What a podcast needs to do to put on a good live show (and why so many are trying)

Welcome to Hot Pod, a newsletter about podcasts. This is issue 138, published October 31, 2017.

Happy Halloween folks!

Subscriptions at a personal level. When I wrote about Panoply’s paid kids-oriented listening service, Pinna, earlier this month, I was drawn to a question that didn’t end up being articulated in the piece: Does a subscription-first audio product need to be big? Pinna’s explicit goal, as I understand it, is to become the “premiere kids listening service,” pushed forward with a long-term strategy of building the first and last stop for any parent looking for stuff to swap out screen time with an aural alternative. But is it possible just to build a self-contained audio subscription business that isn’t premised on an expansive content acquisition strategy?

Shortly after the Pinna write-up went out, Lindsay Patterson, the cofounder of children’s podcast advocacy group Kids Listen, reached out, flagging the existence of a small Austin, Texas–based operation called Sparkle Stories. Founded by Lisabeth and David Sewell McCann, Sparkle Stories is an independent media company that serves customers with over a thousand original audio stories for children. There are two things about Sparkle Stories that are noteworthy: first, all of the stories are produced and performed by David, a former elementary school educator adept at telling pedagogical stories, and second, the service charges $15 a month…and, from what Lisabeth tells me, business seems to be good.

While the two declined to provide hard numbers, they did disclose having “thousands of subscribers” from around the world, enough to sustain as a business. The two are the only people who work on the company full-time — David since the beginning, Lisabeth transitioning out of her day job after about a year — and the company brings in enough revenue to compensate eight part-time employees who also work on other projects. Sparkle Stories is completely bootstrapped, with one successful Kickstarter excursion in 2015 to fund the development of a listening app. (That campaign brought in over $48,000 from 1,174 backers.)

Sparkle Stories was formed in 2010 when, as Lisabeth put it, “mom blogs were big and getting bigger.” Mr. Rogers is cited as a major source of inspiration (interestingly enough, David enunciates a lot like the sweatered public media icon himself), and it’s reflected in the team’s goals. “Our mission is to make stuff that’s nurturing, and slow, for kids,” Lisabeth said. “We’re all about bringing media back to a simple, sweet place.”

Simplicity might be the editorial north star, but it’s supported by a robust operational structure. Though the Sparkle Stories inventory is primarily stored and distributed behind a paywall, the company also makes use of a podcast feed that serves five free episodes to prospective paid customers — or consumers of more modest means. The inventory itself is managed through a website that further supplements the audio stories with a host of related digital material that broadens out topical experiences: recipes, craft lessons, parent education. “The podcast is only the beginning,” David explained. “It brings people to the next step, which is a website full of child development information. The story is only the beginning, and then you continue on. And that’s what people are willing pay for.”

Sparkle Stories has a bunch of things planned for the future. The team hopes to continue making the website experience as easy as possible for children and families, such that, in David’s words, “a child can look for a story about a wombat, or about Idaho, and then suddenly there are three stories about that, and then they can put the device down and listen.” An Android app is somewhere on the horizon, to complement the existing iOS app. There are further ambitions to figure out ways to integrate with smart speaker devices, which seems to be catching on among “millennial parents and their kids,” as AdWeek points out. (Though data privacy concerns remain an issue.) However, despite these plans, Lisabeth and David are comfortable taking on a slow, organic approach to growing the operation. “We tried a lot of the traditional ways to market and build our business, and they just didn’t work,” they explained. “Sponsored content, traditional advertising, Facebook and Google stuff…but the thing that really ended up working more than anything is for us to help somebody love what we’re doing.”

That approach, it seems, is partly driven by a sense of caring for their customers, whose parenting lives the McCanns feel partially responsible for. “It’s that Seth Godin thing of just taking care of your tribe,” David said. “We took that to heart. And so we create, create, create, we’re on schedule for three or four stories a week. Offer a lot, and if people want more, they’ll be more than happy to pay for it.”

You can find more about Sparkle Stories on their website.

Two extraneous threads:

(1) One question that stands out to me: assuming that all goes as intended for this sector of the on-demand audio universe, can there be a paid kids’ podcasting ecosystem that be equally occupied by a primary dominant one-size-fits-all service and a constellation of personally driven, independent, and presumably niche players? I imagine there’s something to be gleaned from looking at the makeup of the digitally distributed audiobook world, now dominated by Audible and a host of much smaller alternatives — Scribd, Overdrive, Kobo, and so on — even though the latter group in this composition isn’t terribly differentiated from the former, at least on my read.

(2) Not directly related but still thematically appropriate, I guess: Patreon, the creator support platform that raised $60 million last month, recently announced a new platform initiative that lets its users better integrate with other tools and platforms that they’ve been using to manage the membership process. Quite a few podcast publishers use Patreon to tap into direct listener support, including and especially the “dirtbag left” podcast Chapo Trap House, which still reigns as the biggest Patreon campaign that brings in over $86,000 a month from slightly over 19,500 backers. Crazy.

Acast aims to go public on the Stockholm Stock Exchange. The news comes about a month after the company raised $19.5 million in Series B funding from a group of Swedish investors, with the apparent intent to use that money to build its presence in the United States, the UK, and Australia. With this exit, they’ll have access to further capital for those attempts. Di Digital, a Swedish news site, has a write-up that I, uh, had to run by some Swedish-speaking friends and readers (thanks, fellas). Here are the bits that stood out to me:

  • The company’s valuation is pegged at around SEK 1.1 billion (Swedish kroner), which comes to around $131 million USD.
  • Last year, Acast drew SEK 49.8 million (slightly under $6 million USD) in revenue, but ran at a loss of SEK 52.5 million (slightly over $6 million USD).
  • As part of the Swedish IPO, founders Måns Ulvestam and Karl Rosander are leaving their operational roles in the company and, having done their jobs, will leave Ross Adams, a former Sales Director at Spotify, in the CEO spot.

This brings the number of publicly listed, podcast-specific companies up to three — that I know of, I guess — the other two being LibSyn (trading on the Nasdaq as LSYN) and, somewhat arguably, Audioboom (trading on the London Stock Exchange as BOOM), which also deals with digital audio more broadly. I think it might be useful to skim through Audioboom’s annual report to get a sense of how Acast will be positioning its growth metrics, given the similarities in structure, levers, and function in the market.

Meanwhile, in the Great North. There’s apparently a new research report floating around that focuses on Canadian podcast consumption, conducted by Audience Insights, a Canadian audience research firm, and Ulster Media, a podcast consulting company started by former CBC director of digital talk content Jeff Ulster. It was produced with support from The Globe and Mail.

The full report isn’t available at this point in time, it seems, only a summary report with some initial findings that you can view in this link. Nonetheless, there are a couple of data points that are worth unspooling in your head, in case you’re up to something in that neck of the woods:

  • Twenty-four percent of Canadians over the age of 18, or 7 million people, report listening to podcasts at least once a month. (Comparable stats: 17 percent of the Australian population over 12, 24 percent of the American population over 12.)
  • The demographic is pretty much what you’d hink it would be: trends younger, more affluent, and more educated, also leans male. That’s more or less in the same bucket as Australia and the U.S.
  • Here’s one that really stands out to me: “47 percent of (Canadian) podcast listeners say they would like to hear more about what Canadian podcasts are available.”

My knowledge of Canada and podcasting is relatively limited. In my estimation, the institutions to watch are: the CBC, obviously, but also the branded podcast shop Pacific Content and Jesse Brown’s Canadaland. Also: there is a sneakily abundant number of Canadians all throughout the American podcast industry — I see you Berube — and Montreal is still pretty sweet for radio producers, given the manageable rent prices. (Note to self: abscond to Montreal.)

In transition. This isn’t a new phenomenon by any means, but there have been three podcast-to-broadcast developments that’ve hit my inbox over the past month:

(1) NPR’s “It’s Been a Minute with Sam Sanders” started rolling out to a bunch of stations earlier this month (list can be found on this here Twitter thread), in some ways to plug the big Car Talk–sized hole that seems to popping up here and there.

(2) Politico’s Morning Media newsletter ran this mini-profile a few weeks ago: The Takeout is a podcast hosted CBS News’ Chief White House Correspondent Major Garrett and political director Steve Chaggari. It originally launched just before President Trump’s inauguration as a side project, and eventually cultivated a fairly small following (about 80,000 monthly downloads on a roughly weekly publishing schedule). But it gained enough listeners to get it repurposed as a TV show on CBS’s streaming network and re-distributed over several terrestrial stations owned and operated by CBS.

I’m pretty fascinated by this use of podcasts as testing ground for potential broadcast material, though I’ll be interested to see what emerges in the Venn Diagram overlap of what works on both broadcast and podcast. (The inverse would also be intriguing to unspool: shows starting in broadcast that would later find more heat as a podcast. Radiolab, I think, is a good example of this.)

(3) iHeartMedia aired Wondery and Mark Ramsey’s Inside Psycho, which was originally published as a six-episode podcast, as a one-hour broadcast Halloween special over the weekend on select iHeartRadio News/Talk radio stations across the country. Curiously, the press release calls the arrangement “the first time a made-for-podcast show will air across broadcast radio”…which isn’t exactly true. Between 2012 and 2014, Slate had a program called Gabfest Radio, which condensed the Political and Culture Gabfests into a one-hour broadcast, that aired as a weekly show on WNYC. NPR, as well, began packaging a joint hour of Planet Money and How I Built This for broadcast over the summer. (And not to mention the various times a public radio podcast story was re-formatted for All Things Considered.)

Finally, there’s also the recently departed Dinner Party Download, which originally launched as a podcast in 2008 before being picked up a few years later by American Public Media for broadcast as a radio hour. So, technically, DPD might have more claim over being the first time ever that a made-for-podcast show was picked up for terrestrial radio. But who’s checking, y’know?

Politician-speak. As you might expect, I deeply enjoyed this critique of podcasting politicians by Amanda Hess over at the New York Times. Hess’s central barb, which comes around the middle of the piece, is a dual-pronged affair that gives shape to something that I’ve been feeling for while now: “The lawmaker podcast boom is just another way that our political news is becoming less accountable to the public and more personality driven. But that’s not the only thing wrong with it. The podcasts are also boring.”

That dual point on accountability and actual listenability illustrates the vaguely lose-lose proposition that the politician podcasting genre poses to the public. On the one hand, if the show is literally hard and pointless to consume, then it really sucks to be littered with them. But on the other hand, if the show turns out to be an experience worth sitting down with, then you’re grappling with the much hairier prospect of a more undefined (and unregulated) form of political communication, with all the spin, worldview expression, and image management that it entails.

Not that political communication is a thing inherently worth balking at, of course. Political figures and candidates need spaces to reach their constituents and sites to flesh out their philosophies, policy positions, and reasons for politically being. (Provided they have those things, of course.) It’s just that Hess’s point on accountability — that the general structural arc of these political figures going direct and fully controlling the terms of their messaging, that the power of the personality is the mechanism disproportionately empowered by everything we’ve seen in digital media so far — is the shadow that looms large here, and it brings up the question of whether the larger opportunity that these structural shifts gives to hermetically sealed political communication is a tide that can be stopped. We’re starting to see statements by politicians made in podcast appearances being written up, though not necessarily mediated, by political news sites — by way of example, here are three instances in The Hill — yet one can’t but ask whether any of that will ever be enough. Indeed, one wonders that the thing that’s really been blunting the edge of this political opportunity, of the continued empowerment of the Personality, so far is the fact that the overwhelming majority of politicians as a class don’t or still haven’t figured out the personality part of the equation.

This parallel has probably already been made many times before, but it bears bumping: a lot can be learned from what’s long been playing out in the sports world, where celebrity athletes have, perhaps not categorically but certainly in more than a few specific paradigm-altering instances, been able to utilize various digitally enabled media channels to amp up the power of the personality and dis-intermediate the gatekeeping/filtering capacities of the sports press. In the NBA alone, you have a variety of examples ranging from the Players Tribune to Joel Embiid’s surely-contract-padding social media prowess to LeBron James’ budding Uninterrupted media empire, whose premise hinges on players directly communicating with fans (and whose machinations involves several podcasts which were briefly profiled back in June by the Wall Street Journal). All of this amounts to a considerable challenge to the power, purpose, and intermediating role of the press, and while the actual details, terms, and broader implications of that dynamic change can be argued, the fact of the matter remains: the press is arguable.

(By the way, here’s my favorite story illustrating the fight between press and Personality: Grantland’s “Distant Thunder: What Did Oklahoma City’s Media Do to Piss Off Russell Westbrook and Kevin Durant?”)

Anyway, that’s enough of that. But one more thing about Hess’s piece: her point on boring-ness — and on folks probably needing to put effort into something full-time, or at least meaningfully so, to make anybody worth anybody’s time — is probably a lesson that should be applied up and down the podcast directory, from celebrities to journalists to news organizations to independents.

From the mailbag. Eh, why not?

I’d be curious to know your take on podcasts doing live performances. I feel like EVERY podcast I listen to has done one of these. Why? I can only guess that the ticket sales for these events make a ton of money for them? More than ads? Crooked Media has done a ton of these. RadioLab, WTF, Gimlet Media, hell even the NPR Politics podcast is doing one soon. NPR! What is driving this??

— Nevin, from Iowa

Someone I knew once described seeing The Read live as a religious experience. This was a few years back, and while I don’t recall much else about her description of the show, I do remember this: I don’t believe I’ve ever been as enthusiastic about anything as she was talking about witnessing Crissle and Kid Fury on stage.

Anyway, point is: Live podcast shows are great. Provided they don’t suck, of course. (Which is the simple truth of everything that’s ever existed.)

Though the observation you make is actually a pretty tricky one to appraise. I think you’re right in there being a noticeable uptick in podcast creators building out a live events circuit — I feel like the stuff I’ve been seeing in my inbox alone can reflect this —  but it’s also worth noting that live podcast shows have long been a practice in vogue. Radiolab and WTF with Marc Maron have been staging live shows going way back (really good ones, too!), and one shouldn’t forget about the podcasts that are actually live shows first and are later repackaged and redistributed over RSS feeds, like The Dollop, RISK!, and The Moth. (Of those, you could ask an inverse question: “Why record your live shows and distribute them as on-demand audio content?” Any one thing looks a little funny from a different angle.)

What’s driving the uptick? You can point to a few different things. Most straightforwardly, there is the core motivation of wanting to fashion out an additional revenue stream to not be completely dependent on advertising, to create some sort of ballast against volatilities to come. (Analytics shenanigans, agency chicanery, bumps in the economy, so on and so forth.) I think that incentive has been bubbling up to the forefront over the past few months, maybe. You can also point your finger at the bumper crop of new podcast festivals that have popped up over the past year-plus (NowHearThis, PodCon, WBEZ’s Podcast Passport, Third Coast’s The Fest, and the LA Podcast Festival, among so many others), which I imagine functions as an additional structural incentive for publishers to develop live performance capabilities. You can further consider the ongoing involvement of touring companies (like the Billions Corporation, which I interviewed back in July) and talent agencies (WME reps Crooked Media, by the way, among many other teams), which continue to bring live events expertise into the ecosystem that, in and of itself, is a pretty good motivator to keep playing within the channel.

Personally, I’m a big fan of publishers building out a live show presence. There are tons of benefits to glean. Physically communing with your audience is tight, as it deepens the relationship and sense of community. Visiting different cities, towns, and venues is super fun, if you don’t mind the travel, and it also provides good opportunities to peel off qualitative audience data. Merch can be sold. And also, some teams like doing live shows because they like doing live shows! Live shows are fun! Stage adrenaline is a drug! Damn!

The question, of course, is whether possible to make decent money off live shows. And I think the answer is yes, most definitely, provided you can pull off the logistics, manage the budget, and serve an actual experience people want to pay for. (You know, not unlike everything else in a goods-and-services-based economy.) A good example of a team that’s figured it out is Welcome to Night Vale, which has long used live shows as its primary revenue stream. (The team would only begin truly taking up advertising once it formed Night Vale Presents, its indie podcast label.) Now in its fourth year of touring, the show sells anywhere between 50,000 to 60,000 tickets a year, and they’ve staged over 200 shows across 16 countries in the past three years. You can figure the math out from there.

The Night Vale team has roots in the theater scene — creators Joseph Fink and Jeffrey Cranor are alums of the Neo-Futurists — and that expertise really shows in their live shows. (Slight non-sequitur: in what was probably a formative pre-Hot Pod podcast experience, I checked out a Night Vale show at New York’s Town Hall venue back in the summer of 2014, and man was I not prepared to stand amidst that much cosplay and teenage enthusiasm.) That brings me to another, earlier evoked, and perhaps bigger, point: producing a live show involves a whole other skillset that’s completely separate and apart from producing a podcast. Which is why, even as a fan of the entire idea of testing live shows as a diversifying business channel, I also think that it’s not a great fit for most publishers.

But the idea of a “good fit” between the two forms doesn’t always fall out the way you think it would. One doesn’t necessarily need to have theater or stage chops to effectively adapt a podcast to a live show. I went to a live Slate Political Gabfest show once, and I couldn’t quite get over how strange it felt to stand among a bunch of political and legal nerds — I’m guessing from the number of cardigans — giggling at David Plotz wisecracks. But at the same time, the effectiveness of the whole thing made a great deal of sense: much of podcast consumption involves forging an intimate connection with personalities and a conversation that’s taking place separate and apart from you. There is, then, a familiar appeal to live shows of coming close to celebrity. There is also the broader appeal of not being alone in having a beloved experience.

That said, I hear ya, Nevin: there’s something way weird about the prospect in concept. I mean, political reporters as celebrities? NPR political reporters as celebrities? Bizarro! Then again, if I was NPR, I’d totally lean into it. Look, if we’re living in a media environment where it’s all being summed up to fight between personalities, then yes, I’d lather makeup onto Scott Detrow and send him out on stage too. Happy viewing.

Bites:

  • Pop-Up Archive, the transcription platform that also runs the podcast search engine Audiosearch, will be winding down public operations on November 28, 2017. (Company email)
  • Dirty John, from the LA Times and Wondery, has reportedly garnered over 7 million downloads across six episodes since debuting at the top of the month. (CJR) The show is hosted on Art19. I’m personally pretty meh on the show, but hey, other critics seem to like it. All about that critical plurality.
  • True crime shows Sword and Scale and Up and Vanished are the next two podcasts headed to television. Between these guys and Lore, it seems like genre fare is having a field day. (Variety)
  • NPR’s monthly podcast audience hits 15.5 million unique users, and the organization typically garners 82 million monthly downloads. For reference, the organization uses Splunk to generate those numbers, and for further reference, Podrac pegs NPR’s unique U.S. monthly listeners at 13.3 million and global monthly streams/downloads at 99 million. (Press Release)
  • So, Spotify looked into the behavior of podcast listeners on its platform, and according to Fast Company, it found that “podcast listening peaked during the middle of the day. Interestingly, when they looked at weekday numbers versus the weekend, people listened to fewer podcasts on the weekend. In fact, the drop off is pretty significant, 45% to be exact.” Recall that these are listeners who choose to consume off Spotify, which is rather specific indeed. (Fast Company)

[photocredit]Photo of curtains by AnToonz used under a Creative Commons license.[/photocredit]

Hot Pod: Slate tries a rolling audio mashup to cover Election Day live

Welcome to Hot Pod, a newsletter about podcasts. This is issue ninety-five, published November 8, 2016.

Happy Election Day (oh dear god). Three quick stories with that sweet, sweet podcast-angle (#onbrand):

1. Avail yourself with dueling podcast columns on the subject: The New Statesman, “How to use podcasts as U.S. election therapy,” and Wired, “Fed-up, freaked-out Americans find comfort in politics podcasts.”

2. Slate’s trying something new: dynamically reporting on the elections in near real-time through podcasts. According to an internal email by executive producer Steve Lickteig: “Producers will update stories throughout the day, and listeners will get refreshed news whenever they want…The best way to experience this is by opening slate.com/newscast in a browser tab and leave it open all day. At least once per hour (but probably much more often as the day heats up), you can return to that page and hear fresh stories mixed with ones you’ve heard before or, even more likely, an entirely new batch of stories.”

The company is leveraging its in-house audio CMS, Megaphone, to produce the feed, which interestingly enough won’t be available in iTunes or podcast apps. The updates will be hosted by This American Life’s Zoe Chace and PBS Newshour’s Alison Stewart. Updates began at 9 a.m. Eastern.

3. Poynter ran a vote over the weekend on the best political coverage in this election cycle, breaking out a category just for podcasts. Keepin’ It 1600 (considered by some as therapy) was beat out by FiveThirtyEight’s election podcast (considered by some as anti-therapy) for first place, with NPR’s politics podcast bagging third. Full list on the article, near the bottom. I’ll do a postmortem next week on the set of very, very strong shows we’ve seen breaking out in this genre.

GE Podcast Theater announced the followup to its hit branded podcast The Message last week, and it looks like the team is sticking close to the playbook on this one. The new show will be a single-season, short-run science fiction podcast that draws heavy influence from contemporary works (the press-outreach email described it as “Her meets Ex Machina” that will be enjoyed by “lovers of Westworld and Black Mirror” — a title salad) while exhibiting a light touch from the actual brand sponsoring the project. The followup will also continue The Message’s core design conceit of telling a story based on a piece of technology that, of course, GE is interested in. (Image-building by association, in other words.)

The show will be called Life After, and the plot will follow an FBI employee who tries to communicate with his departed wife through digital assets left behind on an all-audio social media platform. It’s not…the most original premise, sporting strong similarities to the Black Mirror episode “Be Right Back” (as well as a Michael Keaton film from the mid-2000s called White Noise, which was kind of criminally bad). But it’s worth noting that The Message wasn’t all that original either, leaning hard on the now cliched “fictional radio reporter” as the framing device and making use of plot points that, again, bore very strong similarities to another project, this time a very early episode of the indie-horror podcast The Black Tapes. Nevertheless, the podcast’s core value was firmly rooted in its polished execution, and we’ll likely see the same with this new project.

(At this point, I’d like to issue a quick disclaimer: I used to work for Panoply.)

Let’s take a few steps back for a second. For the uninitiated, GE Podcast Theater is an experimental partnership in branded podcast production between GE, Panoply, and the advertising agency BBDO. The Message, the team’s first foray into this nexus, debuted last October and pulled off a very, very successful run, with the most recent publicly available audience tally putting the podcast at around 500,000 downloads per episode, according to a Bloomberg article published in June. (Keep the imprecision of the metric in mind here; that number probably refers to downloads per episode since the show’s launch in October 2015, which doesn’t really give us a good sense on download acceleration, growth rate, or the long tail. Alas.) But the campaign’s successes expanded well beyond its downloads: The Message was a minor press hit (The Atlantic: “The Radio-Age Genius of The Message”) and even managed to bag a few Cannes Lions international advertising awards.

Much of that success, I think, comes from a combination of two things: first, the project’s novelty as an unconventional piece of advertising: aside from a small logo on the podcast art, The Message was near-devoid of direct references to its corporate progenitor, and I reckon there was something about this quality that likely drew critical attention from the advertising community; and second, its ability to competently capitalize on a general hunger for genre fiction among podcast consumers by serving a highly produced product in a field that was then dominated by independent works with a more artisanal feel. (Ugh, sorry about the use of “artisanal.”)

On that front, it’s worth considering just how much the podcast space has changed in the past year, particularly with regard to audio fiction. There are more ambitious audio fiction enterprises now than ever before — see Night Vale Presents, The Paragon Collective, The Sarah Awards, Wondery, Gimlet’s Homecoming, and so on — and one imagines the broad podcast consuming body, which absorbs and evolves as it expands and matures in numbers and demographics, has shifted somewhat in its taste and expectations for something like fiction.

So, with all that in mind, and given just how close they’re sticking to the formula, I wonder if the team expects to receive the same kinds of returns as last year.

Alexa Christon, GE’s head of media innovation, appeared to be keeping a realistic but hopeful view on Life After when we spoke over the phone last week. “We actually never expected The Message to go to No. 1 on iTunes,” Christon explained. “We were just excited about the content and the concept. We felt we had something, but we also knew it was really hard to crack No. 1…We’re hoping that there will be buzz again, but we’ll see.” (When asked how much GE is paying for Life After, Christon declined to spill details. She merely replied: “It’s nothing unusual.”)

Without the novelty, Life After doesn’t quite have the same structural advantage that The Message did. This leaves the team having to tough it out the way all other shows do: executing at a very, very high level. But hey, the trailer, which dropped last week, sounds really good, and I’m curious to hear if the rest of the show will be able to match it.

Life After comes out on November 13 and will run for 10 episodes. It will be distributed through The Message’s RSS feed. Also worth noting: Giant Spoon, a media agency, is involved in the distribution strategy for the project.

Relevant: GE also announced an original podcast for the Australian market last week called Decoding Genius.

Radiotopia names the winner of its Podquest competition: Ear Hustle, a nonfiction narrative podcast that “unveils the hidden stories of life inside prison, told and produced from the perspective of those who live it,” according to the PRX blog post announcing the result. The show’s creative force is made up of Earlonne Woods, Antwan Williams, and Nigel Poor. Woods and Williams are currently sentences in San Quentin State Prison. Poor is an artist and professor at California State University, Sacramento. The team is a remarkable story, one that was most recently told in a California Sunday Magazine profile back in late September.

Ear Hustle beat out nine other semifinalists that were themselves selected out of an applicant pool made up of 1,537 entries from 53 different countries. You can read up on the other semifinalists on the Podquest website — and if you’re a publisher, I highly recommend you consider them for recruitment. (There’s no talent shortage if you look hard enough, folks.)

In winning Podquest, Ear Hustle’s 10-episode first season will be picked up by Radiotopia for a 2017 debut. It will be Radiotopia’s 17th show, the third addition in recent weeks following the pickups of West Wing Weekly and The Bugle, two shows that are somewhat departs from the podcast collective’s story-driven, highly-produced narrative programming. As such, Ear Hustle’s pickup represents a return to Radiotopia’s roots, albeit one that, interestingly enough, itself looks to be a deeper realization of the collective’s sensibilities and aesthetic.

A trailer for the show can be heard here.

How Stuff Works’ Jason Hoch, observing on Twitter Saturday morning: “4 of the top 6 podcasts on iTunes are new and contain only a short promo episode clocking in under 4 minutes…Why do podcast publishers launch promo episodes as ‘episode 1’ of a series? Easy — get subscribers, and therefore, future downloads.” Hoch, by the way, made an appearance on the Digiday podcast last week, where he declared: “There is no podcast bubble.” Dude is full of soundbites that makes my job easier, I swear.

The history, and future, of AV Club’s Podmass column. Long before The Timbre (RIP), Charley Locke’s work at Wired, Caroline Crampton’s New Statesman column, and long, long before Hot Pod, you had The AV Club’s Podmass column. Since 2011, the column has consistently served as one of the few places on the Internet that took podcasts seriously in front of a wide, mainstream audience. But its future appears to be in question now that Becca James, who has edited the column since 2014, is leaving the company.

I traded emails with James last week, asking a few questions about her time at Podmass and what happens next. Here’s the Q&A in full:

Can you tell me about the history of Podmass?

Podmass technically started in 2010 when Kyle Ryan ((Ryan is currently an editor-at-large for the AV Club and the VP of development at Onion Inc., the AV Club’s parent company. He had left in April 2014 to briefly serve as Entertainment Weekly’s online editor, returning to the AV Club a year later.)) included a best podcasts roundup in the site’s year-end coverage. When everyone returned from holiday break in 2011, Kyle suggested they review podcasts each week, recommending which ones to listen to and which ones to skip on a weekly basis, which gave rise to the “The Best” and “The Rest” format that you see in the February 2011 debut of Podmass. The coverage treated podcasts as episodic entities, reviewing the same shows each week and was based on the original lineup from the 2010 article, which writers added and subtracted to at will. The concept was new then, as podcasts weren’t getting much coverage other than occasional stories about specific shows and the first podcast boom had already ended. As Kyle explained to me, “This was a way to write about the medium but also be a utility because even back then it felt like there were too many podcasts to keep track of.” I was hired in 2013 and started compiling Podmass when Kyle was on vacation or otherwise busy. Eventually, he left to pursue a career with EW, and Podmass was handed down to me in the spring of 2014. By that fall I had changed the format to highlight 10-15 of the previous week’s best episodes. I felt this was a better way to introduce a larger group of people to podcasts, as opposed to the more inside-baseball, labor-intensive former version of Podmass, which covered the same 30 or so shows each week. The new format was really about showcasing the medium of podcasting as something for everyone, with The A.V. Club ready and willing to help readers find their niche in this world.

What kind of work goes into producing the column?

I have a staff of writers that come from all walks of life — designers, comedians, artists — but that are steeped in the world of podcasting. They pitch episodes to me by EOD on Thursday each week. Once I have everyone’s pitches, I go through and curate a list of 10-15 based on a number of things I extract from the writers’ pitches. Then I send out assignments. The writers come back with 200 words and some quotes from the episode by noon the next day. I spend Friday compiling the reviews in our CMS before adding a feature image and a headline. Often throughout the week, I will email suggestions to the group and ask if anyone would like to cover that episode. These can come from emailed tips, Twitter, Hot Pod, etc.

There’s an argument floating about — most recently articulated by the Third Coast Festival folks — that there isn’t enough mainstream coverage of podcasts. What do you think of that argument, and where do you think we are in the state of cultural conversation about podcasts?

Podcasts are tricky because statistics still show that they are not as widely consumed as, say, TV. I remember making this argument when changing the Podmass format, saying that Podmass should be doing its part to draw more people toward this form of entertainment, which is why we should have more expansive, welcoming coverage. That is all to say that I agree with the Third Coast folks that there isn’t enough coverage of podcasts. People often comment on the enormous amount of podcasts, naming it as a hurdle in the quest to provide adequate coverage, but I think the stuff worth listening to rises to the top.

How has Podmass performed?

Podmass does well in my opinion. It is by far not the most-read feature on our site, but it often makes it into the top 10 most-read articles the day it publishes. It has its diehard fans, which I greatly appreciate and wish I had more time to shoot the shit with in the comments section, which is where you’ll find a lot of them hanging out.

What happens to Podmass now?

I worry Podmass won’t make it into 2017 once I’m no longer around to wrangle it. It’s difficult to articulate how melancholy that makes me feel, as I really see this feature as a service to the readers, as true journalism. It’s a numbers game though, and without a salaried employee willing to take on the feature, it’s hard to justify it’s existence financially. As for me, I have a dear friend that spends a lot of time daydreaming about keeping the Podmass dream alive. After all, the spirit of podcasting is that anyone can do it, so it seems fair to say that anyone could create podcast reviews and share them online.

James will be done with Podmass by the end of the year. She currently holds interest in going back into teaching, and expects to be freelancing for a few places — including the AV Club — on the side.

Bites:

  • Adobe has apparently prototyped a “Photoshop for Audio.” Called Project VoCo, the program “can produce the sound of someone saying something they didn’t actually say with unsettling realism.” Oh dear god. (Pitchfork)
  • The New York Times’ Amanda Hess has a fascinating story on an expansive digital community of female Star Wars fans made up of metacriticism, fan art, fan fiction, and a “podcast sorority that includes Scavengers Hoard, Rebel Grrrl, Lattes With Leia, and Rebels Chat.” Cool reminder of how communities benefits of an open medium. That’s what I took from this, anyway. (The New York Times)
  • Speaking of the Times, its latest podcast is out: Tell Me Something I Don’t Know, its collaboration with Freakonomics’ Stephen Dubner working under an LLC called Dubner Productions. (The New York Times)
  • “‘I felt like Morse tapping his first code’ — the man who invented the podcast.” (The Guardian)
  • Looks like WBEZ is going to pump out a three-part special series on the rise of Oprah Winfrey, starting Thursday. Personally, I’m psyched. It’s a great time for audio documentaries, folks. (WBEZ)
  • NPR comms director Isabel Lara tells me that Planet Money’s recent reporting on the Wells Fargo fraudulent account debacle (here and here) was cited in a formal letter by senators Elizabeth Warren and Robert Menendez. Very cool.
  • Also: Goodbye to NPR’s How To Do Everything, which will post its final episode on November 18. Don’t tell anybody, but you were my favorite NPR podcast.

Happy America, every one. Godspeed.

This shortened version of Hot Pod has been adapted for Nieman Lab, where it appears each Tuesday. You can subscribe to the full newsletter here. You can also support Hot Pod by becoming a member, which gets you more news, deeper analysis, and exclusive interviews; more information on the website.