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Sarah Kustok Rumors

It is the culmination of a long journey for Grady, who spent his younger days grinding up the ladder, from radio show producer to Pacers in-arena host and, eventually, a job with a television station in Indy that he parlayed into a coveted spot with the Nets’ broadcast crew. Grady would call 10-12 games per season for the Nets while filling in for Ian Eagle, one of the most respected voices in the game. The way he cultivated relationships with the coaches and players and how he prepared for broadcasts resonated with color analyst Sarah Kustok, who held Grady’s job as sideline reporter before he came aboard. “There are few professionals that compare to Michael Grady in his versatility, in his work ethic, in how much he pours his heart and soul into his craft,” Kustok said.
The two franchises were in a fight for another quasi-free agent, The Post has learned. YES analyst Sarah Kustok. The Clippers attempted to sign the fast-rising Kustok to be their new TV analyst, even making her an offer. Kustok was, in essence, a restricted free agent, as she still had one more year on her deal. YES was in their rights to not even let her talk to Los Angeles.
One opportunity led to another—there was also a one-year hiatus in which she served as an assistant coach for the DePaul women’s basketball team—and soon she was on CSN Chicago. Then she was on New York’s YES Network, where she quickly developed a reputation as one of the NBA’s top sidelines reporters. “When you would listen to her doing the sideline reports and you hear her reports, they were different than a lot of sideline reports,” ESPN broadcaster Mike Breen says. “They were often X’s and O’s based. They were about basketball.”
Kustok spent four years playing basketball for DePaul and then enrolled in the school’s Corporate Multicultural Communication Master’s program because she wasn’t sure what to do next. Someone in the athletics department suggested broadcasting, and she was introduced to a producer from ESPN and began filling her resume with the sort of odd jobs that low-level employees in the TV business grow accustomed to: making coffee; buying groceries for the crew; driving around talent, such as Musburger, for the Big Ten Network—all for about $75 for an eight-hour shift.