Phew, we’ve apparently solved 97% of the podcast measurement problem — everybody relax

MEASUREMENT BITE. Been a while since we’ve checked back into what is arguably the most important subject in the podcast business. Let’s fix that, shall we?

“The good news for podcasters and buyers is measurement challenges are 97 percent solved,” Midroll Media CRO Lex Friedman said on a podcast panel at the National Association of Broadcasters (NAB) Show last week. “What we can report now is more specific than we could before.” You can find the quote in this Inside Radio writeup on the panel.

Be that as it may, there’s still some work left to be done. I reached out to Friedman for his perspective on what constitutes the remaining 3 percent of the challenges left to be solved, and here’s his response (pardon the customary Midroll spin):

In TV today, advertisers would struggle if NBC used Nielsen ratings, and ABC used Nielsen but with a different methodology, and CBS used some other company’s measurement technology.

Today in podcasting, the measurement problem is solved; the remaining 3 percent is getting everyone standardized. It doesn’t happen often, but every once in a while, Midroll loses a show to a competitor. When we sell a show at 450,000 downloads, and the next day the same show and same feed is being sold at 700,000 downloads, that’s a problem.

The IAB’s recommended a 24-hour measurement window, while some folks still advocate for 60 minutes or two hours, and too many vendors continue to sell at 5 minutes, which we universally know is way too liberal a count. That’s unfair and confusing to advertisers, and that’s the piece that needs fixing.

That’s no small 3 percent, in my opinion.

Anyway, if you’re new to the podcast measurement problem, my column from February 2016 — back when a group of public radio stations published a set of guidelines on the best way for podcast companies to measure listenership — still holds up as a solid primer on the topic, if I do say so myself.

Fool’s gold? Something else to note from Inside Radio’s article on the NAB panel: a strong indication, delivered by Triton Digital president of market development John Rosso, that there is increasing demand for programmatic podcast advertising.

Programmatic advertising is a system by which ads are automatically bought and sold through algorithmic processes. In other words, it’s a monetization environment where the facilitation of advertising value exchange is automated away from human interaction. The principal upside that comes with programmatic advertising is efficiency: As an advertiser, you theoretically don’t have to spend a lot of time identifying, contacting, and executing buys, and as a publisher, you theoretically don’t have to spend a lot of time doing those things in the opposite direction. In theory, both sides don’t have to do much more work for a lot more money. But the principal downside is the ensuing experience on listener-side, and all the ramifications that fall from a slide in said experience: Because these transactions are machine-automated, there’s no human consideration governing the aesthetic intentionality of an advertising experience paired with the specific contexts of a given podcast.

Combine this with the core assumptions of what makes podcasting uniquely valuable as a media product — that it engenders deeper experiences of intimacy between creator and listener, that its strength is built on the cultivated simulacra of personal trust between the two parties, that any podcast advertising spot is a heavy act of value extraction from the relationship developed between the two sides — and you have a situation where a digital advertising technology is being considered for a medium to which its value propositions are diametrically opposed.

The underlying problem, put simply: Can you artificially scale up podcasting’s advertising supply without compromising its underlying value proposition? To phrase the problem in another direction: Can you develop a new advertising product that’s able to correspondingly scale up intimacy, trust, and relationship-depth between podcast creator and consumer?

The answer for both things may well be no, and that perhaps the move shouldn’t be to prescribe square pegs for round holes. Or maybe the response we’ll see will sound more like “the way we’re doing things isn’t sustainable, we’re going to have to make more money somehow” with the end result being an identity-collapsing shift in the defining characteristics of this fledgling medium. In which case: Bummer, dude.

Binge-Drop Murphies. Gimlet announced its spring slate last week, and two out of three of them, the audio drama Sandra and the Lynn Levy special The Habitat, will be released in their entirety tomorrow. When asked about the choice to go with the binge-drop, Gimlet president Matt Lieber tells me:

We decided to binge both The Habitat and Sandra because we felt that they were both so engrossing and engaging, so we wanted to give the listener the decision to either power through all the episodes, or sample and consume at their own pace. Sandra is our second scripted fiction series and we know from our first, Homecoming, that a lot of people chose to binge the series after it was out in full. With The Habitat, it’s such a unique and immersive miniseries, and we wanted to give listeners the chance to get lost in the world by listening all at once.

Grab your space suits, fellas.

The beautiful game. The third show in Gimlet’s spring bundle is We Came To Win, the company’s first sports show, which promises to deliver stories on the most memorable soccer matches in history. The press release appears to be playing up the universal angle of the sport: “Soccer is a sport that is about so much more than goals. It’s about continents, countries, characters, and the relationships between them.” (I mean, yeah.)

In an interesting bit of mind-meld, Gimlet’s first foray into sports mirrors WNYC Studios’ own maiden voyage into the world of physical human competition. Sometime this spring, the New York public radio station will roll out its own World Cup-timed narrative podcast, a collaboration with Men in Blazers’ Roger Bennett that will look the U.S. Men’s National Soccer Team’s journey from its triumphant 1994 World cup appearance to its doomed 1998 campaign. (Yikes.)

Public radio genes run deep.

Peabody nominations. The 2017 nominations were announced last week, and interestingly enough, six out of the eight entries in the Radio/Podcast category are either podcast-only or podcast-first. The nominees are: Radiotopia’s Ear Hustle, Minnesota Public Radio’s 74 Seconds, Serial Productions’ S-Town, the Center for Documentary Studies at Duke University’s Scene on Radio: Seeing White, Gimlet’s Uncivil, and Louisville Public Media/Kentucky Center for Investigative Reporting’s “The Pope’s Long Con.

Notes on The Pope’s Long Con. It was an unbelievable story with unthinkable consequences. Produced by the Kentucky Center for Investigative Reporting (KyCIR) and Louisville Public Media, The Pope’s Long Con was the product of a seven-month long investigation into Dan Johnson, a controversial bishop-turned-Kentucky state representative shrouded in corruption, deceit, and an allegation of sexual assault. KyCIR’s feature went live on December 11, bringing Johnson’s story — and the allegations against him — into the spotlight. The impact was explosive, leading to immediate calls for Johnson to resign. He denied the allegations at a press conference. Two days later, Johnson committed suicide.

It was “any journalist’s nightmare,” as KyCIR’s managing editor Brendan McCarthy told CJR in an article about how the newsroom grappled with the aftermath of its reporting. (Which, by the way, you should absolutely read.)

In light of those circumstances, the podcast’s Peabody nomination feels especially well-deserved. It’s also a remarkable achievement for a public radio station relatively new to podcasting. “The Pope’s Long Con was the first heavy-lift podcast Louisville Public Media had undertaken,” Sean Cannon, a senior digital strategist at the organization and creative director of the podcast, tells me. “It didn’t start out as one though…Audio was planned, but it was a secondary concern. Once we realized the scope and gravity of it all, we knew everything had to be built around the podcast.”

When I asked Cannon how he feels about the nomination, he replied:

Given the situation surrounding the story, it’s still a confusing mix of emotions to see The Pope’s Long Con reach the heights it has. That said, we’re all immensely proud of the work we did. It’s necessary to hold our elected officials accountable.

In the context of the podcast industry, it taught me a lesson that can be easy to forget. I was worried the hierarchy of publishers had become too calcified, rendering it almost impossible for anyone below the top rungs to make serious waves — without a thick wallet, anyway. It’s a topic that comes up regularly in Hot Pod.

While the industry will never purely be a meritocracy, The Pope’s Long Con shattered that perception. It served as a reminder of something that gets glossed over when you’re caught up in the business of it all: If you can create compelling audio, that trumps everything else.

Tip of the hat, Louisville.

Crooked Media expands into film. According to The Hollywood Reporter, the media (political activism?) company will be co-producing a new feature documentary on Texas congressman Beto O’Rourke’s bid to unseat Senator Ted Cruz in the upcoming midterm elections. This extends on Crooked Media’s previous adventures in video, which already involve a series of HBO specials to be taped across the country amidst the run-up to midterms.

A quick nod to Pod Save America’s roots as The Ringer’s Keepin’ It 1600 here: Crooked Media will likely crib from the playbook The Ringer built around the recent Andre the Giant HBO documentary, which was executive produced by Ringer CEO Bill Simmons, where the latter project received copious promotion through The Ringer website and podcast network. What’s especially interesting about that whole situation is the way it is essentially a wholesale execution of what I took as the principal ideas from the analyst Ben Thompson’s 2015 post “Grantland and the (Surprising) Future of Publishing.”

I’m not sure if I’d personally watch a Beto O’Rourke doc — the dude has been a particularly vibrant entry into the “blue hope in red country” political media subgenre for a long while now, and I’m tapping out — but Pod Save America listeners most definitely would.

Empire on Blood. My latest for Vulture is a review of the new seven-part Panoply podcast, which I thought was interesting enough as a pulpy doc but deeply frustrating in how the show handles its power and positioning. It’s a weird situation: I really liked host Steve Fishman’s writing, and I really liked the tape gathered, but the two things really shouldn’t have been paired up this way.

The state of true crime podcasts. You know you’re neck-deep in something when you can throw out random words and land close to an actual example of that something: White Wine True Crime, Wine & Crime, Up & Vanished, The Vanished, Real Crime Profile, True Crime Garage, Crimetown, Small Town Murders, and so on. (This is a general observation that goes well beyond true crime pods. Cryptocurrencies: Sumokoin, Dogecoin, PotCoin. Food startups: Plated, Pantry, PlateIQ. Names: Kevin.)

Anyway, I’ve said it once, and I’ll say it again: True crime is the bloody, bleeding heart of podcasting, a genre that’s proliferating with a velocity so tremendous it could power a dying sun. And in my view, true crime podcasts are also a solid microcosm of the podcast universe as a whole: What happens there, happens everywhere.

When it comes to thinking about true crime podcasts, there are few people whose opinions I trust more than crime author, podcaster, and New Hampshire Public Radio digital director Rebecca Lavoie. As the cohost of the indispensable weekly conversational podcast Crime Writers On… — which began life as Crime Writers On Serial, a companion piece to the breakout 2014 podcast phenomenon — Lavoie consumes and thinks a lot about true crime and true crime podcasts specifically.

I touched base with Lavoie recently to get the latest on what’s been going on in her neck of the woods:

[storybreak]

[conl]Hot Pod: In your view, how has the true crime podcast genre evolved over the past four years or so?[/conl]

[conr]Rebecca Lavoie: It’s evolved in a few directions — some great, some…not so much.

On the one hand (and most wonderfully), we have journalism and media outlets who would never have touched the true crime genre a few years ago making true crime podcasts based on the tenets of great reporting and production. And when it comes to the “never would have touched it” part, I know what I’m talking about. Long before I was a podcaster, I was the coauthor of several mass-market true crime books while also working on a public radio show. Until Criminal was released and enjoyed some success, public radio and true crime never crossed streams, to an extent where I would literally avoid discussing my true crime reporting at work — it was looked down upon, frankly.

Today, though, that kind of journalistic snobbery is almost non-existent, and podcasts (especially Criminal and Serial) can claim 100 percent responsibility for that. Shows that exist today as a result of this change include Accused from the Cincinnati Enquirer, West Cork from Audible, Breakdown from the Atlanta Journal-Constitution, In the Dark from APM reports, and the CBC’s recent series Missing & Murdered. (And yes, even the public radio station where I still work — now on the digital side — is developing a true crime podcast!)

Credit is also due to Serial for the way journalism podcasts are being framed as true crime when they wouldn’t have been in a pre-Serial era. Take Slow Burn from Slate, which is the best podcast I’ve heard in the past year or two. While the Watergate story would have been so easy to frame as a straight political scandal, the angles and prose techniques used in Slow Burn have all the hallmarks of a great true crime narrative — and I’m pretty sure the success of that show was, at least in part, a result of that.

Of course, where you have ambitious, high-quality work, you inevitably have ambitious terrible work, right? It’s true, there are very big and very bad true crime podcasts being produced at an astonishing rate right now, and because they have affiliation with established networks, these shows get a lot of promotion. But as much as I might personally love to hate some of these terrible shows (I’m talking to YOU, Atlanta Monster!) I do see some value in their existence.

I think about it the same way I think about movies: Not every successful big budget blockbuster is a good movie, but ultimately, those films can serve to raise the profile and profitability of the movie industry as a whole, and help audiences discover other, higher-quality content.[/conr]

[conl]Hot Pod: What do you think are the more troubling trends in how true crime podcasts have evolved?[/conl]

[conr]Lavoie: One is what I see as a glut of podcasts that are, quite frankly, building audience by boldly recycling the work of others. Sword & Scale is a much-talked-about example of that, but it’s not even the worst I’ve come across. There was a recent incident in which a listener pointed me to a monetized show in which the host simply read, word for word, articles published in magazines and newspapers — and I can’t help but wonder how pervasive that is. My hope is that at some point, the transcription technologies we’re now seeing emerge can somehow be deployed to scan audio for plagiarism, similar to the way YouTube scans videos for copyright infringement.

But there’s another trend that, for me, is even more troubling. There’s been a recent and massive growth of corporate podcast networks that are building their businesses on what I can only compare to the James Patterson book factory model — basically saying to creators, “Hey, if you think you have a story, partner with us and we’ll help you make, distribute, and monetize your podcast — and we’ll even slap our name on it!”

This, unfortunately, seems to be what’s behind a recent spate of shows that, in the hands of a more caring set of producers, could have (maybe?) been good, but ultimately, the podcasts end up being soulless, flat, “why did they make it at all” experiences.

Why is this the most upsetting trend for me? First, because good journalists are sometimes tied to these factory-made shows, and the podcasts aren’t doing them, or their outlets, or the podcast audience as a whole any favors.

The other part of it is that these networks have a lot of marketing pull with podcast platforms that can make or break shows by featuring them at the top of the apps. These marketing relationships with Apple etc. mean factory networks have a tremendous advantage in getting their shows front and center. But ultimately, many of the true crime podcasts getting pushed on podcast apps are very, very bad, and I can’t imagine a world in which a lot of bad content will end up cultivating a smart and sustainable audience.[/conr]

[conl]Hot Pod: In your opinion, what were the most significant true crime podcasts in recent years?[/conl]

[conr]Lavoie: In the Dark by APM Reports is up there. What I love about that show is that they approached the Jacob Wetterling story with an unusual central question: Why wasn’t this case solved? (Of course, they also caught the incredibly fortunate break of the case actually being solved, but I digress…) Theirs is a FAR more interesting question than, say, “What actually happened to this missing person?” Or “Is this person really guilty?” Of course, In the Dark also had the benefit of access to a talented public media newsroom, and I really enjoyed how they folded data reporting into that story.

I most often tell people that after Serial season one, my favorite true crime podcast of all time is the first season of Accused. Not only do I love that show because it looks at an interesting unsolved case, but I love it because it was made by two women, seasoned newspaper journalists, with no podcasting experience. Amber Hunt is a natural storyteller and did an amazing job injecting a tremendous amount of humanity and badass investigative journalism skills into that story. It’s not perfect, but to me, its imperfections are a big part of what makes it extraordinary.

More recently, I’ve really enjoyed the shows I mentioned above, including West Cork and Missing & Murdered. But when it comes to significance, Slow Burn is the most understated and excellent audio work I’ve heard in a long time. I loved every minute of it. I think that Slate team has raised the bar on telling historical crime stories, and we’re the better for it.[/conr]

[conl]Hot Pod: What do you generally want to see more of from true crime podcasts?[/conl]

[conr]Lavoie: I want to see more new approaches and formal risk-taking, and more integrity, journalistic and otherwise.

One of my favorite podcasts to talk about is Breakdown from the AJC. Bill Rankin is the opposite of a radio reporter — he has a folksy voice and a writing style much more suited to print. But beginning in season one, he’s been very transparent about the challenges he’s faced while making the show. He’s also, as listeners quickly learned, an incredible reporter with incredible values. That show has embraced multiple formats and allowed itself to evolve — and with a couple of exceptions, Bill’s voice and heart have been at the center of it.

I’d also love to see some trends go away, most of all, this idea of podcast host as “Hey, I’m not a podcaster or a journalist or really anyone at all but LET’S DO THIS, GUYS” gung-ho investigator.

Don’t get me wrong, some really good podcasts have started with people without a lot of audio or reporting experience, but they aren’t good because the person making them celebrates sounding like an amateur after making dozens of episodes.[/conr]

[storybreak]

Again, you can find Lavoie on Crime Writers On…, where she is joined every week by: Kevin Flynn, her true crime coauthor (and “former TV reporter husband,” she adds); Toby Ball, a fiction writer; and Lara Bricker, a licensed private investigator and fellow true crime writer. Lavoie also produces a number of other podcast projects, including: …These Are Their Stories: The Law & Order Podcast, HGTV & Me, and Married With Podcast for Stitcher Premium.

On a related note: The New York Times’ Jonah Bromwich wrote a quick piece on the Parcast network, described as “one of several new networks saturating the audio market with podcasts whose lurid storylines play out like snackable television.” The article also contains my successful effort at being quoted in ALL CAPS in the Times.

Bites:

  • This year’s Maximum Fun Drive has successfully accrued over 28,000 new and upgrading members. (Twitter) Congrats to the team.
  • WBUR is organizing what it’s calling the “first-ever children’s podcast festival” on April 28 and 29. Called “The Mega Awesome Super Huge Wicked Fun Podcast Playdate” — shouts to whoever came up with that — the festival will be held at the Coolidge Corner Theatre in Brookline, Massachusetts and will feature shows like Eleanor Amplified, Story Pirates, But Why, and Circle Round, among others. (Website)
  • “Bloomberg expands TicToc to podcasts, newsletters.” For the uninitiated: TicToc is Bloomberg’s live-streaming video news channel that’s principally distributed over Twitter. On the audio side, the expansion appears to include podcast repackages and a smart-speaker experiment. (Axios)
  • American Public Media is leaning on Westwood One to handle advertising for the second season of its hit podcast In The Dark. Interesting choice. The new season drops next week. (AdWeek)
  • I’m keeping an eye on this: Death in Ice Valley, an intriguing collaboration between the BBC and Norway’s NRK, debuted yesterday. (BBC)
  • Anchor rolls out a feature that helps its users find…a cohost? Yet another indication that the platform is in the business of building a whole new social media experience as opposed to something that directly relates to podcasting. (TechCrunch)
  • On The New York Times’ marketing campaign for Caliphate: “The Times got some early buzz for the podcast before its launch; 15,000 people have signed up for a newsletter that will notify them when a new episode is ready, twice as many as expected.” (Digiday)
  • “Alexa Is a Revelation for the Blind,” writes Ian Bogost in The Atlantic.

[photocredit]Photo of a tape measure by catd_mitchell used under a Creative Commons license.[/photocredit]

Today, Explained, explained: Vox enters the daily news podcast race with a comma-happy, personality-driven show

Quick preamble: I was working on my taxes yesterday when I realized that last Thursday marked the two-year point since I incorporated Hot Pod Media LLC. To celebrate the occasion, I’m hauling an old Hot Pod feature out of retirement just for this issue: the unnecessary deployment of irrelevant GIFs. Thanks for being a reader, and to those who’ve been reading me for a while now, thanks for sticking around. I really don’t know where all that time went.

Every Day, Explained. Rejoice, news nerds: We now have a name, a release date, and a sound palette for Vox Media’s upcoming entry into the daily news podcast genre. The show will be called Today, Explained — props for keeping it #onbrand — and it will begin publishing next Monday, February 19. A trailer for the podcast went up yesterday, and it sounds…well, quite different from what I would expect from Vox.com, but entirely in keeping what I would expect from host Sean Rameswaram, whose various hijinks I’ve followed intermittently over the years.

I wrote a preview of the podcast for Vulture that came out yesterday, and I spent much of that article trying to contextualize Today, Explained within the current state of the emerging daily news podcast genre. Now, “emerging” is a word I tend to use a lot (more on that in a bit), at times way too cavalierly, but in the context of this story, the use of the term is literal: It’s been a blast watching this species of podcast come into being.

Two things I’d like to emphasize from the preview:

  • The choice to target the evening commute is a really, really smart one. I’ve argued this before, but I think it’s safe to assume that there might be considerable overlap between the audiences of The New York Times and Vox.com. As such, a move to complement The Daily is significantly more prudent than engaging it as a direct competitor. In any case, even if the overlap was small, the evening commute remains untapped by the daily news podcast to begin with — aside from Mike Pesca’s The Gist, of course, which isn’t really playing the same game anyway. It’s a safer, and therefore more reliable, base to build from, and besides, Today, Explained could always expand with an a.m. version at some point in the future. (Same goes with The Daily and a p.m. version, a prospect that it has previously explored with breaking news specials.)
  • In case it fully doesn’t come across in the writeup: I think Today, Explained’s success will mostly hinge on Sean Rameswaram’s personality — more so, I’d argue, than how Michael Barbaro fits into The Daily as a presence. Which is, I suppose, kind of the point when you bring in someone with a specific sense of showmanship like Rameswaram to headline a project.

And two more things I’d like to add to the preview:

  • Here’s Vox.com general manager Andrew Golis, responding to an inquiry about how the podcast fits into the company’s overall business goals: “It gives us an opportunity to have an audio daily presence in our audience’s life in the way our website does in text and our YouTube channel does in video. That persistent relationship and trust is a powerful platform for building our business…we believe ‘Today, Explained’ will give us a new way to introduce audiences to a growing network of Vox podcasts as we continue to expand our ambitions and programming.”
  • I’d be remiss if I didn’t discuss Midroll Media’s involvement in the production. The Scripps-owned podcast company serves as the exclusive advertising partner for Today, Explained, but I’m also told that they provided upfront investment to help assemble the team and build out the production. Chris Bannon, Midroll’s chief content officer, was also involved in the development of the show. “Creatively speaking, I spent a day in D.C. with the Vox team, and together we started sourcing host and staff candidates,” explained Bannon over email. “Right now we’re in the fun part, listening to show drafts and sharing notes. They’re alarmingly well-organized, cheerful, and efficient.” Bannon, by the way, worked with Rameswaram back when he was still at WNYC. (He left for Midroll in early 2015.)

When asked about his perspective on the potential of Today, Explained, Bannon offered an analogy. “I think we want Today, Explained to be All Things Considered to the The Daily’s Morning Edition,” he said. “Except that we will be more like All Things Considered’s smart, funny, well-informed, and streetwise uncle.”

“Streetwise uncle” sounds about right.

On a related note: I heard there’s some big news coming later today on The Daily. Keep your eyes peeled.

What comes next for the Fusion Media Group. Last week, The Onion binge-dropped A Very Fatal Murder, the satirical news site’s first stab at a long-form audio project. The show was designed to parody the wildly popular — and eminently bankable! — true-crime podcast genre, which is an appealing premise right off the bat: indeed, there’s no team I’d love to see interpret the phenomenon more than the brains behind The Onion. A Very Fatal Murder turned out to be enjoyable enough, no more and no less, though I did end up thinking it didn’t come anywhere close to realizing its promise as podcast satire.

But there’s a thing, and then there’s everything around the thing. And despite the minor swing and miss of A Very Fatal Murder, I was nonetheless left quite excited about the prospect of future projects from The Onion, and curious about what’s going on with the audio team at The Onion’s parent company, Fusion Media Group (FMG).

So I checked in with Mandana Mofidi, FMG’s executive director of audio. In case you’re unfamiliar, FMG is the sprawling, multi-tentacled corporation best known in some circles — mine, namely — for absorbing the remains of the Gawker empire post-Terry Bollea lawsuit in the form of the Gizmodo Media Group that spans Gizmodo, io9, Jezebel, and others. A television arm factors in somewhere, as does the city of Miami.

Anyway, Mofidi tells me that since her team kicked off operations about a year ago, they’ve been playing around with a couple of ideas and formats to see what would stick. Weekly interview and chat shows made up the early experiments, which apparently ended up working well for Lifehacker (The Upgrade), Kotaku (Splitscreen), and Deadspin (Deadcast). But following the reception they received for A Very Fatal Murder as well as Containers, Alexis Madrigal’s audio documentary about the sexy, sexy world of international shipping from last year, more plans have to been put in place to build out further narrative projects.

Mofidi’s overarching goal this year, it seems, is to ensure that each of FMG’s properties gets a solid podcast of their own. To that end, they have several projects in various stages of development, including:

  • A six-part narrative series from Gizmodo about “a controversial and charismatic spiritual guru who uses the internet to build her obsessive following.” That show is being developed with Pineapple Street Media, which appears to be really carving out a niche around themes of obsession, charismatic leaders, and the followings they spawn, following Missing Richard Simmons and Heaven’s Gate.
  • A show for Jalopnik called Tempest, which will examine “the funny and at times tragic intersectionality of people and cars.”
  • A series that “explores the connectivity of our DNA” — which evokes memories of Gimlet’s Twice Removed — featuring Grammy Award-winning artist René Pérez, a.k.a. Residente. Gretta Cohn’s Transmitter Media is assisting with this project.
  • A collaboration with The California Endowment that’ll produce stories on young activists “who are using their platforms to promote solidarity between different communities and causes.”

Mofidi also talked about an intent to dig deeper into events. “We recently did a live taping of Deadspin’s Deadcast in St. Paul before the Super Bowl. We were expecting to sell about 200 tickets, but ended up with over 360 people,” she said. The smart speaker category is also of interest, along with figuring out ways to collaborate with FMG’s aforementioned television arm.

I asked Mofidi if she had any dream projects that she’d love to produce in her role. “A daily show,” she wrote back. “It would be ambitious, but with so many passionate voices across our sites it feels like something we could do in a way that was distinct.”

Related reading: Publishers with TV ambitions are pursuing Netflix.

We’re back with this nonsense: “Public media again in bull’s-eye in president’s FY19 plans.” Re-upping my column from the last time we were in this mess, on why it’s bad in ways you already know and in more ways you don’t.

And while I’m linking Current, the public media publication just announced the new host for its podcast, The Pub: Annie Russell, currently an editor at WBEZ.

Pod Save America heads to HBO. Surprise, surprise. Crooked Media’s flagship podcast is heading to the premium cable network with a series of hour-long specials that will follow the Obama bros — that’s former Obama aides Jon Favreau, Tommy Vietor, and Jon Lovett, in case you’re unfamiliar with the deep-blue podcast phenomenon — as they host live tapings on the campaign trail for what will most definitely be a spicy midterm election season this fall. This is the latest addition to the newly buzzy trend of podcasts being adapted for film and television, and the deal for this adaptation in particular was handled by WME.

Over at Vulture, I tried to turn a series of dots into a squiggly shape linking this development, the recent debut of 2 Dope Queens’ HBO specials, and HBO’s relationship with Bill Simmons to say something about the premium cable network’s potential strategic opportunities with podcasting. Put simply: Traditional standup comedy programming is getting more expensive due to the pressure of Netflix’s infinitely large war chest, and one could argue that certain types of conversational podcast programming offer HBO an alternative resource to adapt and develop content that can potentially hit the same kind of experience and pleasure beats you’d get from conventional standup TV specials.

But sometimes dots are just dots, and those aren’t really constellations in the sky — just random, meaningless arrangements of stars that are indifferent to your experience of them.

Happy Valentine’s Day.

Meanwhile, in the nonprofit world. This one’s pretty interesting: Tiny Spark, the Amy Costello-led independent nonprofit news outfit that covers the world of philanthropy and nonprofits, has been acquired by Nonprofit Quarterly, which is…well, a much larger independent nonprofit news organization that covers the world of philanthropy and nonprofits. “Amy…has done an exceptional job building the audience for her podcast. We are excited not only to add this new media channel to our organization, but also to collaborate with Amy to expand our reach into public radio,” said Joel Toner, NPQ’s president and chief operating officer.

As part of this arrangement, NPQ owns Tiny Spark’s intellectual property and Amy Costello is brought on as a senior correspondent to lead the organization’s investigative journalism work, podcast development, and public radio outreach. “Tiny Spark’s work fits very well into the topics we cover at NPQ,” said Toner, when asked about the strategic thinking behind the acquisition. “Additionally, our 2017 annual audience survey confirmed that our readers had a significant interest in having us develop a podcast channel.”

I’d like to point out just how much this arrangement reminds me of the one that was struck between USA Today and Robin Amer, which I profiled last week. Speaking of which…

A quick update to last week’s item on The City. In the piece, I talked a little bit about the USA Today Network’s podcast plans for 2018, chiefly drawing information from a summer 2017 press release the organization circulated when they first announced the acquisition of The City. The plans mostly involve launching more podcasts across its properties.

The company reached out to let me know that their thinking has since evolved. “The network already produces dozens of podcasts across its 109-plus sites, but is now focusing on a handful of those shows to support with resources and marketing à la The City,” wrote Liz Nelson, the USA Today Network’s vice president of strategic content development. “At the time [the press release] was written, we did have 60-plus podcasts — most of which bubbled up organically at the local level. We’re closer to 40 now. That number will continue to ebb and flow and we encourage experimentation at the local level, which gives our journalists the space they need to experiment in the medium.”

Nelson added: “But from a network level, we are not putting the same amount of resources we’ve put into The City into every single show. We’re concentrating on a smaller set of shows we believe can have national impact.”

Hold this thought. We’re going to talk about other stuff for a bit, but we’ll get back to this notion of resource focus.

“It amuses me,” wrote Traug Keller, ESPN’s senior vice president of audio, in a corporate blog post touting the sport media giant’s podcasting business, “when I read about podcasting in the media with references to it being ‘new’ or ’emerging.'”

Keller continued:

As ESPN has done with other technologies — be it cable TV in 1979, the Internet in the ’90s, HD television or mobile initiatives more recently — we embraced podcasting as soon as we could and ran with it — even if we didn’t always know where we would end up! We launched our first podcast way back in 2005. A head start is often critical in a competitive business environment.

I also chuckle when people refer to podcasting as some mysterious new format to figure out. I’ve spent a career in audio, and I can tell you the key ingredients for compelling audio are constant…

Yeah, I don’t know, dude.

The borderline condescending tone of the post isn’t exactly something I’d want to hear from a company whose public narrative is one of crisis on multiple fronts — from the disruption of its cable-bundle–reliant business model to layoffs to its uneven handling of social media policies to the uncertain future of a gamble on OTT distribution — let alone a podcast publisher whose Podtrac ranking placement (as always, disclaimers of that service here and here) is powered by what is still largely a spray-and-pray strategy, in which 82 shows are deployed to bring in 35 million global unique monthly downloads. For reference, the infinitely smaller PRX team gets 4 million more with less than half that number of shows (34 podcasts), while NPR bags three times more downloads with just 42 podcasts that don’t at all traffic in naturally addictive sports content.

To be clear, I am, very generally speaking, more appreciative of a world with a strong (and better) ESPN in it than one without. And let me also just say that I really like some of its recent moves in on-demand audio, namely the creation of the 30 for 30 Podcast and having Katie Nolan launch her own show.

But I just don’t think very highly of this whole “oh we’ve been doing this for a long time/we were doing this first therefore we are super wise” mindset that either mistakes early sandbox dabblings for meaningful first-mover value creation or simply being first for being noteworthy. To be fair, this isn’t a knock that exclusively applies to Keller’s blog post; that thinking governs an alarming share of press releases and huffy emails that hit my inbox. But here’s the thing: I really don’t think it matters whether you did first. What mostly matters is if you did it right. Which is to say: If you invented Facebook, dammit, you’d have invented Facebook. Furthermore, as it stands, if there’s anything I’m acutely aware of writing this newsletter every week, it’s that, much like everywhere else, nobody really knows anything. It’s just a bunch of people working really hard, trying to figure this whole podcast thing out.

Anyway. I normally try not to be too worked up about anything, but this stuff really bugs me, and goodness, there’s nothing I would love more than to take this mindset, strap it onto the next Falcon Heavy rocket, and launch it straight into the dying sun.

Still, credit should be given where’s credit due: The post goes on to discuss what I think is a really positive development for ESPN’s podcast business:

To get there, we pared our lineup — once numbering in triple digits — to about 35, focusing on the most popular offerings (NFL, MLB, and NBA) and other niche topics where we can “own” the category. It’s a “less is more” strategy, where we can better produce and promote a smaller lineup.

Which reminds me of something…

After spray-and-pray. ESPN’s move to pare down and focus its overflowing podcast portfolio reminds me of another podcast publisher that’s been pretty active since the first podcast boom: NPR.

NPR’s podcast inventory, too, once numbered in the triple digits. In August 2005, its directory housed around 174 programs, 17 of which were NPR originals while others were shows from member stations that the public radio mothership were distributing on their behalf. (That practice has since been terminated.) The show number peaked around 2009, when the directory supported about 390 podcasts.

“Back in those days, podcasts were hard to access and only the really digitally savvy listeners could find and download them,” an NPR spokesperson told me. “We were experimenting and we were excited with the possibility of putting out NPR content on-demand, repackaging content that had aired about specific topics, seeing what the audience would like…It also allowed for additional creativity in programming, podcasts could be a sandbox for piloting new ideas.” Some of those ideas eventually grew into segments and radio shows of their own, but these podcasts mostly ended up being an unruly system of small, quiet, under-the-radar projects.

All that changed with this most recent podcasting boom, which started in the latter half of 2014. Around that time, a focused effort was made to identify and retain shows that fit a certain set of criteria that included having a native podcast experience (and not just recycled segments from existing shows), strong listener communities, an alignment with the organization’s business needs, and so on. The rest were culled. By the end, NPR was left with 25 shows. “Our thinking was that by having a smaller portfolio, we could draw more attention to them, serve them better, cross-promote, bring sponsorship support, create significant reach,” the spokesperson said.

The move felt like a gamble at the time, but it paid off. “While everyone expected our downloads to go down, within two months, downloads were somewhere near 50 million a month,” remembered Audible’s Eric Nuzum, then vice president of programming at NPR. “Within a year, it was over 80.”

That number is now 110 million. The point of this little parable is…well, I don’t think I have to spell it out. You get the picture.

Call Your 2018. There are few teams I admire more than the trio behind Call Your Girlfriend, the podcast for long-distance besties everywhere: journalist Ann Friedman, international woman of mystery Aminatou Sow, and radio producer Gina Delvac. The show has, over its nearly four years of existence, evolved from a fun side project to stay connected into something so much more than that. It is, in equal parts, a platform, a community, and an ever-growing resource. And if the enthusiasm of some friends of mine who consider themselves devout CYG fans are any indicator, Call Your Girlfriend is also damn close to being a full-fledged movement.

Last year was a difficult one for the team, given the political environment, but it was also a call to arms to which they responded with vigor. “Despite the trash-fire that was 2017 in America,” they wrote me, “Better yet, because of it, we wanted CYG to function as a place of refuge for our listeners, and for ourselves.” This translated into an interview schedule that was dense with guests that spoke directly to the moment — including but not limited to Hillary Rodham Clinton, Kirsten Gillibrand, Margaret Atwood, and Ellen Pao — as well as a multipart series on women running for office that featured sit-downs with first-time candidates and organizations that support women seeking political office. The team also worked to push the show creatively, producing a special episode on pelvic pain and trauma and occasionally handing the mic over to other podcasting teams, like Who? Weekly’s Lindsey Weber and Bobby Finger along with Good Muslim Bad Muslim’s Tanzila Ahmed and Zahra Noorkbakhsh.

The year was also fruitful for Call Your Girlfriend’s business. Though specific numbers were not disclosed, I’m told that the show’s revenues — which come from a combination of ad sales, live events, and a healthy merchandising arm — far exceeded their original targets. More ambitious goals were set for the new year.

We’re neck-deep into the second month of 2018, so I thought it was a good a time as any to check in with the team about their plans for the coming months, their thoughts on how the industry has changed, and their commitment to being independent. They were kind enough to oblige:

[storybreak]

[conl]Hot Pod: What are y’all hoping to do this year?[/conl]

[conr]Call Your Girlfriend: One of our first interviews of the year was with Cameron Esposito, and we loved her answer to everyone who’s told her she’s too loud or too gay: She’s simply getting gayer and louder. Likewise here at CYG, we’re getting more political, more feminist, and more obsessed with the transformative power of friendship.

Editorially, we’re both digging in and branching out. We’ll be featuring more of our sheroes as well as women whose stories you haven’t heard yet. We’re deepening our work with political candidates who will (hopefully) be running our country soon, and the writers, critics, and artists whose interpretive work helps us endure. We have a number of themed episodes in the works.

We’re also each taking on more as individuals: Amina is sharing more of her personal experience with illness and grief, Ann is bringing more of her stellar reporting and editorial strategy evident in her many bylines and newsletter to the podcast, and Gina is stepping in front of the mic to host an upcoming episode about sex.

We’re also hiring our first ever associate producer! Applications just closed, so we’ll be excited to announce the newest member of our coven in the coming weeks.[/conr]

[conl]Hot Pod: How has it grown over the years?[/conl]

[conr]Call Your Girlfriend: We are very happy that we’ve stayed independent, and we’re working on some more official/structured ways of helping newer, like-minded independent podcasts find their footing as well. We’re also working on ways to leverage our listeners’ incredible political engagement. Our audience — primarily millenial women — drives book sales, ticket sales, merch sales, charitable donations in the tens of thousands and more. Folks on our mailing list are even volunteering to donate their blood for a national drive we’ll be announcing soon.

Part of how we’ve stayed independently owned is through the ads Midroll sells on our behalf. We’ve heard from the partnerships team that our sell-through rates are excellent, and our audience is a highly prized demographic segment. From a pure capitalistic standpoint, there are more advertisers recognizing the buying power in our demo than available ad inventory. We’d like to see more women behind the mic for myriad reasons, including getting paid. We’d also like to see more and better products and services that our audience will enjoy. We’re looking into ways to carve open more space, to bring revenue to great projects and better ads to fit women’s outsized purchasing power. (Weight-loss products need not apply. We love women of all sizes.)[/conr]

[conl]Hot Pod: How do you see Call Your Girlfriend right now, and how has the vision for the show changed over time?[/conl]

[conr]Call Your Girlfriend: When we started, this was a project to stay connected to one another and have fun. We still do that, but we’ve added a number of elements outside the podcast itself along the way. Like the music touring model, that’s mainly meant live events and selling merch. Now and looking into the future, we see Call Your Girlfriend as a great clearinghouse for authentic content for ladies who get it. We’re always thinking about bigger projects in audio, as well as TV, digital, political action, and more.

We’ve talked about engagement, but on a qualitative level our fans respond and show up the way that close friends do. The live shows are a great example. We see friends in cahoots who seem like lifelong besties — and then discover they’ve just met. The number of friends who’ve planned road trips or flown in to be with their long-distance BFF for our shows is astonishing. The community around what we do is really positive and powerful. So we’re interested in adding to that experience as much as possible, that sense of pride and belonging, whether it’s on stage, in your earbuds, on a t-shirt or, perhaps, a screen.[/conr]

[conl]Hot Pod: What’s worrying you guys?[/conl]

[conr]Call Your Girlfriend: As exciting as it’s been to see the emergence of so many new shows and projects, it seems harder than ever for new self-funded shows to find their footing. In an ad-centric model, it takes a lot of work to build a sizeable audience. Audience support has practical challenges. And while we’re excited about the energy around podcasting from media companies, not everyone has the production and marketing budget to invest to help insure a smash hit.

Discoverability remains a challenge. We’re also interested to see whether the proliferation of connected cars, smart home devices, and other access points to audio make it easier to entice brand new listeners.

Finally, for us and shows like ours, hosted by women who are overtly political, we worry about being overlooked or diminished, particularly when compared with similar endeavors that feature men. We specialize in conversations among politically-savvy women who are running things or will be soon. We blend serious discussion of the policies that dramatically impact women’s lives with a good dose of banter. We hope that audiences and industry watchers see that our delight in friendship is completely in line with the seriousness of our analysis and aims. We’re here for every facet of women’s humanity.[/conr]

[conl]Hot Pod: What have you been seeing with the rollout of Apple’s new podcast analytics?[/conl]

[conr]Call Your Girlfriend: It’s been really interesting to run a weekly show with the emergence of so many serialized and/or seasonal programming, watching which episodes really pop and which ones less so. It’s causing us to think critically about re-engagement, promotion, and leaning into vs expanding our style of content.[/conr]

[conl]Hot Pod: Has it been difficult staying independent?[/conl]

[conr]Call Your Girlfriend: It hasn’t been hard for us to stay independent — that’s remained one of our core values — but as we each advise fellow podcasters we recognize that these are very different waters to wade into. Listeners are getting really sophisticated, which is great. But, that makes it harder to learn as you go. There’s much less room to fudge things like your show’s editorial framing, ill-considered artwork, or audio quality. And kind of like your inner circle of friends, once you have core besties, you limit how many new intimates you take on, by necessity.[/conr]

[conl]Hot Pod: Finally, is there anything else you’d like to talk about?[/conl]

[conr]Call Your Girlfriend: Anyone who has money to burn, talk to us. You’re a fool not to talk to us. We’re killing it.[/conr]

[storybreak]

Bites:

    • This is Love, the limited-run spinoff series from the team behind Radiotopia’s Criminal, is rolling out this week just in time for Valentine’s Day. Should be perfect for those who enjoy a steaming plate of romance with a side of spiders. (Website)
    • WBEZ debuted Making Obama, the Chicago public radio station’s followup to Making Oprah, last week. As previously mentioned, I’m personally psyched for the entire “Making” model, and its Hearken-like potential for local radio stations across the country. Snazzy landing page, too. (Said landing page)
    • FiveThirtyEight’s whiz kid Harry Enten has left the Nate Silver-led statistical analysis site to join CNN. Enten was a fixture on the site’s politics podcast, which I’ve always thought is one of the more entertaining and informative in the genre. Just as a reminder: There’s been some hubbub about FiveThirtyEight possibly being sold off. It’s currently owned by ESPN.
    • However unclear the path forward might be for a reputable public radio station mired in controversy, the show must go on. Last week, WNYC launched Trump, Inc., a collaboration with ProPublica that endeavors to answer basic questions on how the president’s business works — a set of facts that remain quite murky. The fine folks at Nieman Lab have some deets.
    • Speaking of Trump content, NPR’s Embedded is back with another season on the current presidential administration. (Show listing)
    • “Podcasting Is the New Soft Diplomacy.” The underlying premise here isn’t particularly novel, but there are some nice ideas in this Bryan Curtis piece that help illustrate soft power in the age of digitally distributed media intimacy. (The Ringer)
  • TheSkimm, that popular media company whose morning newsletter product reaches more than 6 million largely female readers, has launched its first podcast. (Though, it’s not the company’s first audio product. That would be the Skimm Notes feature that’s packaged into its app.) The show is called Skimm’d from The Couch, and it takes the shape of a career advice vessel in the minor key of Guy Raz’s How I Built This. (Official blog)

[photocredit]Photo of Sean Rameswaram by James Bareham/Vox Media.[/photocredit]

Turns out people really like podcasts after all (and now we have numbers to prove it)

Welcome to Hot Pod, a newsletter about podcasts. This is issue 149, published January 30, 2018.

One month in. When Apple rolled out its long-awaited in-episode podcast analytics last month, part of the anxiety (and excitement, really) was finding out whether, essentially, the world would end. Which is to say, whether this whole podcast thing was a bubble, a house of cards; whether perhaps many of the metrics the industry had been using to articulate, extract, and transact its value was nothing more than inflated abstraction, like the hollow vitality of a viral tweet lifted up by a golemnic army of stolen identities.

You can scratch that particular anxiety off the list. Over at Wired, Miranda Katz checked in with a few publishers one month in and wrote:

Though it’s still early days, the numbers podcasters are seeing are highly encouraging. Forget those worries that the podcast bubble would burst the minute anyone actually got a closer look: It seems like podcast listeners really are the hyper-engaged, super-supportive audiences that everyone hoped.

Among those quoted for the piece were reps from Midroll, Headgum, and Panoply.

But of course, whether podcasting was a bubble that better analytics would pop was always only half the question. The other half, whether the new data would lead to a boom, is a whole other bag of nuts. Katz writes:

On the business side, it’s likely that these high engagement rates and low levels of ad skipping will see a flood of new advertisers who have until now been reticent to enter the Wild West of podcasting — welcome news to anyone who feels about ready to throw their phone across the room any time they hear another ad for Squarespace or Casper.

We’ll see! When the analytics were first announced in the summer, Market Enginuity’s Sarah van Mosel told me: “This is certainly a step in the right direction. This is what we asked for and I thank the Apple team for hearing and responding to the podcast community. Now I want more.” More, as in the expected adtech bells and whistles like better targeting capabilities. More, as in anything above table stakes.

But hey, exciting stuff. I suppose this also means that Hot Pod will be somewhat relevant for at least a little while longer. Yay for jobs.

(Side note: I wonder how MailChimp, Squarespace, and Casper feel about their semi-lampooned ubiquity? Probably good, because ubiquity and synonymity with the rise of the medium is a plus, but there’s something about the mocking tone that suggests a more complex linkage.)

Big new clients for PRX. The Cambridge, Mass.-based podcast company announced two eye-catching partnerships yesterday: one with Night Vale Presents, the indie podcast outfit founded by Welcome to Night Vale creators Joseph Fink and Jeffrey Cranor; and one with Gen-Z Media, the kids podcast company founded by the people behind The Disappearance of Mars Patel.

These partnerships will see PRX providing the two companies with marketing, ad sales, and technology support services. That third bit means that both Night Vale Presents and Gen-Z Media will be moving their portfolio of shows onto PRX’s Dovetail platform, which currently serves as the hosting provider for all podcasts in Radiotopia network. (Well, almost. The Allusionist migrates over in April.) Dovetail also hosts podcasts from Serial Productions, most notably handling S-Town’s monster run. (More information on that situation can be found in this column from last April.)

Gen-Z Media’s shows were previously housed on Panoply’s Megaphone platform as a result of a previous partnership struck last January, which saw Panoply supplying production, financing, distribution, and technology support. Gen-Z is also an active partner on Pinna, Panoply’s app-oriented kids programming initiative, for which the podcast company was reportedly developing a suite of new shows.

“Truly, we’re not moving away from Panoply,” replied Ben Strouse, one of Gen-Z’s principals, when asked for clarification on the company’s standing with its previous provider. “Our shows on Pinna will proudly stay there, and we’ll continue collaborating with them on new projects. Our partnership with PRX is all about connecting with new listeners and reaching bigger and bigger audiences for our upcoming shows. We’ve got to diversify our business in 2018 to continue growing, and PRX has a tremendous distribution network and highly respected collection of great podcasts.”

Gen-Z’s move to PRX caps off a complicated month for Panoply, in which the company saw (1) the departure of its kids programming chief, Emily Shapiro; and (2) Slate, its sister company, taking over its podcasts’ sales processes from Panoply.

For Night Vale Presents, the move appears driven by an eye towards scale. Its shows were previously hosted on Libsyn. “We’ve got nothing but positive things to say about Rob Walch and the Libsyn team. They were amazing to work with — we’ve been with them since the beginning of Welcome to Night Vale, and we’ve always been very happy with them,” said Christy Gressman, partner at Night Vale Presents. “That said, we’re really looking forward to working with PRX in a streamlined way, where we’ll get to use their sales team and sponsor management resources and distribution technology (via their proprietary Publish and Dovetail applications), along with sharing other resources.”

Locking down Night Vale Presents and Gen-Z is a pretty big win for PRX, whose operations continue to sprawl out in a myriad of directions. The organization has evolved several times since its founding in 2003, when it was originally built to serve as a technology provider and tool hub for public radio stations looking to take advantage of the internet. (This involved, among other things, the creation of an online marketplace for programming and station-specific app development services.) In its current iteration, PRX has espoused a renewed commitment to independent creators, a stance that has expressed itself through the creation of its “indie podcast label” Radiotopia; the Podcast Garage in Allston, Mass.; and providing end-to-end podcast services for select partners that fit into this indie worldview. The organization is currently led by CEO Kerri Hoffman, who succeeded Jake Shapiro in 2016 when Shapiro moved on to found RadioPublic.

So, what’s the big picture here? One could argue that PRX — with its indie-minded orientation, technology stack, and expanding ad sales capacity supplied by Market Enginuity — makes for a fascinating foil for Midroll, which has long established itself as the dominant full-service provider for a good deal of the emerging podcast ecosystem. It’ll be interesting to see how PRX will further express itself as distinct from its competitors, and what kind of clients it will continue to target and lure away.

On a related note: Radiotopia’s Criminal is working on a spinoff called This Is Love that’s slated for a Valentine’s Day drop. I wrote about the details for Vulture, but I’d also like to say: What the Criminal team is trying out here seems like a good model for creative teams looking to flex their muscles in different creative directions without necessarily compromising the consistent audience interfacing of their core economic/production engines. It sets up an advantage not unlike what you’re getting in the relationship between This American Life and Serial Productions, where talent can flow between the mothership and one-off projects.

This week in public radio:

1. Last Friday, WNYC announced an executive reshuffle that sees Dean Cappello — the station’s chief content officer and CEO Laura Walker’s righthand man throughout her two-decade-plus tenure at the station — demoted into an advisory role with no direct reports. Cappello was previously responsible for overseeing WNYC News and WNYC Studios, the station’s on-demand audio division. The shift comes almost two months after New York Magazine’s The Cut published a piece from the journalist Suki Kim detailing sexual harassment complaints and allegations made against The Takeaway’s John Hockenberry during his hosting tenure at the show. Kim’s story has since catalyzed a broader reckoning about the station’s management, which was deemed to have inadequately handled the Hockenberry complaints and, more broadly, manifested a culture that allowed for bullying, harassment, and discriminatory behaviors that have especially hurt women and people of color.

However, in a statement to Splinter, a WNYC spokesperson clarified that Cappello’s demotion was part of a strategic shift and unrelated to The Takeaway controversies. (Cappello directly oversaw The Takeaway and worked closely with Hockenberry for years, as a recent New York Times piece noted.)

It’s a peculiar clarification. But then again, if Cappello’s demotion was indeed meant to be the official response to the overarching concerns about the station’s culture, then it would have been an insufficient act of accountability. As it stands then, the station still hasn’t outwardly — or inwardly, as far as I can tell — indicated what it will concretely be doing to seriously address its systemic issues.

We may well still see…something from the station. In the WNYC News piece on the matter, it was noted that station management has brought in the law firm Proskauer Rose to investigate workplace conduct and former NPR executive editor Madhulika Sikka to review editorial content and structure. But for now, it feels like the impetus for change remains more centered in the hands of the station’s supporting member base, and how that constituency will collectively choose to alter the cost of reinforcing the status quo.

2. Minnesota Public Radio’s Garrison Keillor problem continues to be a flaming mess. A quick list of recent developments:

  • Last Tuesday, MPR News published an investigation going deep into Keillor’s troubling history of inappropriate workplace behavior around women. “An investigation by MPR News…has learned of a years-long pattern of behavior that left several women who worked for Keillor feeling mistreated, sexualized or belittled,” the piece wrote. “None of those incidents figure in the ‘inappropriate behavior’ cited by MPR when it severed business ties.”
  • That same day, MPR CEO Jon McTaggart published a note responding to several questions that have been sent in by listeners about the controversy. “The irony is that while MPR has been careful to protect Garrison’s privacy and not hurry any decisions, others have rushed to judge and criticize MPR’s actions without knowing the facts,” he wrote in response to one query.
  • A few days later, Keillor pushed back against MPR, MPR News, and an accuser through a statement published on his website and sent to HuffPost. “If I am guilty of harassment, then every employee who stole a pencil is guilty of embezzlement,” he wrote.

There remains a standoff between MPR management and Keillor, with the fate of the Prairie Home Companion archives — considered “historically valuable” by a curator at the University of Maryland, and to which Keillor holds many of the rights — at stake, as the Star Tribune reports.

3. NPR published the 2017 edition of its staff diversity numbers last week, which shows virtually no progress from the year before. Ombudsman Elizabeth Jensen with the details:

The overall racial and ethnic diversity of the news and information division remained virtually unchanged as of Oct. 31, 2017, when compared with the year earlier. Figures supplied by NPR’s human resources department showed the division of 377 people to be 75.10 percent non-Hispanic white (as self-identified). That compared to 75.4 percent the year earlier, when there were 350 newsroom employees. I’ll repeat what I said of the 2016 numbers, which showed only incremental change over the last five years: this was a disappointing showing.

Year-to-year, there were some small changes in the makeup of the remaining 25 percent of the newsroom. The percentage of employees who reported they were Latino or black rose slightly; Asian employees as a percentage dropped slightly.

Jensen’s piece unpacks a number of elements embedded in the station’s problem with employment diversity that’s worth thinking about, including a “trickle down” dynamic as well as the indirect impact of the broader public radio ecosystem’s lack of diversity as a potentially relevant factor in the station’s failure to adequately solve the problem. (One thing I’m personally wondering about, though, because I’m a yellow person: Why did the percentage of Asian employees drop slightly? Are we just, like, not talking more about that?)

But there is absolutely nothing new to be said about this issue that hasn’t already been said, not that doesn’t it have to be said repeatedly, ad infinitum, until the light of the sun snuffs out or the percentages actually change: This needs to be fixed, like now, and it’s ridiculous that the needle has barely moved, maybe even regressed.

In other news: Marjorie Powell, vice president of human resources, has left the organization. Current has some noteworthy background on the development.

Nope, not a good week for public radio.

Personnel notes:

  • Dave Shaw, the executive producer of podcasts at E.W. Scripps, has moved to Politico to lead the podcast team there. He started work today. Also at Politico: Bridget Mulcahy has been promoted to senior producer, and Micaela Rodríguez joins full time as assistant producer.
  • Vox Media now has a dedicated podcast marketing manager: Zach Kahn, who previously worked in the brand marketing and sponsorship division.

Dirty John in the age of Peak TV. The multimedia true-crime project from the Los Angeles Times is in the process of being adapted into two different series for two different networks, according to The Hollywood Reporter.

Bravo, home of the Real Housewives Expanded Universe, is reportedly “near a deal” for an anthology series based on the Times’ Christopher Goffard’s reporting and accompanying podcast (produced in collaboration with Wondery). It will be a two-season order; first season of that show will be based on the Dirty John story, while the second will focus on a new tale altogether.

The Oxygen network is the other suitor, having ordered a companion unscripted series focused on the subject of Goffard’s feature, John Meehan.

Three things:

    • Dirty John is the latest in a growing line of podcast-to-television adaptations, which you can read more about here, here, and here. At some point, I’ll put together a spreadsheet or something tracking the pipeline so we can figure out the split between fiction and nonfiction projects, true crime and non-true crime, so on and so forth.
    • The fact that Dirty John is being adapted into both scripted and unscripted forms is super interesting. How much juice can you squeeze out of a fruit? Depends on the fruit, I guess. Or maybe not?
  • This bit of news comes as the L.A. Times is increasingly engulfed by managerial maelstroms, including dramatic reshuffles in its management, sexual harassment allegations levied against publisher and CEO Ross Levinsohn, and a comically capitalistic parent company called Tronc that’s engaged in questionable business strategies to the detriment of its talented newsrooms. The situation remains fluid; I recommend following Ken Doctor and David Folkenflik if you’re tracking the story.

Macmillan outlook. The podcasting adventures of Macmillan, the international book publishing giant, can be traced back to the closing weeks of 2006 when John Sterling, then the publisher and president of the Henry Holt imprint, called up a science writer named Mignon Fogarty after reading about her rapidly growing podcast, Grammar Girl, in The Wall Street Journal. A phone call about a potential book deal turned into the mutual identification of a unique opportunity, which in turn led to the creation of the Quick & Dirty Tips Podcast Network, one of the earliest podcast publishing experiments by a non-audio native company. (Simon Owens has a great recent history of QDT on his website.)

The network has since grown into a robust and well-oiled machine. It is now over 275 million podcast downloads strong, having added 25 million episode downloads across 2017 to the 250 million in lifetime downloads the network had accumulated by the end of 2016. Fogarty continues to publish Grammar Girl, the network’s flagship program now flanked by an array of spinoffs, and she has published several books that direct extend from her work on the podcast. Meanwhile, Sterling, who continued to oversee QDT even as he ascended to the role of executive vice president at Macmillan proper in 2008, recently announced that he was stepping back from full-time work at the publisher to get into politics. The news comes shortly after he completed work as the editor of Michael Wolff’s Fire & Fury.

With delicious lore to spare, Macmillan is a fascinating figure in podcasting: an early adopter, a persistent player, and a singular operation. And last year proved to be no different for the publisher as it continued to work the on-demand audio angle.

At the tail end of 2016, I wrote about Macmillan’s ambitions to further scale up its on-demand audio operations with the formation of Macmillan Podcasts, a new internal venture that seeks to explore more systematic ways of bridging authors and podcasts. Led by Kathy Doyle, the company’s vice president of podcasts, the newly formed division spent the year setting the table — “We tripled the size of our team and put together a workflow that enables us to be nimble and responsive to requests from our publishers, as well as authors and talent, as we grow our catalog,” she said — and establishing their presence within the organization. This work was mostly tied in the development and rollout of new projects, of which there were five in the latter half of 2017 (Raise My Roof, Dig If You Will, Feminasty, Rossen to the Rescue, and Steal the Stars), but it also revolved around an internal awareness-raising campaign. “We did a road show introducing the potential inherent in podcasts to all our publishers and showcasing the ways we can help contribute to their success — no topic or narrative style is off limits,” she explained.

Steal the Stars, in particular, emerged as the standout project for the division. I first wrote about the podcast last summer, when Tor Books, a science fiction and fantasy-focused Macmillan subsidiary, announced the formation of Tor Labs, an experimental imprint “emphasizing experimental approaches to genre publishing,” which developed Steal the Stars as its first project. I loved the idea of Tor Labs; here you have a new internal venture that’s working to cultivate publishing projects that are meant to contemporaneously span across multiple platforms such that value can be simultaneously extracted from the different markets of different mediums. Such a setup vastly expands the surface area of a single project, dramatically increasing the work’s exposure and further allowing for the possibility of ushering more audiences to cross over between mediums. Sure, much like Subcast from last week, the whole thing isn’t particularly revolutionary — we do live in an age where just about everything gets adapted into any given direction, from podcasts-to-television to documentaries-to-podcasts — but the real innovation is the efficiency and contiguity of the arrangement. Every element is plugged in together from the outset, and that seems new to me.

Steal the Stars was indicative of what the bleeding edge for Macmillan Podcasts could look like. It involved close coordination between Gideon Media (which created and produced the podcast), Tor and Tor Labs, Macmillan Podcasts, and Macmillan Audio (which oversees its audiobooks operations), all collectively working together to ensure that every format of the show was set up to perform well within their respective markets.

Doyle considers the experiment a success. The podcast ended up clocking in a solid performance with listeners; I’m told that the 14-part run surpassed 1 million downloads and continues to perform well in the postseason. “Our strategy included taking the podcast content and adapting it into a trade paperback and ebook and just last week we released an audiobook with bonus content — we even did a prequel live event that sold out — all of which continues to drive interest in the podcast,” she explained. “We’ll be leveraging this model again.”

As far as the product itself goes, I thought it was a really fun listen. A sci-fi audio drama written by Gideon Media’s Mac Rogers, who also wrote The Message and Life After for Panoply, Steal the Stars was a comparatively straightforward narrative romp involving aliens, secret government hijinks, and romance.

So, what does the year ahead hold for Macmillan Podcasts? As you would expect, they’ve got a pile of projects in the pipeline. The division recently released a few trailers teasing two February launches: the first is called One True Pairing, which will be hosted by two St. Martin Press staffers — “Think My Favorite Murder for people who read US Weekly,” Doyle said, a description that sounds a lot like a Who? Weekly competitor — and the second is called But That’s Another Story, which “looks at how books and reading change and shape our lives” and will be hosted by best-selling author Will Schwalbe. More are on the way.

Doyle also notes that the year will be spent further building out key relationships, distribution points, and co-marketing opportunities within the industry. “We’re spending a lot of time thinking about ways we can collaborate with our partners in support of our authors and continue to innovate with new audio-first formats,” she said. You can already see some of that with Macmillan Podcasts’ participation in the marketing of Launch, a new podcast about writing a novel developed by Wondery.

Like most other podcast operatives, Doyle is thinking about the discovery gap — and where the closing of that gap will come from — as well as the longevity of the advertising model, which is the primary revenue channel for their show portfolio. That latter concern is pushing her to explore alternatives. “We’re open to additional models, perhaps working with distributors on a windowing relationship or developing exclusive content,” Doyle added. “It’s a case-by-case basis.”

But for now, though, Macmillan Podcasts is settling into itself. They remain occupants of a unique corner in the broader podcast ecosystem, hard at work figuring out how to add more layers to its niche.

Bites:

  • ESPN is reportedly exploring a sale of FiveThirtyEight. Should FiveThirtyEight break off from Disney — which owns ESPN, among so many other things — there would be considerable ramifications for the FiveThirtyEight Politics podcast and ESPN’s 30 for 30 podcast, as both shows share Jody Avirgan as a principal producer. (The Big Lead)
  • Gimlet is producing a live festival for itself. Called Gimlet Fest, it is scheduled to take place on June 16-17, not too far from their new 27,000-square-foot downtown Brooklyn offices.
  • A documentarian is developing a project about Joe Frank, and is raising funds on Indiegogo.
  • WBUR is launching its collaboration with The Washington Post, Edge of Fame, next month. The show is fronted by WaPo national arts reporter Geoff Edgers, and each episode will profile artists, actors, musicians, and comedians — including Ava DuVernay, Jimmy Kimmel, and Norm Macdonald — through a blend of interview and field recordings. Debuts on February 15.
  • Two shows to track on the local podcasting front: Nashville Public Radio’s The Promise, a limited-run series on public housing in the city, out now; and KPCC’s Repeat, which investigates the story of an L.A. County sheriff’s deputy who shot at four people in seven months. It starts February 7.
  • Variety has a big feature up on Spotify as the music streaming company sets off towards going public, titled “With 70 Million Subscribers and a Risky IPO Strategy, Is Spotify Too Big to Fail?” The piece is super useful to get a sense of what’s going on (and what’s at stake) for the company and its relationship to the broader music industry. Once you’re done with that, pair it with this Financial Times bit: “Songwriters’ court victory deals a blow to Spotify.
  • Not directly podcast-related, but maybe it can be: “A Bunch of TV Writers Are Building a Salary-Transparency Database.” (Vulture)
  • Because true crime is arguably the pulping heart of podcasts in 2018…”Hunt a Killer, One Subscription Box of Clues at a Time.” (The Ringer)

The daily podcaster’s choice: Try to fit in listeners’ crowded mornings or tackle the evening commute?

Welcome to Hot Pod, a newsletter about podcasts. This is issue 133, published August 22, 2017.

The daily show. If The New York Times’ The Daily and NPR’s Up First — taken collectively as, like, an index fund of the daily news podcast construct writ large — have taught us anything, it’s that there’s a market for such an audio product — at least for one that’s done smartly, thoroughly, and in a way that brings the weight of legendary newsrooms to bear.

The successes of these two operations have been nothing short of impressive. As you might remember from this Vanity Fair feature that dropped last month, The Daily is now averaging half a million downloads per day, a feat made even more remarkable given that the thing launched in February. As for Up First, NPR tells me that it’s reaching a weekly unique audience of almost a million users; that show launched in April. (The differences in metric might make an apples-to-apples comparison complicated for those interesting in doing so — but I think the victor is pretty clear.) Between the two shows — three if you count the offbeat entry from The Outline, but you shouldn’t, because it’s doing something completely different — you could argue that the daily news podcast space is more or less defined now, with the broad major players set well in place.

We’ll soon find out the extent to which that is true with a new entrant, one significantly different from the two incumbents in many key ways. Last week, I led the newsletter with word that Vox Media is working with Midroll Media to create a daily news podcast. That show will be supported by a six-person team, housed under the Vox.com banner, and will hopefully launch in early 2018. The search for the host and executive producer is on, with the job postings going up shortly after the initial news drop. (Here and here, if you’re wondering.)

I can’t say I’m surprised by the news. Vox Media has long exhibited a deep interest in the on-demand audio space, and the organization has proven to be consistently effective in its experimentation and increasingly formalized in its machinations: initially developing working relationships with multiple companies across the industry, deploying different arrangements for different podcasts between brands, eventually hiring an executive producer to oversee the entire operation, and finally inching towards consolidation. (Vox.com’s The Weeds and The Ezra Klein Show, whose productions were once handled by Panoply, were recently moved in-house.) This move to get into the daily news podcast fight seems a logical next step in Vox Media’s ambitions, even more so given the genre’s newfound prestige and rising prominence as the place to blaze some trails.

Where the Times and NPR are legacy entities with the weights and advantages of history behind them, Vox Media is young, emergent, and digitally native. Which, you know, kinda makes it unclear whether the latter will have any weight to bear or if this will be a pure deadlift. But then again, the critique against legacy entities has always been that they’re comparatively slow and lumbering. In any case, there’s a lot to consider with this bubbling development, and me, I’m mostly thinking about two things: time and talent.

Time. There’s something that the job description doesn’t note that I find eminently interesting: whether the podcast will cater to the morning or evening commute. This, in my mind, is the most interesting, if not the biggest, strategic question. My gut (which is by no means a reputable or scientific source) tells me that there’s some meaningful overlap in audience between The New York Times and Vox.com, and so I imagine if Vox were to pursue the morning news route they would be putting a good portion of their target audience in the position of having to choose between The Daily and its new audio product. Whether that outcome is suboptimal is worth weighing; on the one hand, Vox’s product starts off in a position of working to cull from the former’s base, and on the other hand, you might have a situation where Vox’s new product rubs up against the work of having to interrupt a habit that’s been cultivated as far back as possibly February.

One could assume the position that the daily-news-podcast-consuming audience — with its voracious appetite for news — would want more than one daily news podcast in their morning routine. But to play to that base is to set hard ceilings off the bat. Such a news consumer is a highly specific creature, the theoretical opposite of a general consumer — which is fine if that’s the intention, but there’s only so far you can go unless the broader strategy is to foster a new, bigger generation of news obsessive. (Again, if that’s the plan, fantastic.) Further, as a matter of programming, aiming to be the second in a morning rotation means having to prevent a sense of repetition.

But let’s say the strategic premise of developing another daily morning news podcast is to carve out a new audience, separate and apart from what’s already been built with The Daily and Up First. What competitive traits do you need to guarantee? You would, at the very least, require that your brand means something distinct (and perhaps meaningfully separate) from those of The New York Times and NPR, such that the brands do not overlap. (Is that possible, or even desirable? The question is worth entertaining.) You would also have to develop a mastery over podcast audience development channels that aren’t already over-exploited; would plastering house ads over Vox Media’s various brands be enough in forming a new base audience for the podcast?

Anyway, this is all a longwinded way of saying: At this moment, there’s more upside than downside to making a move for the evening commute. It’s a different kind of game, sure, but the end-of-the-work-day news roundup (the All Things Considered slot, essentially) is still unclaimed territory in podcast-land. (Though, I suppose, you’d still have to account for Slate’s The Gist, which can technically be sorted as a news podcast but is truly more of a magazine.)

Before I move on, there’s something else I’m wondering: Will the competitive environment of the daily morning news podcast function more like the morning TV arena — in that program-audience relationships are more or less exclusive and fixed — or will it be a little more fluid, like how multiple physical newspapers can fit into a morning media diet? I hope it’s more the former, and if so, someone better get moving on writing Top of the Morning, but for podcasts.

Talent. From the official job listing:

As we envision it, the host of this show will be the audience’s guide and champion — asking the questions they would ask, having the conversations they want to have, channeling the curiosity they feel. You are their smart, enthusiastic, skeptical friend — not their boring professor. To that end, we are relying on the host to have a strong point of view on the world, to see unusual angles and interesting stories everywhere, and to be genuinely, joyously interested in pretty much everything.

Big job, big ask, eh? My queries, right off the bat: Will Vox.com bring in a relatively experienced talent, perhaps from an established radio or podcast team, or will they elevate someone from in-house that may be less proven in front of the mic? (Or will they perhaps bring in an untested outsider with some measure of celebrity? Totally valid option, let’s be real.) Who will be the non-Ezra Klein sound of Vox.com, which is essentially what this amounts to?

Also, side question: How will they test the hire? The Daily’s Michael Barbaro, after all, was able to cut his teeth with the comparatively low stakes The Run-Up, and NPR never really had to deal with that question — after all, Up First was basically just a straightforward adaptation of the built-in Morning Edition operation, no talent testing required.

There’s so much potential here, and there’s a whole lot of room to assemble a really cool voice and vision with this gig. (And the opportunity for host-producer superteams! Man.) Anyway, I’m excited, obviously, I’ll be tracking this story closely. Who will be the anti-Barbaro? Send me your ideas, let’s place some bets, I’m all ears. (Speaking of which, the dude now has, like, two published appreciations: The New Yorker and BuzzFeed. This is getting out of control.)

More on Up First. In their response to my queries for the previous item, NPR also shared the following data points: A survey of Up First’s audience shows that 61 percent of its listeners are under 35, which is said to be younger than NPR’s overall podcast audience, and that 44 percent of the podcast’s listeners have never listened to Morning Edition. Further, 97 percent of the audience report that the podcast is “part of their morning routine” and 80 percent report that “they listen every day.”

Fun times.

Radiotopia’s Millennial has come to an end, creator Megan Tan announced in a final dispatch that dropped last Wednesday. The reason, we’re told, has to do a lot with the difficulty of sustainably maintaining the show’s unique diaristic format — Millennial is, was, for a long time, the first-person account of a life — and grappling with the podcast’s shifting identity when Tan made the decision to open the show up in scope after it was picked up by Radiotopia last May.

“Maintaining a memoir-style show is difficult,” she explained to me over email. “Even as Millennial transitioned from Season One’s linear narrative of my life to other people’s stories, we still had to tie each episode back to me personally. Finding ways to create a personal throughline to each episode with an emotional tie became taxing and wasn’t always possible…at a certain point, the more we problem-solved the production of the show, the more it felt like Millennial’s identity started to blur. When those two factors started to come to a head, it made sense for me to end the show.”

Millennial is the first Radiotopia show to officially cease production since the podcast collective’s launch in February 2014. The show’s closure also technically means that Tan is no longer with Radiotopia, though the possibility for future collaborations exists. As for what comes next, she tells me: “Being an independent podcaster in many ways is extremely lonely. My next steps are to find a team of people to work with and help contribute to a show. Right now, I’m casting a wide net and exploring a lot of different opportunities.”

Third Coast adds a new component to its programming. Tomorrow, the organization will announce a new public-facing live event series that will accompany its usual producer-focused conference. “The Fest,” as it’s called, will take place in Chicago, of course, and the programming slate will span across a two-week period in November. Its inaugural lineup will include live shows from Love+Radio, Re:sound, Reveal, and Longform, with more to come.

“To us, it’s the perfect scenario: A conference that hones producers’ talent alongside a public festival of live events, together making Chicago the epicenter of the audio storytelling world for two weeks in November,” the team tells me. “We’re excited to flex our Third Coast curatorial muscles to gather audiences for story-based podcasts that were nurtured over the years at our very own conference.”

The Fest’s website will launch tomorrow, so watch for that, and by the way, registration for this year’s conference opens today.

Alice Isn’t Dead gets adaptation deals. The Night Vale team is no stranger to book publishing, with two novels (Welcome to Night Vale: A Novel, It Devours) and one episode collection (Mostly Void, Partially Stars) under their belt. Last week, they announced a new addition to their list of book projects: Alice Isn’t Dead, Joseph Fink’s creepy road-trip audio drama about a truck driver in search of her wife, will now be a novel as well. Fink notes that the book will feature a new story “built on the same bones,” and it’s scheduled to drop next fall. The audio drama is also getting a TV adaptation, which will be Night Vale Presents’ first. That project is being developed by Universal Cable Productions for USA Network, though no specific dates are attached to it just yet.

The steady drumbeat of podcast-to-TV adaptations rumbles on.

Gatekeepers, demographics, a production studio. “It’s not a democratic process at all,” wrote Juleyka Lantigua-Williams, CEO of the newly formed production company Lantigua Williams & Co., when I asked for her thoughts on whether the podcast industry has gatekeepers. “The major distributors make themselves de facto gatekeepers by selecting what they distribute…Big media companies with deep pockets also crowd the field by using their megaphones to promote passable content and drowns out new voices in the process.”

She continued: “So much of what is being created now is still geared to the standard media audience: a middle-class white person living in a suburb. That is the media consumer from the past, and creators — especially Latino and other people of color — must orient their work towards the audience of the future: an educated middle-class woman of color living in a midsize city. She’s the future.”

Lantigua-Williams is a 17-year media veteran, having operated as an editor, writer, and syndicated columnist for various organizations including The Atlantic and National Journal. Most recently, she served as the lead producer and editor on NPR’s Code Switch team, roles she held until June when she decided to leave and start her own venture. She describes Lantigua Williams & Co. as a production company, one that’s dedicated to “partner with people and organizations to produce work that has a clear social justice thread using radio, digital, and visual media.” Since launch, the company has assembled a solid initial string of clients, including: Latino USA, a project called Protégé Podcast (which examines people of color in corporate America), and various independent film projects.

I originally got in touch with Lantigua-Williams when she sent me a pitch arguing that “podcasts are the perfect medium for Latinos to truly break into media and forego the traditional loops associated with establishment media.” When I followed up, she provided a response worth running in full:

As with most worthwhile endeavors, a good podcast starts off as a good idea that sprouts at the intersection of knowledge and storytelling. You have to figure out something that is worth knowing and worth sharing and find the most compelling way to bring it to an audience that has too many choices.

Latinos, because of our long history in the U.S.; because of how vociferous we have been about asserting our right to belong here; because of the continuous flow of Latinos and our ideas into and throughout the country; because we are the youngest population cohort in the country (60,000 of us turn 18 every single month); and because we will constitute the largest group in the ascending brown majority, are largely defining what it will mean to be American in the next century and beyond. What we eat, the sports we love, how we worship, how we spend our trillion-dollar portion of the economy, and ultimately how we define our hyphenated identity creates the most fertile ground for creatives with vision to amplify their version of life as in the U.S. now.

And podcasts are among the most cost-efficient media forms right now. With less than $1,000 in equipment and some savvy social media marketing, a good idea can flourish, and an original voice can be amplified by the masses.

For too long, Latinos have followed a very traditional path to success, the original formula dictated by the myth of the American Dream: We go to school, get a job, and wait to be promoted. That formula is outdated and outmoded. Billenials (as bilingual Latino millennials have been dubbed by Univision) can leapfrog the usual gatekeepers by using their natural high tech-adoption rates, advanced social media skills, and cross-cultural knowledge to tell rich and necessary stories beyond the fight at the border.

For more information, you can hit up the Lantigua Williams & Co. website here.

Career Spotlight. Let’s say you’re a young person looking for professional purpose, some idea of a future, so what do you do? You move cities, get closer to the action, grab some people, take whatever opportunities cross you by: internships, fellowships, freelance jobs here, there, anywhere. You cobble together whatever you can into the shape of a thing that could hopefully pass as a career. If you’re lucky, you don’t have to work a third or fourth gig to pay the bills. But that’s only if you’re lucky. And you wonder: Where is this all going? What does this all lead to? The answer, maybe, is always the same: Who knows, we’ll see.

This week, I traded emails with Alice Wilder, a young producer from the South in her early 20s.

[storybreak]

[conl]Hot Pod: Tell me about your current situation.[/conl]

[conr]Alice Wilder: Currently I’m the podcast/video intern for FiveThirtyEight. Really, I’m the podcast intern. Right now, my manager Galen Druke is working on a miniseries for the site, so I’ve been focusing mostly on that (transcribing tape, assembling sessions, scheduling interviews etc). I also work on the weekly politics podcast.

In my spare time I run a newsletter called Cult of the Month with my best friend Kelsey Weekman. It’s our passion project (and a way to justify spending hours researching the Breatharians).[/conr]

[conl]HP: How did you get to this point? What does your career arc thus far look like?[/conl]

[conr]Wilder: I would not have any type of “career arc” if it wasn’t for Lauren Spohrer and Phoebe Judge, who let some random college girl transcribe tape for Criminal. People think I’m bullshitting when I say that I actually enjoyed transcribing tape, but listening to Phoebe interview is a masterclass and it gave me a deeper understanding of each story we did. I still miss logging tape for Criminal.

Then I asked if I could be an intern, and made a promise to myself that I would not say no to anything they asked of me. Lauren, Phoebe, and Nadia Wilson (our new producer!) are the best people to work for, they did not restrict me to typical intern tasks and took my thoughts (and pitches!) seriously, which means a lot when you’re an intern.

I stayed at Criminal for two years (I did not spend much time on homework for those years). When I graduated from UNC (Go Heels!) I moved to New York to start my internship at FiveThirtyEight. I’ll be here until early September, when I’ll start interning for Planet Money. I’m also starting a weekly(ish) newsletter for interns in the media industry. We don’t have access to much institutional power and I want to help build a network for jobs and career resources.[/conr]

[conl]HP: Being pretty early on in your work life, how do you think about your next steps? What does a career mean to you, at this point?[/conl]

[conr]Wilder: To me, a career means having health insurance. I really, really want health insurance. My initial thought going into my senior year of college was that I want to make radio in the South. I have roots in North Carolina and Louisiana and want to hear stories that come from those regions. I’m in New York right now because that’s where podcast jobs are. Eventually I’ll find a way to move back south.[/conr]

[conl]HP: When you started out, what did you think wanted to do?[/conl]

[conr]Wilder: LOL. I thought I was going to be a social worker. For all of high school and the first two years of college I was very involved in local activism and centered my identity around being a Teen Feminist. My 15-year-old self would be horrified that I didn’t participate in the Women’s March. But I couldn’t, because doing so violated my employer’s policies on political action. Instead I spent that time dogsitting for a family that was going to the march.

I wrote columns for my college paper for two years, and that involved writing about myself a lot. Right after I had a bad experience (intense street harassment, reporting sexual assault, etc) I would turn around and publish it for thousands of people to read. I (finally) realized that writing about something and sharing it with the world is not the same as actually processing it. So I stopped the column, did that processing, and used the platform I had built at the newspaper to tell other people’s stories.

The best lesson I learned about having a career in this field, I learned from Phoebe Judge. She gave a workshop at The Daily Tar Heel and told us that there’s not just one route to having a fulfilling career. You don’t have to major in journalism, intern for The Washington Post or NPR, and go straight to a big name publication after college. At the time, it felt like all my peers were taking that route and I felt like it was already too late for me. It was such a relief to hear that there are so many paths that can lead to a great career, and they don’t always involve having The New York Times on your resume by the time you turn 22.[/conr]

[storybreak]

You can find Wilder on Twitter at @Alice_Wilder.

Bites:

  • “How public radio is using Amazon’s smart speakers.” (Current) Note that none of the three stations profiled in this piece “has had more than a few hundred unique listeners on the platform” and “St. Louis Public Radio saw about 6,000 plays on Alexa devices from some 500 unique customers from late January to mid-June.” Also, do pair this article with: “Why The Amazon Echo Show Won’t Bring Up Charlottesville (Or Bad News In General).” (Fast Company)
  • TuneIn has raised $50 million to expand its programming portfolio, Bloomberg reports. “TuneIn will use the money to pay for rights to live sporting events and original programming like podcasts and music shows, which will help the company sign up more customers for a two-year-old subscription service.” (Bloomberg)
  • This is curious, and generally consistent with RadioPublic’s principal thesis: the podcast playing platform is now “the only universal embed whitelisted on WordPress and Medium that works with any podcast hosting solution,” as CEO Jake Shapiro tells me. (WordPress Blog)
  • Apple is moving its iTunes U collection, its audio-visual repository of free educational content, into the Podcasts ecosystem with the upcoming iTunes 12.7 update that will drop in September. A bit crowded in there, huh? Here’s the official statement on the matter, and here’s some analysis from MacStories. Fun fact: iTunes U is the old haunt of Steve Wilson, the former editorial gatekeeper for Apple Podcasts (now the division’s first marketing lead).

[photocredit]Photo of evening commute on Highway 85 in San Jose, California by Travis Wise used under a Creative Commons license.[/photocredit]

The podcast collective Radiotopia has a new leader

The new steward of Radiotopia. PRX has hired Julie Shapiro as the new executive producer of Radiotopia, the podcast ~collective~ that was formed in early February out of a partnership between the company and 99% Invisible’s Roman Mars.

Shapiro comes into the job with a tremendous street cred. In 2000, she cofounded the Third Coast Festival which, in case you didn’t know, is a big independent radio conference/summit/party in Chicago (“Third Coast,” get it?) where really talented and smart radio producers get really drunk together, play some really amazing stories, and have a really good time. She spent 13 years as Third Coast’s artistic director, where she firmly established herself as an incredibly influential figure in the independent radio community and beyond. She left the role in 2013, and has been spending the past couple of years kickin’ it with the wallabies down in Australia, where she served as the executive producer of the Australian Broadcasting Corporation’s Creative Audio Unit.

Oh, and fun fact about Shapiro from the press release: “Julie originally coined the term ‘Radiotopia’ in a speech at the Third Coast Festival, describing it as a place where awesome stories live.” It was meant to be.

janye

What will Shapiro do as Radiotopia’s new executive producer? A heck of a lot, PRX COO Kerri Hoffman told me over the phone last week. On a show level, she’s tasked with upping the game of every podcast under the Radiotopia banner, which will include (but will not be limited to): working with talent to raise and maintain the level of editorial quality, figuring out how to increase revenues, finding ways to foster deeper engagement with audiences, and developing robust strategies to help shows grow in general. On a network level, Shapiro will help define Radiotopia’s long-term strategic vision and articulate its narrative to the larger market, which, in my opinion, hasn’t always been very clear. ((In fact, I’ve always wondered: What, exactly, is Radiotopia? Why the heck is it a “collective”? What makes a show Radiotopia-worthy? What does the network stand for? Who does it target? Does it dream of electric sheep?)) She will also, I presume, play a huge role in sourcing new shows to add to the group, along with improving metrics, measurements, and standards both qualitative and quantitative.

That is, indeed, a crap ton of things to do, but Hoffman is confident she’s up to the challenge. And you know what? There’s nothing to suggest otherwise. Everything I’ve heard about Shapiro paints her as nothing less than a swashbuckling badass, and furthermore, ever since I started poking my nose around the radio world, I keep hearing stories about her being a great mentor to many a young fledgling producer. To me, that willingness to actively think about the next generation of producers is shorthand for proper leadership.

Also: “It’s super important to me that Radiotopia’s executive producer be a woman,” Hoffman said at some point during our conversation. You know what? It is important, particularly after seeing a parade of white dudes absolutely dominating executive-level positions in the blossoming for-profit on-demand audio industry. This is certainly encouraging stuff.

Also also: PRX CEO Jake Shapiro wrote me yesterday to clarify that, in fact, he is not related to Julie Shapiro. “However we do feel we’re part of a Shapiro mafia in public radio that includes Ben Shapiro and two Ari Shapiros (Ari Daniel and Ari at NPR),” he added. That is some Highlander business right there.

Shapiro starts work in November.

Anyway, let’s talk more about Radiotopia! It’s such a weird thing, and it’s in my top 10 of favorite things to think about.

So, in my mind, Radiotopia is the closest thing to the platonic ideal of a podcast network. Deeply committed to quality, the collective is also uniquely far-reaching in its thinking about genre, conventions, ideas. No two shows under the Radiotopia umbrella sound alike; in some ways, each show feels like a distinctly differentiated thesis, or some sort of gambit, like each show is placing a different bet on the way things should sound. There is boldness to the range of shows that are in Radiotopia: a range of voice, tone, genre, idea, ideal, vision, hope, limitations, trajectory. (Abstaining from using the word “diversity” here, lest I mishandle the political context of that word.)

Many folks have described Radiotopia as a hippie commune, no doubt due to its nonprofit, public media-minded origins and relative looseness with the concept of maximizing revenue. Being the raging, conniving capitalist that I am, I tend to agree with this characterization. And there’s something about the way it’s structured that compels me to be curious: I’m going to guess that not all shows perform equally — in fact, I’m going to rampantly speculate that the range of those performances are huge — and looking at how, well, spotty some of the show’s episode release schedules are, I wonder about financial resources are distributed across all the shows, and I wonder if there are any hangups when it comes to feelings of equity within the collective. But this is just me thinking out loud; there’s probably nothing to that.

Besides, I’m actually more partial to a metaphor given to me by an actual Radiotopian: that the collective is best thought of as an “indie record label” — where a tastemaking entity validates many autonomous visions by providing financial and technical backing. That’s a pretty cool way of looking at it.

Anyway, for the record: My all-time favorite Radiotopia show is most definitely Criminal. That show is so RIDICULOUSLY good it literally makes me angry. Like absolutely pissed. I punched a wall once I was so pissed. It’s crazy. (Song Exploder comes in as a tight No. 2, but docked points because Hrishikesh Hirway wasn’t able to bag the Bieber before The New York Times got their grubby hands on him.)

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Gimlet president: We need a reliable third party to “set an industry standard.” Gimlet president and tallest-man-in-the-world Matt Lieber has that and plenty more things to say in this interview with the Tow Center at Columbia.

You should give the article your click, but two things to note:

  • Really enjoyed his response to the “Why would a successful show stick around a podcast network?” question. Money quote: “He hopes that by ‘super-serving’ the creators with editorial support and a sense of community they will be incentivized to remain within the network for the long term.” Of course, that works for some setups and not others, but that’s definitely one way to skin a cat.
  • Lieber’s point on initiating direct relationships with brands is absolutely essential to understanding the unique value-add that podcasting brings to advertisers. It’s also really interesting to think about the way host-read ads are typically baked into episodes in the context of the larger ad-blocking scare looming over the rest of digital media. (Assuming ad-blocking is a problem: Recode’s Peter Kafka remains skeptical, unless I’m reading him wrong.) Though, if you really think about it, once this whole dynamic ad-insertion thing kicks in, the race is theoretically on for ad-blocking tech to impact audio, perhaps even before the tech hits scale. Hmm.

Anyway, moving on.

BuzzFeed director of audio Jenna Weiss-Berman on Nieman Lab’s Press Publish podcast. This is good Weiss-Berman material. Probably not that user-friendly to link to an entire podcast episode, but the whole thing is most definitely worth a listen.

Highlights:

  • Young people listen more straight from SoundCloud, eh? Interesting.
  • “Co-optition.” Cute, but I totally dig it.
  • Note Jenna’s thinking that situates Another Round within a much larger multimedia — specifically, television — context. Question is not whether it will be successful (oh you know it probably will) but how the heck do you create that workflow?

NPR’s 10 years of podcasting. Tasty NPR Extra article here on the institution’s history with podcasting, complete with a timeline and a quick anecdote that sees National Public Media general manager Bryan Moffett, then a marketing analyst, crossing paths with the men who would go on to create (and fight over) Twitter. Anyway, check out the whole article, but here are some delicious numbers to take away:

  • “Between NPR and all of the public radio stations who contributed shows to those first collections in the directory, it took about a year and a half to reach 80 million downloads.” I’m guessing that’s total downloads across the whole network.
  • “Last month, we had 76 million downloads for just those programs NPR produces or distributes.” Daaayum.

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“Wanting to be heard.” The Toast ran this article on podcasting and representation last week, and it’s a great read. Give the whole thing your attention, but here are some quotes that really stuck with me:

  • Nia King, host of We Want The Airwaves: “If I can self-publish a book and sell 1,000 copies, what is the incentive for me to have a press that’s not going to help me with touring? It’s just unclear whether I’m better off working within the system or without. Because at least now I have complete creative control.”
  • Stephanie Foo, This American Life: “I think that as the content has started to change, the listenership has started to change. We finally have podcasts that are made for younger people now.”

Audio fiction. So, uh, I’ve been working on an item about audio fiction for about, well, four weeks now, and I’m having a lot of trouble hammering down what I really think about the genre. Now, if you’ve been following this newsletter for a while, you’re probably acquainted with my largely negative feelings about most audio fiction that can be found on the market right now.

But here’s the thing: I actually believe that audio fiction is the growth market in on-demand audio. I just think that the genre hasn’t been done right, or has been done in a way that can compel non-partisan listeners to legitimately think that it’s up to par with most other forms of mainstream entertainment. (In fact, if I ever did work up the gastrointestinal fortitude to go solo and run my own ship — or marry rich and live off a spousal bonus, either way — a big part of what I’d do would be bankrolling very specific audio fiction projects.) I think about it quite a lot, and because I’ve been thinking about it quite a lot, I haven’t been able to settle on what I want to say.

Anyway, while I’ve been sitting here and twiddling my thumbs, these two things dropped and I really think that you should check them out ASAP:

  • Nieman Lab’s writeup of the Limetown podcast. Money quote: “They’re not purposely trying to fool anyone, but their background in film has given them a refreshing view on podcasts: Why can’t they be more like movies?”
  • The Pub podcast: Ann Heppermann on the rebirth of audio fiction.

Cool? Cool. I’m going to go back and work on this audio fiction item a little more, which is now about 2,500 words long and looks suspiciously like the Little Red Book, which is why I’m probably going to junk it and just do a 500-word rant instead.

Maybe next week.

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An update on that SXSW panel I’m working on. So last week I mentioned that I’m trying to organize a panel at SXSW about podcast audience growth — strategies, philosophies, challenges, and so on. That’s still happening, but there’s been a change: the great Gretchen Rubin can’t do the panel, because she’s double-booked, so the third panelist will be Midroll’s vice president of business development Erik Diehn.

Before going to Midroll, Diehn was the senior director of business development at WNYC, and before that, he had stints at Bloomberg and the Boston Consulting Group. (You know who else did time at BCG? Matt Lieber. Small world.) Which is all to say, compared to the other two panelists — BuzzFeed’s Weiss-Berman and Longform’s Max Linsky — Diehn’s bringin’ the corporate game.

Should be fun, if we get enough votes, of course.

You can vote for the panel here. Please note that you’d have to create some sort of login to vote, which kinda sucks and I’m so sorry.

Oh man, that was a long one. All right, have a great week, see you next Tuesday!

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