A lot of people would kill to be Debbie Kenyon. There aren’t a lot of stations in America that have a reliable performance that is as strong as 97.1 The Ticket’s in Detroit.
Her team is formidable. From her brand manager to the talent to the support staff, everyone in Audacy’s building in the Motor City are pushing in the same direction, and it pays off ratings book after ratings book.
This kind of success comes from really knowing what you’re dealing with. It’s about understanding both your product and your audience. Debbie Kenyon is from a media family. Her dad led a TV station. Her brother led a radio station.
Add into that background the experience of being with CBS as it grew, changed names, changed owners and then changed names again, and she has more institutional knowledge to work with than most GMs in major markets.
In this conversation, presented by Point to Point Marketing, Debbie and I talk about relationships with play-by-play partners, managing through tragedy, why America has the wrong idea about her city and so much more.
Demetri Ravanos: As you look at all of the brands that you oversee, is there any particular adaptation or change with the times that you are particularly proud that you were able to help pull off?
Debbie Kenyon: I guess we can look back two years, not that that’s a happy moment in everyone’s life, but clearly, in a couple of days’ time, to get two spoken word stations running remotely. We were able to keep everyone safe, not one COVID case. And technically, we sounded great during that entire two years.
We brought talent back much more quickly, but there were two months of literally a couple of people in the building and that was it. So from a technology standpoint, it’s not me. It’s my phenomenal engineers that gave us and our listeners some sense of peace during a very hard time.
I think from an innovation standpoint, on a more positive note, just some of the things that we’ve done with the sports teams and how we used to broadcast with phone lines. It was just somewhat antiquated compared to now. My engineering team is pretty cutting edge. The amount of cost reduction that we’ve been able to have over the past five or six years is great, and I think the sound quality is so much better and the likelihood of dropping out has really disappeared.
DR: I want to talk about the history of the frequency of 97.1, because it has evolved in an interesting way. Think back to those free FM days. Howard Stern leaves CBS and the company starts putting this hot talk format on a lot of the stations that he used to be on. You guys were already doing the FM talk that wasn’t politically centric even before the Free FM branding came about. I wonder how much of a model was CBS pointing to you guys to set the example for the rest of the country?
DK: At that point, I was a DOS and might have been the GM too, but not of that station. It was such an expensive format. Unfortunately, it never really got a ton of rating traction. There were a lot of passionate listeners, but from a financial stability standpoint, it couldn’t hold.
The company looked at us to move to FM for sports. We were fortunate because it was driven 100%. by one of my favorite mentors, Dan Mason, to bring in the very best program director at the time, Tom Bigby.
We had kind of a rough launch for The Ticket. It was really just a hardcore X’s and O’s sports format. Sales really wasn’t doing anything. I asked Dan for the opportunity to take the station over from a general manager standpoint. It gave me the opportunity to simultaneously hire Tom Bigby. That’s when the real phenomenon of The Ticket was created.
DR: So it’s interesting to hear that. The Ticket does so well beyond just the target demo, right? This is a station that performs well with not just men, but all people in the market. I was wondering if that might have come from the hot talk base of the FM station, but it sounds like that wasn’t really the case.
DK: Yeah, I think philosophically we’re a little bit different than most sports stations. Tom started this and then you’ve probably talked to Jimmy Powers over the years, our current brand manager has been here for quite a while. Our theory has always been a little different. Even though sitting in Detroit, Michigan, we are one of the best sports markets obviously with Michigan, Michigan State and then all four professional teams, we’ve kind of built this brand on, of course we’re talking sports all day long, but per show, we’ll have one mass appeal topic per day. The only thing which we stay away from is politics. We’ve gone through the years and some will dabble too much and it’s just a ratings killer.
We’ve never been judged on Men 25-54. We’ve always been judged on adults, and we’re top one, two, or three consistently for probably ten, 12 years, 14 years running. A nice long run. But you know, you can never get satisfied because when you’re at the top, everyone’s gunning for you. So we always have to think about new talent, new platforms, and how we communicate with our listeners.
This is a phone-based interactive format. Well, phones have changed. We certainly still take phone calls, but each show now will have thousands and thousands of texts. People communicate through text or Twitch or Twitter or on any of our social accounts and then by phone too. So that’s drastically changed over the past 14 years.
DR: What is the formula that keeps you in the top three? I mean, it’s got to be more than just topic selection. There has to be something about finding the right talent that you and Jimmy have done to make The Ticket the sort of institution that it became relatively quickly in Detroit.
DK: It’s not just one talent. We just have great, great talent. Between the talent and I believe we’re the only sports station in the country that has all four professional teams. I think the combination of that and I mean, Jimmy grew up as a programmer under Tom. So that same philosophy has carried through even to our newer and younger guys.
You know, we’re never afraid to make a change. We’ve had top-five, winning shows in the past where we just felt like something might be getting a little bit stale, and we’ve made changes. I know on some of my other stations, I’d be thrilled if it’s top five. Don’t mess with it! But for this station, the bar is so high and we all hold each other, whether it’s the talent on the air, a producer, the screeners, it’s myself, it’s my brand manager, it’s my APD. We all have that same expectation of excellence. I know it sounds kind of silly, but it actually is true.
DR: So let’s talk about that expectation of excellence. You mentioned that you can never be satisfied, but you guys have the ratings that you do. You mentioned all four franchises, plus, correct me if I’m wrong. You’ve got the Wolverines as well, right?
DK: We do.
DR: So certainly you don’t feel invincible, but you have to recognize it would be very tough for someone to come in and unseat you, at least in the sports format in the market.
DK: Sure. I mean, listen, you’re always on guard, but, you know, sports is just an expensive format to run. There’s no team or talent that is bigger than what the brand of The Ticket is. We’ve had competitors over the years that have tried to come in and it hasn’t worked out.
I think we owe it to our listeners and the community to make sure that we are constantly pushing to make sure that we are the best, whether it’s reviewing our social and making sure that we’re cutting edge. We were five years ago. Are we still cutting edge today? I think there are some changes that we could do to help freshen things up. There are all these basics, but they’re basics that over the years I think people have forgotten about.
Everyone kind of has to drink the Kool-Aid and they do. People love working at this radio station. It’s fun. Like, come on, you can appear at events and you get to work a Tigers game. But it’s just maintaining the same level of excitement. You know, no matter what the job or event is, we all want the same thing.
DR: Mike Valenti has not been shy about the fact that the Lions wanted him off the station back in 2015. When that happened, the station dropped the Lions. You said at the time that this was not about Mike individually. This was about not letting a partner censor what was happening on the station. Was that an easy decision to make? I mean, standing by your talent is one thing, but it certainly takes the next level of bravery and trust in your talent to do that at the expense of an NFL flagship deal.
DK: I never wanted to lose the Lions, but it just, at that time, made sense. What I’m very proud of is, that although it took me five years, I was so happy to get the team back because there’s a lot of time invested in relationships.
It’s challenging. If they’re not having a good season, you know what the guys are doing on air. You know, to manage relationships through that is a big deal.
I have nothing but great things to say. For the most part, the group of people are much different than who I was dealing with back then. But they’re a great, great partner and I’m so excited, as are all of our talent, to have them back. It’s just the perfect scenario for us.
DR: So if it’s different people that you’re dealing with there, I am going to guess there was not some sort of big clearing of the air that had to be done to start negotiations to bring them back.
DK: We’re really good at doing sports here, and I think the teams know that and appreciate it and respect it. Certainly, there can be frustrations at times with some things that are said on the air, but I think I think they all realize that there’s so much value that 97.1 The Ticket brings by having their team on the air with us. I think it really outweighs a lot of things.
DR: I don’t even know if you would call it a joke, an old talking point or whatever, but it’s very easy for people that have never spent time in Detroit to make the joke about it being a dying city. I guess I wonder, what is it that people don’t get about the market? Certainly, if it were dying, The Ticket couldn’t have the kind of success that it does book after book.
DK: I think it was an NBC Dateline. There was some show that was on like eight years ago and it showed someone was up in a tree and they were eating like a raccoon or a possum. And it was like, “this is Detroit”. I remember Chris Oliviero had called and he’s like “I saw Detroit on the news!” And I’m like, really?
I just feel like we’re a city where a lot of times the negative is portrayed in the media and there are so many great things here. The birth of auto sits in our marketplace and everything that we’re doing with electric vehicles. You should see what our auto show, which has certainly suffered a loss in the last couple of years, but what they have planned for September of this year will make everyone in the city so proud.
There are so many national events that we have here that we don’t always get recognition for. The Grand Prix in 2023 is coming back and will be in downtown Detroit versus Belle Isle, where it is right now. We have national golf tournaments.
You know, if you go downtown, and I’ve been to quite a few Tigers games, the city is alive right now. You’ve got Ford Field, Comerica Park, and LCA all within walking distance. There are all these great entertainment venues and concert halls. We launched something called Music Town just three and a half, four years ago now. It’s a downtown performance space. We wanted to be part of the revitalization.
DR: So I want to end by asking you a little bit about the loss of Jamie Samuelson. Certainly, that was a tough time for the station. The studio has since been renamed for him. There’s been a lot of great charity work done in his name, and I wonder if there is ever enough that the station could do to honor not just what he meant to the station, but to Detroit sports fans, period.
DK: That was a tough time. I don’t know if you realize this, but we had talent from a few stations around the same time frame that passed away. How do you manage through that?
You’re right. His name is on the studio now and we have no intention of changing that. We do a lot of charity work. The Tigers have actually been great and have helped us raise quite a bit of money for him.
The next challenge from that was we had this top-rated show. Jamie worked almost the entire way through it, which he didn’t have to do. No one knew until the very end, our listeners didn’t know. Even the majority of our staff did not know at that point.
When he did pass away, then it was trying to figure out what are we doing and what’s that respectful time period that would be accepted by our staff, most importantly, and by the community and the listeners. We ended up going in a pretty different direction because we didn’t just want to do the same show. That was Jamie’s show. I think he’d be proud of what we’ve created with Jon Jansen and Stony.
I don’t know if you know him, but he’s just a great guy. Jon has been a professional football player and it’s just a different dynamic. So we weren’t just trying to find Jamie’s replacement.
DR: I hate to end here, but I don’t know many GMs that can go into a situation like that with some similar experience. That is really hard to comprehend what it must be like to be you in those moments.
DK: Yeah, it’s not fun. You have your own emotions, but it’s not about your emotions. It’s more about everyone else.
We really have had three significant losses in our market over about a three-year period. It’s being supportive to your staff and then taking your time. With Jon, he was already someone that was in our talent bank essentially. Still, we needed to make sure that we gave it enough time. We needed our staff to grieve and, of course, his family. His family became part of this and I think we did it the right way.
Demetri Ravanos is the Assistant Content Director for Barrett Sports Media. He hosts the Chewing Clock and Media Noise podcasts. He occasionally fills in on stations across the Carolinas. Previous stops include WAVH and WZEW in Mobile, AL, WBPT in Birmingham, AL and WBBB, WPTK and WDNC in Raleigh, NC. You can find him on Twitter @DemetriRavanos and reach him by email at DemetriTheGreek@gmail.com.
Twitter Blue Debacle Showcases Company’s Ongoing Concerns
“If you start giving away blue badges to everyone, then it has no value. It’s the equivalent of a currency. if you start printing more, it gets devalued. Same for verified badges.”
For years, a blue “verified” check mark on Twitter has long been considered a symbol of status. Anyone — entrepreneurs, journalists, business executives — could potentially end up in the same exclusive space as celebrities like Taylor Swift and Tom Brady.
Perhaps the one quality that the blue check mark represented that had been overlooked was its authenticity stamp. The badge has been used all across social media platforms to signal an account’s authenticity — a verification that recently has proven to be of significant importance to not only people, but brands as well.
Shortly after Elon Musk’s $44-billion takeover of Twitter, the billionaire swiftly made his mark which, among many things, included a democratization of the app’s verification system. With a $7.99 monthly subscription to Twitter Blue, which launched last year as the company’s first subscription service, users could now possess what had long evaded them: a blue check mark.
“Theoretically, this would have made it easier for some brands or influencers to get verified than it has been in the past,” Galen Clavio, director of undergraduate studies for the Media School at Indiana University Bloomington, wrote in an email about the possible benefits of Twitter Blue’s verification accessibility.
“From an algorithmic perspective, that would have made sense to pursue under the Twitter setup that everyone had come to know,” he added.
While perhaps not a surprise to Musk or Twitter executives, everyday people were paying for the newly revamped Twitter Blue to boast their social media clout. Whether Twitter leadership knew it or not, though, those same subscribers took the opportunity to verify themselves using the alias of actual people.
Very quickly, Twitter Blue created an abundance of impersonators masquerading as verified celebrities and companies. Misinformation was hard to identify, making it tougher to find information in an era already plagued by discrepancies between fact and fiction.
“If you start giving away blue badges to everyone, then it has no value,” Alessandro Bogliari, CEO of the Influencer Marketing Factory, an influencer marketing agency, wrote in an email. “It’s the equivalent of a currency. if you start printing more, it gets devalued. Same for verified badges.”
Shortly after the Twitter Blue re-launch, a tweet was sent from an account using the same logo and name of Eli Lilly, a pharmaceutical company. It read, “We are excited to announce insulin is free now.” The tweet seemed legit — the branding seemed real, as did the company name. It also boasted a blue-check mark, so it had to be true.
As just one of many misrepresentations that succeeded it, the Eli Lilly tweet was a fake. Even when Twitter finally removed the tweet, more than six hours later, the fraudulent account had more than 1,500 retweets and 10,000 likes. The pharma company’s stock also plummeted $368 a share to $346 a share, reportedly erasing billions in market cap, according to several economic reports. Eli Lilly’s stock price currently sits at roughly $352 as of Nov. 16th.
“I can only imagine the damage a tweet like that made for the company, its employees, stakeholders, shareholders and anyone really related to their offering,” Bogliari said. “Some were able to tweet from their official accounts and restore it a bit. Others, I imagine, used PR and reputation firms to get to a solution fast. But it’s not that easy for all of them… for others it could be potentially a damage so big they won’t be able to survive, not just in terms of market cap/stock value, but also in terms of reputation and customers love.”
The verification mishap affected not only Eli Lilly’s reputability and profitability, but could also spell trouble for Twitter’s revenue stream.
“It’s making it really easy for advertisers to say: ‘You know what, I don’t need to be here anymore,’ and walk away,” Jenna Golden, who previously ran Twitter’s political and advocacy ad sales team, said in an interview with The Washington Post. “People are not just providing inaccurate information but damaging information, with the ability to look legitimate. That is just not a stable place for a brand to invest.”
Sports personalities were also hurt by the preponderance of fake users across Twitter. Basketball star LeBron James trended on the platform after a tweet from someone with the user handle, @KINGJamez, claimed that the 37-year-old was leaving the Los Angeles Lakers to join his former club, the Cleveland Cavaliers.
Adam Schefter, a notable football analyst at ESPN, also trended after someone with the user handle, @AdamSchefterNOT, revealed that Las Vegas Raiders head coach Josh McDaniels lost his job. While the user handle clearly indicates that it didn’t come from the actual Adam Schefter, the fact that it was quote tweeted could have led many people to assume it was really Schefter, since many were unlikely to take the time to click and confirm the tweet — and tweeter’s — validity.
These are just a few specific instances where, while a more open verification system could have helped Twitter users, the idea did not lead to a successful implementation.
“Being verified would have given those brands more credibility and be marked as the official brand — impersonation happens also for smaller brands and not just for Fortune 100 companies,” Bogliari said. “So the idea was theoretically good — I would say only for brands and certain individuals and not just for everyone… documents and proof (are still) required but the execution showed us all the flaws.”
Verification issues aside, Twitter faces an uncertain future under Musk’s leadership. As much as 50% of the company’s 7,500 employees predating Musk’s ownership have been laid off under his tenure. The billionaire also revealed that Twitter’s cost-cutting methods are a result of the company losing upwards of $4 million daily. He’s even announced potential bankruptcy if Twitter doesn’t correct its financial woes.
“I see the Twitter Blue controversy as one of several items that are likely to just make brands and creators look elsewhere in the social media landscape,” Clavio said. “Twitter offers minimal exposure for creators and brands to the public when compared to other networks, and a much higher risk of doing or saying something that can cause a crisis.”
As more people grow skeptical about Twitter, alternatives have started to emerge. More people are visiting platforms like Discord, Reddit, even Tumblr. Others are joining Mastodon, a free and open-source microblogging site that has drawn comparisons to Twitter for its timeline of short updates arranged chronologically rather than algorithmically.
As recently as Nov. 12th, Mastodon boasted approximately 6.63 million accounts, a 17% increase from the 5.65 million users it had on October 28th.
From internal struggles to increased competition, Musk inherited a Twitter that, for better or worse, might be on a continual spiral to irrelevancy.
“It’s clear that the Twitter platform is pretty fractured right now,” Clavio said. “At the end of it all, I think a lot of brands will just opt out of having a presence on Twitter, paid or otherwise. It’s just not big enough of a platform to justify the potential negative exposure.”
Eddie Moran is a sports media reporter for Barrett Sports Media. He is a graduate of Boston University’s College of Communication, and has previously written for Front Office Sports, The Basketball Tournament, the USGA, and BU’s independent student newspaper, The Daily Free Press. He can be reached on Twitter @EddieMorannn.
Christian Arcand Returns To Where It All Started At WEEI
“Going to WEEI was a no-brainer for me. I started there. That’s my radio home.”
Since the turn of the century alone, Boston has hosted 12 ticker tape parades to celebrate championships. Christian Arcand has had the opportunity to experience that success firsthand, initially as a diehard Boston sports fan and then as a voice of the fan. Now as he begins his second stint at the WEEI — this time as a producer and weekend host — he aims to ensure a seamless transition for both the Merloni, Fauria, & Mego afternoon drive show and his career in sports media.
Returning to a station where his Boston radio career began, Arcand enters the same building where he started his last sports media job with 98.5 The Sports Hub. Once the station moved to Dorchester, Massachusetts, WEEI moved its studios to the location – and it is where its shows are broadcast from today. Arcand’s time at 98.5 The Sports Hub ended in being laid off last month; despite that though, going to work evokes feelings of nostalgia and déjà vu.
“Walking back in there for the first time was pretty wild,” Arcand said, who returned to WEEI earlier this week. “I was laid off from The Sports Hub and it was a big surprise to me and to, I think, everybody that [it] happened.”
After graduating from the University of Colorado, Arcand moved back east to work for WDIS AM 1170 in Norfolk, Massachusetts, which he says isn’t really an option for those entering the business today.
“These little stations are all gone,” Arcand expressed. “Those were pipelines to places like WEEI and WFAN and other places in the area. You’d work in Connecticut or you’d work in Rhode Island or whatever and these places all just disappeared.”
Just over a year later, Arcand made the move to ESPN New Hampshire, initially co-hosting Christian and King with Tom King, a sportswriter for the Nashua Telegraph covering the New England Patriots, Boston Bruins and other college and high school sports. The show was broadcast during the midday time slot from noon to 3 p.m. and sought to entertain the audience while informing them about the day’s action.
After nearly four years on the air, Arcand transitioned to work with Pete Sheppard, a former member of the heralded WEEI program The Big Show hosted by Glenn Ordway, on Arcand and Sheppard. Additionally, Arcand was named as the show’s executive producer, meaning that while the show was going on, he was often focused on many different tasks. Once Christian and King was brought back, he continued working in this dual role before the show ended in January 2017, six months before the format flipped from ESPN-branded sports to oldies.
“It was a lot – cutting up all the audio you want to play, then playing it during the show, then cutting the commercial [and] trying to answer the phone,” Arcand said. “It was this whole thing, but I really loved it; we had a lot of fun up there.”
While Arcand currently works at WEEI, it is his second stint with the station – and this time, he is working in a brand new role. He initially joined the station in 2013 as a sports anchor and co-host of the evening program Planet Mikey featuring Mike Adams. Shortly thereafter, he helped launch WEEI Late Night, airing from 10 p.m. to 2 a.m. where he became known in the Boston marketplace going on the air after the conclusion of Boston Red Sox live game broadcasts.
Unlike his time in New Hampshire though, he was solely hosting and not producing – requiring him to adjust to not having as much oversight regarding the inner workings of each program.
“I’m not a control freak, but I remember [thinking], ‘Wow, this is different. I’m not running the board anymore. I’m not playing my own stuff,’” Arcand said. “….That was kind of jarring at first [but] I ended up working with a lot of great producers and I still am today.”
Mike Thomas, who currently serves as the senior vice president and market manager for Audacy Boston, was integral in building 98.5 The Sports Hub from its launch in August 2009. He was responsible for signing Arcand away from WEEI to join the brand as co-host of The Adam Jones Show airing weeknights.
Working alongside show producer Jeremy Conley, he gained an in-depth understanding of what it entails to produce a sports talk radio show in a major market, helping broaden his knowledge of the craft and position him for his current job with WEEI.
“I really had a good opportunity to learn from some of, I think, the best [producers] in the business,” Arcand said. “….It’s cool being a fan of these guys and then getting to work with them and learn from them and all that other stuff…. It’s really a job that requires a lot, and the guys who are really good at it, I think, are just top-notch.”
Over the last several years, 98.5 The Sports Hub has earned massive wins across the Nielsen ratings, recently finishing number one in the summer book across all dayparts in the men 25-54 demographic. Days later though, the station’s parent company Beasley Media Group made budget cuts, resulting in Arcand and Toucher and Rich producer Mike Lockhart’s employment being terminated.
While Lockhart has since been re-hired after Fred Toucher and Rich Shertenlieb lobbied for the decision to be reversed, Arcand was in the job market quickly mulling over his future in the industry. In fact, it was reported that Arcand was on the verge of signing a three-year contract that would have kept him at the station before the termination of his employment.
“I was so shocked that it had happened and it was sort of hard to deal with it,” Arcand expressed. “Then I was angry about it and then I sort of channeled that into, ‘Okay, what am I going to do next here?’ You start thinking, ‘Is this it? Is this the end of the career? Are you going to even continue doing this?,’ and that was a thought I had a couple of times.”
Arcand’s abrupt departure from 98.5 The Sports Hub and Boston sports radio was short-lived though, as there was a substantial market for his services. In the end, he communicated with Thomas and WEEI operations manager Ken Laird, utilizing industry connections and his own versatility to return to the place where he began working professionally in Boston.
“Seeing that WEEI was in the market for someone on-air and to produce [the afternoon] show, I was right there and willing to try out something I hadn’t done in a while,” Arcand said. “It was a no-brainer, really. Going to WEEI was a no-brainer for me. I started there. That’s my radio home.”
As someone once again “new” to the station, Arcand is looking to foster a working chemistry with afternoon hosts Lou Merloni, Christian Fauria and Meghan Ottolini, along with radio producer Ryan Garvin. Arcand enters the role replacing show executive producer Tyler Devitte who left the station to pursue other opportunities and feels that the composition of the show is unique in the sports radio landscape. In short, it gives them an opportunity to further differentiate themselves from other afternoon programs across multiple platforms of dissemination.
“It’s an interesting show because Lou and Christian are both ex-jocks,” Arcand explained. “It’s rare that you sort of see shows where it’s just two guys like that and it was just them for a while but then with [Glenn] Ordway and then they brought in Meghan [Ottolini].”
Arcand had been listening to the afternoon drive program long before the offer to return to WEEI was made to him and now looks to offer his insight and expertise when necessary. He does not want to enter his new role with insolence or by coming off as dogmatic when expressing his opinions about the show.
“I’m sort of taking the approach of observing more than maybe I would in a couple of weeks from now or something,” he said. “I want to sort of make sure I get the rhythm of the show and the clock and everything like that. Those are all things that you have to be more aware of when you’re behind the glass as opposed to on the air.”
Arcand will be hosting a solo radio program on WEEI every Saturday afternoon, reminiscent of Sunday Service, a weekend show he used to host on 98.5 The Sports Hub. He is excited to be able to return to the Boston airwaves and connect with his audience once a week to bring them the latest sports news and entertaining talk – all while bringing his trademarks of sarcasm and congeniality.
“I’m really comfortable just sitting in the room, cracking the mic and talking with the callers or putting out my points and getting to certain things that I want to touch on,” Arcand said. “….I think my style is one that you just sort of tune in and you’re hanging out with me for a couple of hours.”
Ultimately, Christian Arcand has made the move back to what he refers to as his radio home. As he concludes his first week back at WEEI, he is focused on producing the afternoon drive program and complimenting that with his solo show on Saturdays, the first of which will take place tomorrow from noon to 2 p.m. Through all of his endeavors, he will talk about Boston sports with his listeners no matter the season, giving them a platform to engage with the hyperlocal coverage.
“Being back at WEEI is something that I’m really happy about,” Arcand expressed. “I was excited to get started, [and] now that I’m there, I’m excited to see where we can take this show.”
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.
What Twitter Alternatives Exist For Sports Media?
Sports Twitter is a major vehicle that has helped establish the platform’s reputation for accurate and authentic up to the minute information.
The reality of Twitter dying as a platform was looked at as a bit hyperbolic when Elon Musk first took over the social media network. Now though, it is slowly coming closer and closer to potential reality.
Musk has been on a quest to salvage Twitter’s economic stability but has done so in an irrational and unplanned fashion. The actions he has taken include publicly criticizing his employees and firing them after pushback and firing essential engineers who literally keep the platform from crashing. Developers have even warned Twitter users with two factor authentication to either remove the feature or to remain logged in because the function that handles that process no longer works.
Sports Twitter is a major vehicle that has helped establish the platform’s reputation for accurate and authentic up to the minute information. It has helped establish the careers of insiders such as Adrian Wojnarowski, Shams Charania and Adam Schefter. In case Twitter does actually come to an end, what should reporters who rely so much on the platform do?
Establish an email list through Substack
With permission from their employers, I would suggest starting a newsletter list that they would be able to carry with them in case they decided to leave their employer at some point (all three of the mentioned journos recently signed extensions). Posting on Substack through a mobile device is just as easy as posting on Twitter and it gives users an almost similar experience to what they had with using Twitter in the sense that they could have their email notifications turned on and they could interact with other basketball lovers through Substack’s comments section.
Create a live blog that always exists on your employer’s page
A running page of information that was sponsored and existed on ESPN or Stadium’s page would make digestible, quick hit commentary monetizable for the networks that employ Shams, Woj and Schefter. It brings people back to their employer’s page and establishes even more of a bond between consumers and apps/websites – a connection that has been taken away from many due to the existence of social media.
Establish a Mastodon server
With over a million users, Mastodon has become the closest thing to a Twitter alternative that’s available. Even though signing up for an account is a little confusing and the ability to search for unique users and takes isn’t fully established in comparison to Twitter – Mastodon has a similar look and feel to Elon’s platform and it gives employers more control over who is and isn’t interacting with their employees and what they are able to see. It would make it easier on ESPN or Stadium’s part to constantly promote links to their pages for viewers and readers to consume.
It’s the closest thing that is available to establishing your own social media network without the startup costs, hiring of engineers and figuring out tech issues. An advertising mechanism hasn’t been established yet but ESPN or Stadium could be in the forefront (because of the credibility they bring to the table) of establishing the revenue side of things alongside Mastodon.
Stick it out with Elon
NBC Universal’s advertising head recently told AdAge that NBC is sticking it out with Twitter. Twitter’s ad program has faced setback since Elon’s takeover but it is still much more established and streamlined that anything else available out there that is similar to Twitter. She also said that Twitter is the biggest host of NBC content on the internet (besides NBC owned platforms of course).
If a major company like NBC is standing with Twitter and if most major advertisers haven’t left yet, maybe sports reporters should also stay put for now. Twitter is not a startup. Despite the disarray we read about everyday, it’s still an established company that is up and running. We are all using Twitter itself to talk smack about its mismanagement but the reality is we are all still using Twitter. Even those who have gone away from the platform still come back more often than not to check in on what is happening directly on Twitter.
Maybe the grass will eventually be greener on the other side and Elon will have Twitter on more established ground. Maybe Elon files for bankruptcy and sells it to bankers who create an environment of stability for the company.
The reality is there is no other platform as good at real time reaction than Twitter so maybe sticking it out and keeping status quo is the best thing for everyone to do. See you later on Twitter (follow me @JMKTVShow).
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.