In professional wrestling, if you're unable to provoke an audience with a microphone to a strong reaction in one direction or another, your shelf life is generally unmercifully brief, regardless of your ability in the ring.
Interestingly, it's not enough to be the best at what you do if you can't sell us on why we should care.
Conversely, any wrestler whose narrative finds a great deal of traction with an audience can be a miserably hopeless wrestler and still sell ungodly amounts of tickets and merchandise (Jake "The Snake" Roberts and Hulk Hogan for example) and have a seemingly-endless career recycling the same canned stuff.
The same rules apply––albeit without a team of writers assisting the performer––in boxing. We have to care about your narrative or no matter how good you are, we might not care all that much to bother spending any money to tune in.
This is why it's always especially interesting to me why fighters like Roy Jones Jr. had the raw, unbridled charisma of a stepping-stool despite arguably being the most talented fighter in the history of the sport.
It's no wonder he went broke.
What were his big paydays that come to mind despite sustained excellence for a lengthy career? His marketability would've been improved immeasurably if he'd never spoken a word into a microphone. Roy Jones Jr. speaking into a microphone makes Tiger Woods seem like a high-end phone sex operator.
My point with all this stuff is just to illustrate how important a soundbite can be––funny, insane, offensive, vulgar, disastrous, confrontational––even with a post-fight interview in framing a career for the public.
The ten I've lined-up are mostly ones that make me laugh. But others do make me think about the boxer himself as he comes up with a construct of who he wants to be to the public. Or, who he doesn't want to be.
Add to that that he's just finished fighting for his life in front of a huge crowd eager for the catharsis of blood, unconsciousness or something they've never seen before. It's a very unnatural, surreal setting in which to frame anything with a microphone shoved in your face.