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]

Hot Pod: The three numbers that mark the state of podcasting in 2017

Welcome to Hot Pod, a newsletter about podcasts. This is issue 102, published January 10, 2016.

Digits to start the year. Is the podcast industry growing, and if so, how? I’m keeping these three numbers taped to the corner of my laptop as benchmarks to keep track:

  • Audience size: 57 million U.S. monthly listeners, according to Edison and Triton Digital’s annual Infinite Dial report, which gives the industry its clearest number to beat. The latest version of the report is expected to come out in early summer.
  • Advertising: More than $200 million projected for 2017, according to media research firm Bridge Ratings, which the industry seems to have coalesced around.
  • iTunes downloads and streams: More than 10 billion in 2016, which was up from more than 8 billion in 2015 and over 7 billion in 2014, according to a writeup by The Huffington Post.

Two quick news updates on Apple: The Apple podcasts team is apparently looking for someone to join their editorial team — also known as the people who looks after the iTunes front page.

In a related note, I’m hearing that Steve Wilson, who managed the editorial and partner relations team at iTunes and who was once described in The New York Times as Apple’s “de facto podcast gatekeeper,” has moved to the iTunes Marketing team to manage the podcast vertical. I believe it’s the first time the company is dedicating any marketing resources for podcasts.

The Keepin’ It 1600 team breaks off from The Ringer to start a new venture: Crooked Media, named after the standard Donald Trump pejorative. Its first product, a twice-a-week politics podcast called Pod Save America, rolled out Monday and quickly hit the top of the iTunes charts. For reference, Crooked Media is made up of former Obama staffers Jon Favreau, Jon Lovett, and Tommy Vietor. Dan Pfeiffer, who launched Keepin’ It 1600 with Favreau when it first debuted on The Ringer last summer, will continue his hosting duties in the new podcast, but he will not hold any stake in the new venture. The venture has plans to add more podcasts, video, editorial content, and “new voices” with a distinct emphasis on activism and political participation, according to its mission statement. There doesn’t appear to be any talk of external investment, with the team fully relying on ad revenues from Pod Save America for now.

DGital Media serves as Crooked Media’s partner in production and ad sales. This extends DGital Media’s already impressive portfolio of partners, which includes Recode, The Vertical’s podcast network, and Tony Kornheiser.

The Ringer CEO Bill Simmons is said to be supportive of the new venture, though one imagines the departure of Keepin’ It 1600, which grew incredibly popular during the 2016 election cycle, will leave quite a dent in monthly download totals for the website’s podcast network. However, given the network’s general culture that allows for continuous, iterative experimentation through its Channel 33 feed, they’re well positioned to fill the gap soon enough.

Here’s the thing that’s interesting to me: Crooked Media appears to be a stab at building out a new progressive counterpoint to conservative media, perhaps specifically its right-wing talk radio ecosystem, which has long been a curiously strong marriage of medium and ideological content with significant influence over American politics. It’s a curious thing that podcasting now offers Favreau & Co., insofar as they represent progressive politics, a potential site to match up against the conservative media-industrial complex; as I’ve noted in the past, the podcast medium does seem to feature an ideological spread that tends to lean liberal — even if it’s sticky business to characterize the politics of individual organizations. The theoretical question that occurred to me then, as it does now, is whether there is something about a medium’s structural traits — and demographic spread, and so on — that uniquely supports certain kinds of ideology. With this venture, we’ll have an opportunity to test the question a little further.

Related: Just re-upping this discussion from mid-November: Did the election podcast glut of 2016 fail its listeners?

Launches and returns for the year ahead. I was recently asked to write a preview of upcoming new podcasts for Vulture, and in the process of my outreach, I had a hard time getting concrete, specific release dates for upcoming launches. This, I think, says a fair bit about how the podcast industry, maturing as it is, still has ways to go in terms of developing a rhythm, cycle, and culture around show and season launches for its audience.

All right, here’s what I got so far beyond the stuff on the Vulture list:

  • Gimlet Media is keeping mum on new shows, but they have confirmed that Science Vs will return for its second season in March, while Heavyweight will drop its second season in September.
  • NPR’s vice president of programming and audience development Anya Grundmann tells me that the public radio mothership will be launching several new podcasts and debuting new seasons of some of its most popular shows, including Embedded and Invisibilia. No specific dates, but Grundmann did mention that a three-episode Embedded miniseries will drop in March.
  • Night Vale Presents has confirmed that Alice Isn’t Dead and Within the Wires will return sometime this year. They also note that the team behind Orbiting Human Circus (of the Air) is working on some new projects, which will be released throughout the year. And, as noted in Vulture, the company will be making its nonfiction debut at some point in the form of a collaboration with indie band The Mountain Goats.
  • The New York Times will roll out its latest podcast, Change Agent with Charles Duhigg — which sounds like a cross between an advice column, Oprah, and Malcolm Gladwell — sometime this spring. It’s also building a new show around Michael Barbaro, who hosts The Run-Up and has since moved into the audio team full-time. According to Politico, the Times is planning to expand its podcast roster from seven up to possibly twelve this year.
  • Radiotopia’s newest addition to its roster, Ear Hustle, is set to debut sometime this summer.
  • First Look Media tells me that they will be launching a weekly podcast for its flagship investigative news site, The Intercept, on January 26. The show will apparently be called “Intercepted.” There’s a joke in here somewhere, but we should move along.

That’s all I got for now. I’m going to keep a page going for this, and will update as more information trickles out. Send me what you have.

Panoply kicked off the year with the launch of its first “imprint”: The Onward Project, a group of self-improvement podcasts curated by author Gretchen Rubin, who hosts the popular Happier podcast under the network’s banner. The imprint is currently made up of three shows: the aforementioned Happier; Radical Candor, a management-oriented show; and Side Hustle School, a daily show made up of bite-sized episodes that describe financially successful side projects. The Onward Project was first announced during last September’s IAB Podcast Upfront.

Call it an imprint, call it a subnetwork, call it whatever you want: The concept seems to be more of an innovation in audience development than anything else. “I’d say success looks like what we’re already seeing — a collection of podcasts in which each show brings in its host’s unique audience, which is then exposed to the other shows through tight cross-promotion,” Panoply chief creative officer Andy Bowers told me over email, when I asked about the thinking around the imprint. “With podcast discovery still such a vexing problem, we think the imprint offers listeners a simple answer to the question they’re always asking Gretchen: ‘I love your show — what else should I listen to?'”

We’re probably going to see Panoply develop more imprints in the near future, further establishing a structure that makes the company look more like a “meta-network” — or a network of networks — which is a form that was only hinted at by its previous strategy, where it partnered with other media organizations to develop multiple podcasts under their brands.

60dB hires Recode reporter, adding to its beefy editorial team. The short-form audio company has hired Liz Gannes, previously a reporter at the tech news site Recode, to join its editorial team. Gannes, a senior hire, rounds out a team that has thus far primarily drawn from public media. It includes: Daisy Rosario, who has worked on NPR’s Latino USA and WNYC’s 2 Dope Queens; Brenda Salinas, formerly at Latino USA and KUT Public Media; Hannah McBride, formerly at the Texas Observer and KUT Public Media; and Michael Simon Johnson, formerly at Latino USA.

So here’s what I’m thinking about: The editorial team apparently exists as an in-house team that works to produce audio stories with partner publications, often discussions about a written article that recently published, for distribution over its platform. (Is it too much of stretch to call it high-touch adaptation aggregation?) It’s a dramatically manual — and not to mention human — content acquisition process, and that’s a structure that does not scale cheaply, which I imagine presents a problem for a founding team mostly made up of former Netflix executives.

Two questions that frame my thinking on the company: Where is 60dB supposed to fall within the spectrum between a Netflix-like platform and an audio-first newsroom with an aggressive aggregation strategy? And to what extent do the partnerships that the company currently pursues make up the long-term content strategy, or do they merely serve as a stepping stone into purely original content?

Anyway, I hear that more 60dB news is due next week. Keep your earballs peeled.

Related: In other tech-ish news, it looks like Otto Radio, the car dashboard-oriented podcast curation platform that recently hammered down an integration with Uber, has secured a round of investment from Samsung. Note the language in the press release describing Otto Radio’s distribution targets: “connected and autonomous cars, smart audio devices and appliances, and key integrations with premium content providers.” Appliances? I guess with Amazon’s Alexa platform creeping into everything — which was one of the bigger takeaways from this year’s CES — we’re about that close to a world in which your refrigerator can blast out those sweet, sweet Terry Gross interviews.

Facebook Live Audio. Shortly before Christmas, Facebook announced the rollout of its latest Live-related feature, Live Audio, on its media blog. Key details to note:

  • The feature is in its testing phase, and its broadcasting use is limited to a few publishing partners for now. At launch, those partners include the British Broadcasting Corporation (BBC), the London-based national talk radio station LBC, book publisher HarperCollins, and authors Adam Grant and Brit Bennett. It remains unclear whether those publishers are being paid for their partnership similar to the way that Facebook has been paying major media organizations like BuzzFeed and The New York Times, along with celebrities, to use the Live video feature.
  • The post notes that the feature will be made “more broadly available to publishers and people” over the next few months.
  • The launch of Live Audio is the latest in Facebook’s efforts to expand its Live initiative, which the company has been banking heavily on for the better part of the past year. It had launched Live 360 just the week before.
  • The pitch, as it has always been, primarily revolves around interactivity — which speaks directly to the “social audio” conversation carried by many in the radio and podcast industry (see This American Life’s Shortcut, WNYC’s Audiogram, and so on). The introductory post writes: “Just as with a live video on Facebook, listeners can discover live audio content in News Feed, ask questions and leave reactions in real time during the broadcast, and easily share with their friends.”

Right, so with all that out of the way: What does this mean for podcast publishers, and maybe even radio broadcasters? I haven’t quite developed a unified theory just yet, but I’ve been breaking the question down into two components.

First, it’s worth asking if Facebook Live Audio is compatible with much of what currently exists in the podcast (or radio) space. Facebook, as a digital environment, has always seemed to be structured such that only certain kinds of publishers — or “content creators” can “win.” More often than not, those are the publishers whose business or impact goals are functionally aligned with that of Facebook’s, and from everything that we’ve seen, read, and heard about the company, it seems pretty clear that Facebook’s primary goal is to drive up user numbers and, more importantly, user engagement, whose quantifiable attention are then sold to advertisers.

But that’s obvious; the question is, of course, how has the company preferred to generate those engagements? It’s one thing if Facebook’s underlying game plan here is to “replace” broadcast, be it television or radio. But it’s a whole other thing if the company is instead trying to build out and further define its own specific media ecosystem with dynamics, incentives, behaviors, and systems unique to itself — which is exactly what appears to be the case here.

So, what kind of audio content is likely to benefit from playing into Facebook Live Audio’s unique dynamics? Probably not the highly produced narrative stuff. Nor anything particularly long. Oddly enough, I have a somewhat strong feeling that many conversational podcasts could be much better suited for Facebook Live Audio than they ever were for the existing podcast infrastructure. But at the end of the day, what appears to be true for Facebook Live Video — and for most new social platforms — will probably be true for Facebook Live Audio: the kind of content it will favor is the type of content that’s native to the form. Everything else is either filler or a means to generate actionable data.

Second: The Facebook Live program displays high levels of volatility, both in terms of the program simply functioning as intended — see: miscalculated audience metrics, surging, lingering questions over Facebook’s role in digital governance and its relationship to the state — and, perhaps more crucially, in terms of the program’s underlying view of publishers and the actors of the wider media ecosystem.

The functional volatility alone should give some thinking about dedicating resources to building out a Facebook Live Audio strategy. But the greater pause should come from the second point on the program’s underlying position. Facebook’s general abstinence from making any concrete statement about its relationship to the media (and its potential identity as a “media company”) suggests a materialistic, neutralizing view that sees all actors on the platform as functionally and morally equal. Another way of putting this: The health of individual publishers, regardless of its size, hopes, dreams, and virtues, is a tertiary concern to the platform, as long as it is able to drive up the primal behavior it wants — its own definition of engagement.

It’s a toughie. On the one hand, you have a platform that theoretically connects you with various segmentations and iterations of the platform’s 1.79 billion monthly active users. But on the other hand, it’s really hard to get around the whole unfeeling, arbitrary-governing-structure thing. It’s up to you — depending on what your goals are, what relationship you want to have with your audience, your stomach for instability and risk — to decide if you want to live that Facebook Live Audio life.

None of this particularly new, by the way. But it’s still worth saying.

Bites:

  • Tamar Charney has been confirmed as NPR One’s managing editor, having assumed the role in an interim basis since Sara Sarasohn left the organization. Emily Barocas joins the team full-time as an associate producer to curate podcasts for the app. Nick DePrey, who has been supporting NPR One in his capacity as an “innovation accountant,” is now the digital programming analytics manager at NPR Digital Services. Elsewhere in the organization, Juleyka Lantigua-Williams has joined as the senior supervising producer and editor for Code Switch.
  • PRX has announced its first cohort for Project Catapult, its podcast training program aimed at local public radio stations. Also note: the organization has hired Enrico Benjamin, an Emmy award-winning producer, as the initiative’s project director. (PRX)
  • “Why branded podcasting could more than double in 2017.” (Digiday)
  • SiriusXM is now distributing WNYC Studios’ podcasts over its Insights channel. This continues an emerging trend that sees SiriusXM mining podcasts for quality inventory to build a content base beyond its Howard Stern-shaped engine: Last August, the company hammered down a partnership with The Vertical’s podcast network, and it has been distributing the Neil DeGrasse Tyson podcast Startalk since January 2015. (SiriusXM)
  • I’m hearing that the first round of judging for this year’s Webby Awards is underway. Several folks have also written me pointing out that the group of judges for the Podcast and Digital Audio category is pretty public-radio heavy — and not to mention, overwhelmingly white. (Webby Awards)
  • This is cool: Norway has become the first country to shut down its nationwide FM radio in favor of digital signals. (NPR)

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

Is Hillary Clinton’s podcast propaganda or a milestone for political podcast advertising?

With Her. Well, this is certainly something. Last Friday saw the launch of With Her, the official Hillary Clinton presidential campaign podcast, which both marks a milestone for the industry and, I suppose, is a sign of the times. The show also has the distinction of being Pineapple Street Media’s first launch, the podcast company recently founded by former BuzzFeed director of audio Jenna Weiss-Berman and Longform Podcast cohost Max Linsky. Linsky holds hosting duties on the podcast, which he ostensibly shares with Clinton herself, though one imagines that her extensive campaigning schedule will ultimately have a say in that.

The podcast is an absolute coup for the company and a strong, attention-getting start to its portfolio. The linkup between Pineapple Street and the Clinton campaign grew out of Weiss-Berman’s previous collaboration with the team, back when she worked on BuzzFeed’s Another Round podcast that booked Clinton on as a guest last October. “I stayed in touch with her digital team,” Weiss-Berman told me over email. “And shortly after Max and I started Pineapple Street, we started talking to them and we all loved the idea of a campaign podcast that focused on day-to-day life on the trail and not policy.”

Perhaps unsurprisingly, that last point — the podcast’s focused on campaign trail life and not on policy — ended up being the point of critique for a few media outlets. Politico’s writeup of the podcast bore the headline: “Hillary Clinton finds another way to avoid the press: Her campaign launches a podcast with an on-payroll moderator whose first interview is the nominee herself,” highlighting the show as an extension of a long-running grievances held by the parts of the news media about Clinton’s tightly messaged campaign. That perspective was echoed by Michelle Goldberg over at Slate, who called the show “charming and gutless propaganda” and further argued that “a politician attempting to circumvent the media by creating media of her own sets a bad precedent.”

I don’t buy those critiques. For one thing, media creation — whether through tweets, a YouTube channel, creating a TV spectacle out of a convention, and so on — is an essential tool for a candidate’s political communication, and it’s one that’s part of a much wider set of tools, with messaging through the news media (either directly, e.g. sitdowns with Charlie Rose, or indirectly, i.e. free media) being only one within a larger toolkit. A candidate’s aversion to working directly through the press, as in the case of the Clinton campaign, may well be morally and procedurally frustrating for the press, but a perfectly fine outcome in this scenario is to make the absence of participation mean something as part of the candidate’s larger spectrum of political communication. (Which, indeed, is what is already happening, and we see traces of that in Slate and Politico’s analysis.)

So the media aversion/”propaganda” reading of the podcast isn’t one that really resonates with me, but I think the reason for that lies in an understanding that the podcast shouldn’t be read as anything too dramatically different from it actually is: a political ad.

Consider With Her as yet another example of a branded podcast — not unlike Gimlet Creative’s Open for Business or Pacific Content’s Slack Variety Pack. (Indeed, viewed this way, With Her is quite possibly the first major political ad buy in the history of the podcast medium.)

And because it’s a branded podcast, we should levy onto it the very same questions (of ethics and execution) that we would those projects from Gimlet, and Pacific Content. Questions like: Is the show successful in harnessing the format’s associations with sincerity, authenticity, and intimacy? (I.e: Do the interviews make her feel more real, the way the Longform Podcast and Another Round have drawn out people in the past? Also, just how real can a career politician, so hardened by decades of battle, feel?) Is the podcast able to be engaging while nulling the overarching context that the listener has opted to enter a space where the brand is trying to get them to think and feel a certain way? Is the project doing a good job being clear with its targeting — is it focused on deepening the candidate’s relationship with her supporters, or is it more engaged with humanizing Clinton in the face of on-the-fence supporters? And is the podcast, with its opt-in, on-demand, and high-involvement consumption requirements, appropriate for that?

That’s how I’d approach reading the podcast. Which is why I’ll say this: Based on the first episode (which runs short, at about 15 minutes), I’m not very sure whether With Her will answer these questions much beyond its novelty as the first presidential campaign podcast ever. To be sure, it’s a fizzy and fun listen, and longtime Hot Pod readers know I love love love me some Linsky interviews. But as a person already predisposed to the Clinton campaign, I didn’t feel like I gained anything particularly new or meaningful that wasn’t already telegraphed at the Democratic National Convention. And considering the broader messaging context, I also don’t think it’s clear yet who the podcast is for — and, by extension, how it’s supposed to carry out the aims of the campaign, which (and this isn’t a new thought at all) really struggles with connecting.

That said: It’s only been one episode, and I want to be clear that an assessment like this doesn’t quite honor the immense complexities that go into working with a campaign that aims to win the highest office of the land. (I can’t even begin to imagine the number of clearances that the production must go through.) The podcast is slated to run up until the election in November, and I have a good amount of faith that the team will figure out a way to take this powerful, powerful novelty — let’s not forget the fact that the first presidential campaign podcast is a major milestone for the emerging medium — and fashion it out into a genuine tool of political communication in the future.

What’s next for PSM? Weiss-Berman: “We’re working on lots of great stuff and something I’m really excited about is that we’re trying many different styles. So we’re doing a very heavily produced short-run serialized mystery show, a really fun chat show with The New York Times, Women of the Hour season two with Lena Dunham, and we’re developing a bunch of original shows. And so much more! And all the shows are really different, with amazingly diverse hosts, so I’m hoping they bring in audiences that are new to podcasting.”

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The convention bump. The Republican and Democratic conventions were dramatic and often confusing affairs, and it seems like a significant number of folks turned to political podcasts to figure some stuff out. Indeed, several enjoyed noticeable jumps in downloads across the two-week period. Some highlights:

  • The NPR Politics Podcast saw more than a 50 percent increase in weekly unique downloaders. (That metric tracks the number of individual listeners based on measurements of IP addresses.) The podcast dropped episodes every morning across the conventions, with each edition covering the goings-on of the night before.
  • Panoply reportedly experienced a 35 percent increase in weekly downloads (over the average of the previous four weeks) among their set of political podcasts: the Slate Political Gabfest, The Gist, and Vox’s The Weeds. The Gist, which is already a daily podcast, opted to drop short review episodes every morning in addition to its normal episodes across the period. The other two shows maintained their weekly schedules.
  • The FiveThirtyEight Elections podcast also saw “a big rise in downloads and rankings,” according to producer Jody Avirgan. A spokesperson later added that over the convention period, the team “saw consumption of the Elections podcast increase nearly 300 percent compared to daily consumption before the conventions.” The podcast also dropped episodes daily across the two events.
  • The Ringer’s Keepin’ It 1600, which features former Obama administration staffers Jon Favreau and Dan Pfeiffer, saw a bump of about 15 percent. Before the conventions, the podcast had steadily grown up to an average of over 200,000 downloads per episode, and went up to about 230,000 downloads per episode through the two events.
  • BuzzFeed’s No One Knows Anything saw a “171 percent increase in downloads during the two weeks of the conventions, compared to the two weeks before the conventions,” said Meg Cramer, who produces the show. “But, it’s hard to make comparisons, because our convention coverage was different from our weekly show. (Several topical mini-episodes, vs. one big show.)”

These event-based growth bursts are extremely valuable, but the real question is whether the shows will be able to retain the influx of new listeners. Brent Baughman, who produces the NPR Politics Podcast, tells me that, while it’s still a little too early to tell, he estimates that about three-quarters of the podcast’s new listeners have stuck around since the conventions. He also notes that the podcast now enjoys an audience of over 560,000 weekly unique downloaders.

It should be noted that the bumps didn’t come from organic discovery alone. Around the convention period, FiveThirtyEight carried out aggressive cross-promotion efforts that hoped to draw in audiences that exist on its other platforms and on platforms controlled by parent ESPN. Those efforts included a refocus on embedding the podcast in FiveThirtyEight articles, adding language that welcomed new listeners to the show, featuring the podcast in the ESPN app, and working with ESPN Radio to run a spot on terrestrial stations promoting the podcast. “That’s going to start working into the rotation soon, I hope,” Avirgan added. “It’s not going to be a huge push, but frankly I imagine a lot of the kinds of folks who are just tuning in to the election are the types of folks who are listening to ESPN Radio, etc. So, we’re trying to be smart about targeting that group.”

NPR marshalled similar efforts of their own. On July 14, Gimlet’s Reply All dropped an episode containing a guest dispatch by NPR reporter and Politics Podcast cohost Sam Sanders (who, by the way, is an absolute star) that focused on the shooting in Dallas. And in the following two weeks, NPR director of programming Israel Smith coordinated a strong cross-promotion push across the organization’s other podcasts, acutely focusing attention onto the Politics Podcast and its presence on the convention floors.

Key national events like these conventions are essential opportunities for podcasts — or any new medium, really — to prove their worth as possible additions to the world’s wider information architecture, and the onus is on them to make themselves known in times when collective reality feels increasingly distorted.

“I think you build news consumption habits in a year like this,” Baughman said. “It’s a time when you generally want to be more informed than you are.”

An audio newsletter. It’s always a wonder to find a place that’s doing strange and wonderful things.

One such place is Boston public radio station WBUR, which will be launching an experimental 21-day fitness podcast project called The Magic Pill next month. Here’s how it works: People who sign up will receive daily Magic Pill newsletters, with each missive — that can be consumed right off their inbox — containing a short podcast episode that contains exercise tips, stories about fitness, and even some music to get that body movin’. Participants move through three-week-long sequence on their own, as they’re given the ability to initiate the challenge cycle at any time, and their relationship with the podcast will be tightly managed through their interactions with the newsletter.

“In a way, you could call this an audio newsletter,” said Lisa Williams, who holds the title of engagement director at the station. “It’s a real hybrid.”

The challenge is one of the many projects being developed in WBUR’s Public Radio BizLab, a Knight Foundation-funded initiative that seeks to explore possible new business models that can help sustain public radio stations in the future through rigorous experimentation and design. (And let me tell ya’, some of these experiments are fascinating, including a blockchain-powered emerging music library.) The lab is a smart, deeply needed enterprise and, quite frankly, I’m amazed that such a thing exists in the first place.

Like all other BizLab projects, The Magic Pill was designed to answer very specific, testable questions: Could you create a tightly-design podcast experience that plays out within a subscriber’s inbox (as opposed to, say, an RSS feed)? Can the process of creating that experience increase the level of data literacy among the operators at WBUR? And, perhaps most importantly, are listeners who take part in an ongoing experience more likely to donate or become members?

That last question, which focuses on discovering new fundraising avenue within the public radio system, is a crucial pillar for the BizLab initiative. And much of the project designs are guided by tangible, and often frustrating, past experiences. “We did this great project once on Whitey Bulger,” Williams said. “It was just such amazing work, but we didn’t do anything to package it in a way that would get people to support the station more. But when we packaged and sold it as an ebook, about 11,000 people bought it. We left money on the table.” (Interestingly, the ebook, “Whitey on Trial,” is generally available for free, but it’s priced at $1.99 on the Amazon Store — the lowest possible rate — because ebooks can’t be listed there for free.)

When I asked Williams what conversion rates she would consider a success, she guided me to focus more on the balance between outcome and effort. She noted that relatively low conversion rates would still be considered fine, given that the amount of work that goes into making The Magic Pill is significantly less than the huge fundraising efforts that involve heavy participation across the whole station. In Williams’ mind, the emphasis is on the tightness of workflow and a rigor in pushing specific sets of audiences down the fundraising funnel. It is a valiant, refreshing prospect, and I’m curious to see where this goes.

You can sign up for the newsletter here. The Magic Pill project goes live on September 1.

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Bumpers. I believe I’ve been on the record before as not particularly enthusiastic about social audio apps and any relevant enterprise that seeks to make podcasts more shareable on social platforms like Twitter and Facebook more broadly. For me, the arguments largely takes two forms: (1) a sense that the rendering of a piece of media into something more shareable threatens to deconstruct, atomize, and commoditize that piece of media for a whole other purpose — and for podcasts, that fundamentally means a stripping it of its original value proposition, and (2) a general feeling that social platforms are universes upon themselves whose activities should be native to the very structures of those platforms. Plus, there’s a whole square peg/round hole bit to such efforts, and I just find it all rather inelegant.

That said, I’ve still made it a point to keep an eye on new social audio apps like Anchor (my write up here) and Rolltape (R.I.P., my write up here) because I figured there’s always something to learn from such experiments.

Which is why I’ve been tracking a new app called Bumpers for some time now and, I have to say, it’s perhaps the audio-oriented app that comes closest to deconstructing and replicating the original value proposition of a podcast. Where apps like Anchor and Rolltape focused on communication, Bumpers firmly trains its eye on creation and expression — and that, I think, is where it gets the association right.

Here’s how it works: Users record a session through the app, which then automatically segments the recording based on sentences that users can stitch together into a podcast (referred to as a bumper within the app’s universe, for obvious reasons) by selecting and sequencing those sentence units into a whole through the app’s rather intuitive mobile audio editing interface (which, goodness, is key to the whole experience). There’s a library of preset sounds that you can throw into the mix, the additions of which greatly influences the feel of the bumper — not unlike, say, how an Instagram filter alters the feel of a picture.

That evocation of Instagram is not accidental. “I think a good analogy is Instagram for podcasts,” said Ian Ownbey, one of Bumpers’ creators, when I asked him to describe the app, which I had trouble articulating. “Instagram’s goal wasn’t to replace professional photographers — it was to let everyone else easily take and share high quality photos.”

Ownbey, who was an early engineer at Twitter and is also responsible for the OneShot app (which I’ve written about in relation to the theory behind screenshorting audio), has been paying close attention to the dynamics of the podcast space to build Bumpers, and thus is privy the complexities associated with the distribution and listener-end of the ecosystem. A lot of those considerations inform the development of the app.

“The problem isn’t solvable as long as the community is fractured over all these different consumption mediums,” he said, reflecting on the distribution question. “Even if I went out and created a consumption client that had the best discoverability in the whole world, it would be impossible to get adoption high enough that it was useful…If all the listening happens in Bumpers itself (or in an embed from bumpers), we can start to solve these problems.”

For now, though, it’s still early days for Bumpers, and so tackling the distribution angle will have to be a future preoccupation. “Creation is our entire focus right now,” Ownbey said.

Bites:

  • A little more on the NPR Politics Podcast: Producer Brent Baughman believes the experience producing the daily convention episodes have given them a roadmap for possible breaking or morning news podcast projects in the future. “Someone’s going to plant the flag on the morning news podcast, and I think it can be us,” he said.
  • I am super, super psyched over Castro 2, a new podcasting app that shifts the user experience paradigm in such smart, wonderful ways. (Supertop)
  • After the Cleveland Browns, another NFL team has launched their own official podcast: the Baltimore Ravens. (Official Ravens website)
  • According to Current, “the audience for NPR’s newsmagazines and its member stations has been growing,” bucking a recent trend. The organization credits the rise to a bunch of different factors — much of them internally driven, but also one that involves a change in how Nielsen collects listening data — but as Tape’s Mickey Capper tweets out, “wouldn’t the main factor be the election?” Be sure to check out the ensuing thread.
  • “The (Future) Queens of Podcasting.” (The Ringer)
  • This is super cool: “Introducing 1,000 Words, a podcast that describes internet pictures in binaural audio.” (The Verge)

How can news organizations better prepare the next generation of editors?

The ideological spread of podcasts. It’s been…an interesting election cycle here in the United States, to say the least, one that’s caused me enough anxiety to burrow deeper into the insular, cord-cutting media cocoon I’ve built for myself — an assemblage of ye old newspapers (The New York Times and The Washington Post, mostly), cable TV (CNN, mostly), broadcast radio (public, mostly), social media (the ideologically self-reinforcing Facebook and Twitter, mostly) and, of course, podcasts — in a bid to find some assurance that everything will…be okay, I suppose, or whatever it is I’m trying to look for when I seek out election news.

Which isn’t a great way of doing things, of course, given that it’s a function of larger problems associated with media fragmentation and selective exposure (see the recent Wall Street Journal interactive feature “Red Feed, Blue Feed”) that’s believed to have exacerbated the country’s political polarization. Frankly, I buy this explanation of the present: the idea that the increasingly abundant, on-demand, and personalized nature of our news media has led to whole swathes of populations creating worlds and realities of their own that don’t have much reason to overlap and interact with each other, until they absolutely must (like, say, during a national election), in which case the result is pure combustion.

There was a Wired article by Charley Locke not too long ago that grabbed my attention — about a five-year-old conservative leaning podcast network called Ricochet — in which Locke characterized the podcast space to be disproportionately liberal. (Whether that refers to actual composition or representation is hard to establish; it’s related to all the ways we complain about the medium’s measurement difficulties.) Using the upper echelons of the iTunes charts as her principal dataset, Locke wrote: “There’s not much ideological diversity in the conversation…Podcasts have proven a viable platform to reach a liberal audience, just as radio talk shows have for conservative listeners. But what does that mean for the Americans in the middle?”

Of course, characterizing some media organization versus others as liberal is sticky business. Locke’s rubric places organizations like NPR, FiveThirtyEight, Vox.com, and Slate in the liberal bucket, a characterization that might be challenged by some of these institutions more so than others. (Indeed, NPR has had a long history of being accused of liberal biasa charge they constantly challenge — while one imagines FiveThirtyEight and Vox would orient themselves more towards analytical impartiality.) However, given Locke’s other more unambiguous examples — former Obama staffers Jon Favreau and Dan Pfeiffer’s Keepin’ It 1600 with The Ringer, and David Axelrod’s The Axe Files with CNN, both of which are expressions of that administration’s relative comfort with the medium , recently covered by the Times — her overarching point seems to hold: The podcast charts don’t offer very much in the way ofexplicitly conservative programming, and one could understandably draw a hypothesis about the medium’s larger ideological distribution from that.

There are a few noteworthy exceptions: The iTunes top 100 currently charts a podcast featuring Milo Yiannopoulos, the controversial writer and editor for the conservative Breitbart News Network who was recently banned by Twitter for racial harassment, and that show is distributed by PodcastOne. (That company is also home to a few other podcasts hosted by explicitly conservative personalities, like Laura Ingraham and Bill Kristol.) Earlier this year, the similarly conservative Jay Sekulow show broke into the top 3. Sekulow is an attorney and cofounder of the American Center for Law and Justice, a politically conservative activism organization that he cofounded with the often controversial Pat Robertson. But those examples are very few and far between, reinforcing Locke’s observation.

When I talked to Locke last week, she proposed a theory about the ideological spread: The medium’s liberal-lean is largely the result of its early adopters. As she thinks about it, relatively liberal media outlets (or media organizations perceived to be liberal) were among the firsts to develop content using the medium, laying down the foundation of its identity and eventually establishing themselves as the de facto “old guards” of the space. I’m partial to that theory, but I’m also tempted to wonder: Is there something about on-demand audio’s structural traits — and demographic spread, and so on — that uniquely supports liberal programming? (Conversely, do broadcast talk radio’s structural traits uniquely benefit conservative programming?)

“This whole thing ties into something I’ve been wondering about more broadly: Why aren’t there a lot more new media organizations oriented to conservative listeners?” Locke continued. I’m personally curious about where young conservative readers are, and where they look to get news.”

“They probably feel pretty isolated,” she added, wistfully.

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Local spaces. This Wednesday, PRX is holding a party to launch their new Podcast Garage, a recording facility and community space for Boston podcast creators. The space is part of Zone 3, a Harvard-catalyzed initiative developed to “explore experimental programs, events, and retail” along the city’s Western Avenue, which runs alongside the Harvard Business School.

“We want to foster a maker culture, create an environment of openness, and support storytelling,” said Kerri Hoffman, PRX CEO, when we spoke yesterday. “What we’re hoping to do with the garage is to bring all of those values right down to the ground at the local level, and create a physical hub for the Boston podcast community.”

The garage is stocked with studio equipment that’ll be available to the community via paid pre-booked rental arrangements and free studio times, which will be offered at certain times of day. Events will also be organized in the garage to brings podcast makers of all skill levels together, the first of which will be held on August 8 featuring a presentation by PRX Remix curator Josh Swartz.

“We really do think seasoned, local producers will make good use of our service,” Hoffman said. “But our sights are really on people who haven’t made a podcast yet, on the next generation. That’s what I’m really excited about.”

That’s the hook that really catches my eye about this project. Hoffman’s sentiment here echoes ideas that I’ve heard from similar initiatives across the country — ones that are also physically-oriented and locally-minded, like the Chicago Podcast Cooperative, which is run out of the lovely, non-descript Cards Against Humanity offices in the Lincoln Park neighborhood and managed by a great person named Claire Friedman, and the nascent XOXO Audio Studio, which is being developed out of the XOXO Outpost in Portland, Oregon by similarly great person named Tyesha Snow. Both operations involve a sense of bringing more people into the space who otherwise would not have had the opportunity to do so.

“We want to be a place that makes it easy for anyone to grab some studio space and make some magic,” Snow told me. “We believe that creation of the studio will spur all types of connections for the people…I can’t predict exactly what will happen over the coming year but people are ready and waiting. It’s going to be amazing.”

If there’s any force that would pull us away from any possible over-concentration of the podcast industry — and maybe, the production of media, more broadly — in New York and the coasts, I believe it’s going to be made up of local, physically-oriented spaces like these that makes opportunities more accessible in more places across the country. So if you’re working on an initiative like this, do let me know.

French podcasts. “Mainstream podcasts almost don’t exist in France,” wrote Charlotte Pudlowski, when we traded emails about the country’s on-demand audio landscape a few weeks ago. Pudlowski is an associate editor at Slate France, the French sister company of the American digital magazine, and is the person overseeing its emerging podcast strategy. She tells me that French podcasting mostly consists of repackaged broadcasts from Radio France, the French public radio equivalent, supplemented by some independent podcasts — “mostly talks,” she wrote, referring to conversational podcasts, a lot of which you can find here — and something called Arte Radio, which is reminiscent of a Third Coast-esque documentary directory.

Pudlowski is hoping to buck that trend by introducing longer-form narrative content to the mix. In mid-June, Slate France launched two shows: Transfert and Titiou, Nadia et les sales gosses (Titiou, Nadia, and their brats). The former features first-person narratives (or “narrative stories, told by the people who experienced them,” as Pudlowski phrased it to me), while the latter is a parenting show hosted by two Slate France writers which will mix formats on each episode.

Pudlowski was able to secure Audible as a launch sponsor, and it remains Slate France’s only audio advertiser for now. “We have made a deal for one year that corresponds to a number of minutes we have to produce in one year,” she said. “We’ll also look for other advertisers. But the contract with Audible doesn’t give us any fixed number of downloads or impressions we have to achieve, which gives us an amazing freedom of trying new things, taking risks.”

Things are looking pretty good for the two shows since they’ve launched, relatively speaking. Transfert’s first episode garnered 23,000 downloads in its first four weeks, while the second episode saw about 17,000 downloads during the same period. Titiou, Nadia et les sales gosses received about 13,000 downloads for its first episode. “We had not set a precise objective because it’s so new in France we had no possible comparison, but we’re pretty happy about it,” said Pudlowski, further noting that she was pleased with the attention the shows have been getting on social. The shows are hosted on Megaphone, the new CMS by Slate’s other sister company Panoply. (Confusing, ain’t it?)

I was curious about the potential market size for on-demand audio in France — its size, and opportunity. “It’s very hard to know because it is so new,” Pudlowski explained to me, pointing out that podcast listenership in the country isn’t widely measured just yet. “But what we do know is that French people are really into radio.”

Citing a December 2015 report from MediaMetrie, a French audience measurement company, Pudlowski tells me that more than 89 percent of the population listens to the radio every week and almost 82 percent every day, with the average French person consuming about 3 hours of radio on a given weekday and more than 2.5 hours on the weekend. That’s a whole lot, and one imagines that the bet here is that a good chunk of that listenership will carry over into on-demand, which is a transition bound to happen just about anywhere in the world.

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More on editors. Last week, I wrote about Planet Money’s hiring of Bryant Urstadt as the team’s new senior editor, contextualizing the hire within a larger conversation about an editing crisis not just in audio, but also in journalism more broadly. Given that editors more or less serves as the gatekeepers of curated, public information, I found the crisis absolutely fascinating, and it turned out to resonate with Hot Pod readers as well. Many wrote in to express their own thoughts on the matter, and many had the same question I had: how do you train to become an editor in the first place?

Curious, I reached out to Alison MacAdam, a senior editorial specialist with NPR’s editorial training team and the author of the Poynter column that sparked the conversation around the crisis, to explore the question. MacAdam, who was a senior editor on All Things Considered for almost 7 out of 12 years she worked on the program (and a former Nieman Fellow), obviously spend a lot of time thinking about the issue, operating from a place of having worked long hours in the trenches.

We spoke for a while, and I’ll break our conversation out in chunks here.

Clarifying the problem. “There are actually two separate challenges when we talk about the editor shortage and building a pipeline of editors,” MacAdam laid out. “The first is: How do content organizations train editors and create pathways for people to become editors? If you worked in, for example, WNYC or NPR, is there an explicit pathway if you went to your boss and asked to be an editor? Do they have an answer for you, or not?”

The second challenge has to do with the changing nature of what it takes to be an editor in this age where the fundamental structures of media are being increasingly disrupted (forgive the phrase). “What are the skills that editors need? That answer keeps changing because the industry keeps changing,” she said. “And because editing is a comparatively invisible craft, it’s that much harder to get the motivation to sit down and really think about the role: what they need to know now, and what’s timeless.”

When I asked her what, exactly, remained timeless, she replied: “Solid news judgment. Even if styles change there are some ways we distinguish good writing from bad writing. The ability to communicate is also really, really important.”

Identification. “I also think that, fundamentally, no matter what kind of editor you’re talking about, editors need a track record of making stories better. And that’s the conundrum — that’s really hard to identify,” MacAdam said. “That’s something organizations need to think about. How do you identify people you might think has potential, and what are the ways that we can give chances for them to prove themselves?”

MacAdam credits the emergence of on-demand audio with encouraging more unconventional editing approaches, many of which have increased the chances of identifying potential editors. One such approach is group-editing, a technique favored by teams like This American Life, Planet Money, and Gimlet. “It opens up the editing process so more people can take part and see what goes into shaping a story,” she said.

Independent opportunities. I was curious: if you’re not already in a newsroom, are there ways to create opportunities to learn? MacAdam seemed skeptical, but offered that the first thing to do would be to edit a friend’s work. “Though,” she was quick to add. “I think it’s worth noting that it’s really hard to qualify as an editor of stories, if you haven’t made stories yourself. I just don’t think anyone will trust that you know what’s good if you haven’t struggled to make what’s good.”

When I asked if being an editor is really something that could be self-taught, MacAdam seemed soft on that possibility as well. “Editing is about relationships,” she said. “It’s 50 percent story and journalism instincts — how is something structured? what’s the hook? — and the other 50 percent involves social skills. You can have amazing editorial, journalistic instincts, but if you can’t express your thoughts to people, there’s no real impact being made.”

But MacAdam concedes that there are things you can learn on your own, like listening (and reading and watching) closely to pick up on the micro- and macro- elements of story structure. “The macro stuff involves questions at a broad level: At what point in this story was I bored? Confused? Questions like pacing and structure,” she said. “And focusing on the micro is the ability to talk about lines and sound and the use of imagery in specific places, things like that.”

Job postings. “This might be interesting for you: It’s not like nobody is defining what an editor is. You can look at job postings to see how organizations are thinking about things,” she said.

And what are good examples of such postings? MacAdam points to an editor opening at Chicago Public Media, in particular. “I was really impressed by that posting,” she said. “It’s no surprise because that organization is run by someone who is really smart editorially, Ben Calhoun.” (Calhoun is the VP of content and programming at Chicago Public Media/WBEZ and is a former producer at This American Life.)

She also singled out the deputy managing editor for news position posted by Vox.com, pointing to a particular job requirement: “Clear, goals-based management style with proven success metrics,” it read. MacAdam expressed fascination over this. “I don’t get the sense that newsrooms prior to ten years ago had many ways of measuring success metrics. It’s a very new idea, or it’s an idea that come about because of technology,” she said. “Imagine a posting in 1985 for an investigative reporter in The Washington Post talking about success metrics. Hmm.”

  • Digiday has a pretty good writeup of Atlas Obscura’s sponsored podcast, Escape Plan, along with some interesting detail on the shape of the deal between the publication and the sponsor, ZipCar. (Digiday) And be sure to read this profile on Atlas Obscura (Washingtonian) along with this column on sponsored content more broadly. (The New York Times)
  • WNYC is open-sourcing its “audiogram” tool. (Medium, Nieman Lab) FWIW, I’m still pretty meh on the concept of audio clip distribution via social platforms as means of discovery, particularly after reading that 85 percent of Facebook video is consumed without sound — something I’ve understood to be reflective of more basic social media consumption habits. (Digiday) But hey, the point of these things is to break open paradigms, so my fingers are as crossed as ever.
  • NPR will end production of Best of Car Talk show (also known as Zombie Car Talk) as of September 30, 2017, though the show will live on as a podcast after that date. It is reportedly NPR’s third most consumed show, with a weekly audience of 2.6 million, though its existence is somewhat controversial among public media insiders. Current has a comprehensive write-up on the development, and you should check it out.
  • “Canadian podcasters are being drowned out by American offerings. Why?” (Metro Toronto)
  • The BBC’s iPlayer Radio app is now available in the U.S., which lets listeners access the full range of the institution’s radio feeds along with its podcasts and curated selections of past content. (Mac Rumors)
  • Al Jazeera’s Canvas Studio is launching an innovation competition called the “Future of Audio Challenge.” Audio technologists — check it out.

Can podcasts move beyond talking heads to produce digital-first audio news?

Movers, shakers, candlestick makers. A string of employment and talent-related stories hit my radar over the past week and a half, and though I try very hard not to read too much narrative into them as a bundle of stories, I like how they collectively paint a nice picture of dynamism. Anyway, I love this stuff.

Digital NPR. Last week, the public radio mothership announced the appointment of Thomas Hjelm as chief digital officer, a newly conceived role that will stretch across the content, technology, and revenue sides of the business. The announcement was made on Thursday, a few days after the whole (inflated, yet symbolically rich) NPR memo kerfuffle died down. Hjelm’s hiring was no doubt long in the works, and regardless of whether the timing of his appointment was providential or intentional, it gives the institution quite a nice cap to that particular narrative.

Anyway, Hjelm comes to NPR from WNYC, where he had served for over five years. He was most recently the station’s executive vice president and chief digital officer. Hjelm was recently featured in a Digiday article on WNYC’s recent adventures in digital audio, where he was quoted on the subjects of podcasting’s measurement challenges, social audio, and the need to maintain a direct relationship with audiences in the age of platforms. At NPR, he will report directly to NPR CEO Jarl Mohn. His employment begins in late April.

In a related development, Zach Brand, NPR’s VP of digital media (a roughly equivalent role to Hjelm’s newly created “chief digital officer” title), will be leaving the organization. According to his biography on NPR.org, Brand oversaw “NPR digital technology and product development efforts.” His portfolio also included NPR Digital Services, a responsibility that he inherited in late 2015, which involves the digital education of the organization’s partner member stations. Brand joined NPR in October 2007.

In another related development, there’s apparently a new opening for a temporary job on the NPR One team: podcast curator. Take from that what you will!

Meanwhile, back in New York. Filling the spot left open by Hjelm’s departure, WNYC has hired Nathaniel Landau as the station’s new chief digital officer. Landau comes to WNYC from Univision, where he served as a VP of product for over two years. Before that, he cofounded Food Republic, a lifestyle publication that was acquired in August 2013 by Zero Point Zero productions (which, among other things, is the company behind Anthony Bourdain’s television exploits).

“I’ve known for a while that Tom [Hjelm] was talking to NPR,” WNYC CEO Laura Walker told me over the phone last week, mentioning that she and Hjelm had been talking to several possible replacement candidates for a while. Landau first came to the station’s attention on the strength of a blog post he wrote on the challenges of the podcast consumption and discovery experience. The post, “Subscribing to podcasts is broken,” was published on his personal blog back in August. “The post was a wonderful mix of strategic questions and informed product solutions,” Walker said.

(Side note: Having an informed, broadcasted opinion — still your best friend.)

I asked Walker if she had any comment, opinions, or perhaps words of wisdom on the NPR Memo kerfuffle last week. “No,” she said, unsurprisingly. Well, thought I’d try, y’know?

In related WNYC news:

  • Graham Parker, the general manager of classic music station WQXR (which WNYC owns and operates), will be taking over management of performance space The Greene Space in addition to his existing responsibilities.
  • John Chao, previously a VP of business development, has been promoted to SVP of business and strategy.
  • Greg Voynow, previously a VP of content business development at Audible, is now the station’s full-time director of business development. He had joined WNYC on a part-time basis in January.

Wondery staffs up. The new podcast network by Hernan Lopez, former CEO of Fox International Channels, announced a round of hires early last week: Jeffrey Glaser, formerly the EVP of current programming at 20th Century Fox Television, as president of content, and Cristina Haro, previously of Univision, as account executive of brand solutions. The concept of “brand solutions” is probably corporate-speak that signals Wondery’s intent to get into the branded content game, which remains a bubbly frontier for podcast networks and advertisers.

I wrote about the network when it launched back in January, drawing specific attention to its partnership with technology platform Art19. Details on what Wondery will actually be producing remain slim, but the press release on the hires suggests an emphasis on audio drama. When discussing Glaser’s hire, Lopez provided the statement: “We are thrilled to have him join our team and help us attract the most talented writers, producers, and actors to a new form of storytelling.”

Another Producer. BuzzFeed’s well-loved Another Round podcast now sports a second producer working on the show, which doesn’t sound like an interesting bit of news until you note this: that producer, Antonia Cereijido, will be an Acast employee, on the podcast company’s payroll. She will be partially embedded in BuzzFeed’s newsroom, and will work under the show’s long-running producer, Eleanor Kagan. Acast has had a hosting, monetization, and distribution partnership with BuzzFeed since late last year.

“We’re delighted to welcome Antonia Cereijido to the Acast team,” Caitlin Thompson, the company’s director of content, said in an an emailed statement. “She comes to us from the storied Latino USA and other independent audio projects, and she shares — and also embodies — the Acast vision of growing new audiences in the podcast landscape.”

When asked if other Acast partner shows should expect similar arrangements, or if Cereijido will be tasked to work on other Acast partner podcasts in addition to her work with Buzzfeed, Thompson said she had no further comments.

Follow-up from last week. I capped off last week’s NPR Memo item with a link to a Facebook post by Adam Davidson, the Planet Money co-founder who now hosts Gimlet’s Surprisingly Awesome, where he articulated his fear that NPR is allowing itself to grow irrelevant. Little did I know when I dropped the link that the post would go on to grow into a vigorous and deeply respectful multi-directional comment thread, full of gorgeous specks of insight and rebuttals and intellectual confessions. Truly, a Sumatran rhino of the modern Internet, thought to be long extinct.

If you very much enjoy/are invested in the whole “future of NPR and podcasts” conversation, I can’t recommend digging through the thread highly enough, as it brings significant light to some juicy questions that these larger disruptive trends in audio — from broadcast to podcast, from legacy to new — have yet to answer, or even begin to confront.

The dominant theme through those questions is embodied by the following line coming out of a comment from that Facebook thread: “What saddens me about the podcast sphere…is the lack of journalistic ambition.”

It isn’t so much there aren’t any or many podcasts consistently trying to commit acts of journalism. On the contrary: Between the gabfests and the election-related podcasts, it’s practically a staple of the medium.

Rather, the point embedded in that statement is the sense that there simply aren’t many emerging for-profit entities that explicitly endeavor to break new ground as podcast- or audio-first journalistic institutions; indeed, I can’t think of any new organization that’s trying to rethink audio news delivery for the 21st century, or reconstructing the talent funnel, or building some alternative or continuation to radio stations as local or international sources of news.

It feels as if the new major for-profit podcasting companies tend to cluster around entertainment programming. When there is news-oriented programming involved, it tends to fall within the tradition of magazine journalism — which operates in its own kind of pace and lies more along the lines, I think of “infotainment.”

There’s nothing wrong with that, but it’s still adjacent to the ebb and flow of news. Or it falls within the domain of talking head–rich gabfests, which has its place in the news and information economy but still doesn’t engage directly with the problem of digital-first audio news. I will say, though: Panoply (my former day job employer), specifically Slate, comes the closest at playing with this fire with Trumpcast, which was swiftly operationalized to address a particular political moment and seems to feel, in some small way, temporally alive (which is key).

But the question remains whether you can build a whole news operation around this model, or if the demands (and economics) of podcasting companies is such that these shows are the exceptions — anomalies built on top of a bed of more timed-out fare. Which raises the question, then, of whether the podcast format can ever represent the whole future of audio, news and all.

That, I think, is the defining tension not just between on-demand audio and broadcast organizations, but between these new podcasting companies and legacy radio institutions like NPR and its member stations. These new companies, entering the content market by embracing a new technological channel and impetus, may be well-positioned to solve a business problem, but they’re not working to solve the journalistic problem that a legacy organization like NPR fights to negotiate.

It’s a problem that stretches all the way down to the hiring and development of new blood. It’s one that stretches sideways into the unfortunate fact that, despite all the newness, we have yet to see any real new opportunities for reporters, both the ones who are experienced and the ones who are fresh. And indeed, it’s a problem that we — not all of us surely, but enough of us — need to grapple with as we move further and further into a world of greater media fragmentation, declining news literacy, the evaporation of local journalism, and polarized politics.

WaPo’s The Fix comes to Amazon Echo. In an experiment that further divorces on-demand audio from the word “podcast,” The Washington Post announced last week that The Fix, its political blog by reporter Chris Cillizza, can now be consumed in the form of short daily audio briefs delivered through Amazon Echo, the tubular audio-based computing device that’s enjoyed a swell of positive attention in recent weeks.

These briefs, which are made up of pre-recorded segments written by Cillizza, are made available at around 3 p.m. ET on weekdays. They are expected to grow in frequency over time, according to Mediapost.

Obvious corporate connection here: The Post is owned by Jeff Bezos, the CEO of Amazon. If this strikes you as a particularly compelling spin on news delivery, then you’d probably find some chunks of Fortune’s recent Bezos profile interesting.

Speaking of Amazon…

Range roving. The Amazon-owned audiobook company Audible quietly launched a small blog last week that seeks to, and I’m quoting from the site here, “explore the world of listening and voice, literature and technology with original reporting, personal stories, playlists, and more.” The blog is called Audible Range, and it’s a piece of branded content marketing in the aesthetic of a lifestyle magazine that’s meant to do what pieces of branded content marketing are supposed to do: project a certain image, signal a company’s purported values, and carve out a specific vocabulary that the company wants to be associated with. (It reminds me of Uber’s Momentum and AirBnb’s Pineapple West Coast toast-chic magazines.) In this case, that vocabulary involves somewhat clunky synonyms for non-music audio — see: “listening and voice” — but synonyms, nonetheless, that would help the company retrain focus away from the word “podcast.”

The launch of Audible Range comes about a week after the company rolled out Clip, an audio-clip sharing feature attached to the audiobook app. All of this makes for a fair bit of activity coming out of the audio content giant that has yet to roll out the full weight of its original programming, though the tinfoil hat–wearing part of my temporal lobe is wont to view all of this as some sort of picking-up of speed, like birds fluttering before an earthquake or the air standing still before your toast pops heavenward.

For the record, if I were to make a lifestyle mag about pods, it would contain nothing but pictures of lugubrious Scandinavian men in headphones frolicking about all manner of flora.

Seats at a table. This is super interesting: Chava Gourarie, a writer-reporter-Delacorte Fellow at the Columbia Journalism Review, put together a spreadsheet yesterday tabulating the names and frequencies of underwriters of all the Marketplace programs — Morning Report, Marketplace Tech, and Marketplace Weekend — the business news audio briefs produced by American Public Media (APM), some of which are syndicated across the country. Gourarie used APM’s underwriting database, which is open to the public.

“The immediate reason was I wanted to see how far back Koch Industries has been a sponsor for Marketplace,” Gourarie told me in an email. She got the initial idea based on a discussion about the Koch brothers’ underwriting of public media programming — a topic of consternation for some — that had been going on in a listserv in which she’s a participant. “I thought it would be an interesting data point for the discussion on taking money from Koch when it’s been documented that they’re in middle of a rebranding effort. Then I got interested in the APM sponsor dataset as a whole. Could make for some interesting analysis.”

The spreadsheet, which is broken out by month going back to January 2015, paints a fascinating picture (the very same one, I’m sure, that haunts the dreams of media planners everywhere).

You can find the spreadsheet in this public Google Doc. Check it out, draw your own conclusions. And look up Gourarie’s work on the CJR website.

Bites:

  • “How Mack Weldon doubled underwear sales through podcast advertising.” Notable data point: Podcast advertising now represents 25 percent of the retailer’s overall ad budget per month. (Digiday)
  • “This local podcast network wants to find producers where others aren’t looking.” (Washingtonian)
  • “Soccer podcasts are booming in popularity.” The Guardian’s Football Weekly podcast was downloaded more than 15 million times in 2015. (The Guardian)
  • Heads up: WNYC’s invite-only women in podcasting conference, dubbed “Werk It,” will be coming back for a second edition this year. More details to come from the station very soon.
  • Another for observers of kids’ podcasts (there’s a lot of you in the HP readership): the Australian Broadcasting Corporation launched a new one of its own last week — Short and Curly, an ethics podcast for children. (Soundcloud)
  • Here’s another election podcast to track: Former Obama administration staffers Dan Pfeiffer and Jon Favreau’s Playing Politics, produced by The Ringer and distributed through their Channel 33 podcast feed. (Soundcloud)
  • Learned recently that the headcount at Gimlet is currently 45, including three interns. Pretty crazy when you think about the number of shows they have live on the market.

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