the league was getting paid would be very unique year after year. It would be crazy for a streamer to pay a huge chunk of money to the NBA all at once if the number of teams they have local rights to changes every year.

It would also be insane to pay an astronomical amount if the streamer is only getting the local rights to small-market teams like the Cavs and the Pistons. A major market team like the Lakers doesn’t renew their local rights until 2032. We’re still in 2023. How does that affect the league’s operating costs? 

The NBA would also have to figure out whether teams whose rights don’t expire yet deserve to be included in the pot of money garnered from selling local rights to a streamer. Whether they are or they aren’t, does it put each team at different competitive advantages and/or disadvantages when trying to acquire free agents or front-office personnel?

One of the most interesting puzzles to figure out is what influence a league owner like Washington’s Ted Leonsis has in this potential measure when all is said and done. Leonsis just acquired complete control of the regional sports network — currently named NBC Sports Washington — that broadcasts Wizards and Capitals games for millions of dollars, although the exact amount remains undisclosed.

What does Leonsis do with his network if his team’s games can no longer air there? Can his team opt out of participating in a potential league offering? Or if the games continue to air on his network but are simulcasted locally on the streamer that wins local rights on a national scale, does the streamer have the ability to pay less money for rights?

If so, does that make the deal as lucrative for the NBA? And what does that mean for retransmission fees that cable companies like Comcast pay to Leonsis and other RSNs they’re still carrying?

The league will face a similar problem with the Lakers, Bulls, Knicks and other franchises that either wholly own or partially own a part of the RSNs where they broadcast their games. 

I don’t have the answers to any of these questions which is why they are written here in this column. Unfortunately for the leagues, they don’t have the answers either. But if the NBA figures out a way to nationalize their product even more and make streaming games more appealing by ending local blackouts, it’ll benefit the game more than it hurts the game. 

NBA, NHL, and MLB games are still some of the highest-rated programs locally in many markets when you look at how they rate vs. other cable and broadcast offerings. But at this point, the ability to charge everyone for a program that only ten percent of subscribers are watching is a losing business proponent.

The leagues should start from scratch and sell a mass package of games for maximum profit. It gives fans a more centralized location to watch their favorite teams and puts the leagues on a much more steady path than where they could be headed sooner rather than later.

Diamond in the rough to sparkling jewel of light? Only time will tell.

Continue Reading

BSM Writers

Do You Have Affirmations Of Gratitude?

“We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right?”

Jeff Caves

Published

on

blank

Having gratitude for your life is all the rage. If you, like me, have trouble starting your day with positive affirmations and maintaining a positive outlook about your job, read on! 

We are told to be grateful for what we have and remember it could be worse. That feels like a really low bar, right? Here is another version. Try a few affirmations of gratitude instead.

“I HAVE A JOB.”

With interest rates rising, inflation increasing, and spending down; corporations are laying people off. PayPal laid off 7% of its entire workforce. Amazon let 18,000 go. Alphabet (Google) said goodbye to 12,000 jobs. Radio sales managers need to hire people like you – experienced sellers with a track record of bringing home the bacon. 

I AM A PROBLEM SOLVER.”

You solve a problem for your company when it comes to revenue. You know people, and you sell advertising better than anything they can come up with…so far. 

Yes, they are trying to replace you, but Zoom Info reports iHeart’s self-serve spot buying service,  AdBuilder, is doing under 5 million in business. You have time to solidify your value. Be happy you are the rainmaker. 

I WORK IN THE PEOPLE BUSINESS.”

Sports talk radio is the ultimate companion to millions of listeners. They aren’t robots, and your stations improve their lives by talking about what they care about 24/7. Celebrate selling access to callers, Twitter followers and FANS who go to games. You also get to work with local celebrities that everybody knows but you know best. We all need a connection to other people and want to be seen and heard. 

“I GET TO CHANGE HOW I FEEL ABOUT MYSELF.”

In this job, you determine your value, feelings about your work, and who you work with. You get to set a strategy and talk to the businesspeople you want to help and do business with. It’s like running your own business with a tremendous support staff. Try to do it independently, and you will appreciate accounting, traffic, production, and sales assistance. Those wins produce deposits in your bank account.  

I HAVE COMPETITION!”

That format competitor across the street does things differently and sometimes better than you or tries to imitate you and looks terrible. They motivate you to beat them to a new account or put a moat around your best clients so they can’t be touched. They keep you sharp and willing to try new things. Good competition schemes to take money from your station, and your management needs you to protect them. And they also provide a place for you to work one day. The FTC wants to eliminate non-competes so you can walk across the street this year.  

Continue Reading
Advertisement

blank

Barrett Media Writers

Copyright © 2023 Barrett Media.