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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A trailer for the show can be heard here.

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

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

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

Can you tell me about the history of Podmass?

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

What kind of work goes into producing the column?

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

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

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

How has Podmass performed?

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

What happens to Podmass now?

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

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

Bites:

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

Happy America, every one. Godspeed.

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

Hot Pod: Will 60dB’s algorithms and user experience give it a lead over other audio platforms?

Welcome to Hot Pod, a newsletter about podcasts. This is issue ninety-four, published November 1, 2016.

Tiny Garage Labs pushed its short-form audio platform 60dB out into the public last week and bagged itself a bit of press, with writeups from Fast Company, Lifehacker, TechCrunch, and Nieman Lab. A few weeks ago, I briefly wrote about 60dB and the Silicon Valley-based team, which is made up of Netflix veterans John Ciancutti and Steve McLendon together with NPR alum Steve Henn. Back then, it was still in beta, and I made a point to draw attention to its focus on individual segments as the atomic unit of content.

Now that 60dB is out in the wild, I’m still not particularly sure what to make of it. But here are two things I’m thinking about:

1. It would be imprecise to view 60dB, as Fast Company’s headline suggests, as intending to solve the structural problems of podcasts. (Though, from the looks of the app’s current content offerings, it does not mind getting involved with them for now.) Rather, the app is best interpreted as attending to the larger listener experience problems associated with broadcast radio, whose distribution structure is deeply inefficient.

Ciancutti explained the problem when we spoke last week: As a radio listener, you essentially have two options when you encounter something you don’t want — you can either change the station or wait for time to pass within the confines of a specific station. (On the supply side, the problem can be viewed this way: At any given point of time, a station only has one interface point with which to work on its relationship with a listener.) 60dB’s gambit, as a platform, is to solve the efficiencies on both the listener and publisher side: Listeners are freed from the slog of unwanted experiences and having to make the bulk of choices, through a largely automated consumptive experience driven by shorter content chunks strung together by “algorithmic personalization.” And publishers will enjoy larger volumes of listeners efficiently sorted from multiple directions into their show portfolios.

Sound familiar? It’s basically the premise of almost every digital content platform from Facebook to Spotify to, well, Netflix. Which means that the attendant considerations and calculations for publishers should be the same, as they’ve lived through this story multiple times before — and are living through versions of it now.

Considerations like: Who will ultimately own the audience, 60dB or the publisher? Would the benefit of developing for the platform outweigh the potential lack of direct audience ownership in the future? What is the likelihood of a mutually beneficial audience development for both the publisher and the platform? And so on and so on.

Which is not to say that publishers are destined to play out any particular future here, or that there isn’t substantial benefit in collaborating with Tiny Garage Labs at this moment. 60dB stands to build out a new audience development arm for publishers that they are unable to explore for themselves, and publishers stand to provide 60dB with some compelling, structurally optimized content. What I’m merely saying is: At the end of the day, the devil will be in the details of the deal.

“We’re closing deals with specific partners,” Ciancutto told me. “We’re helping partners to tell and make these kinds of audio stories.” When I asked about the monetization end of the deal for publishers, he replied: “It’s stuff we still have to work on and figure out. Right now, we’re working on nailing the experience. Monetization will come next.”

2. There’s also the more fundamental question about whether 60dB’s gambit is a winning one. Two out of the three founders are Netflix veterans, and the team leans on that connection pretty hard. One imagines the shape of its strategy is appropriately Netflix-like. What does that mean? It’s helpful to refer to analyst Ben Thompson’s Stratechery newsletter this week, which spells out that strategy:

Netflix has built leverage and monopsony power over the premium video industry not by controlling distribution, at least not at the beginning, but by delivering a superior customer experience that creates a virtuous cycle: Netflix earns the users, which increases its power over suppliers, which brings in more users, which increases its power even more.

But the success of a strategy lies not just on its shape, but on the strength of its variables as well. And so the relevant question here is: Will 60dB’s interpretation of “superior customer experience” — shorter content units, largely algorithmically driven experiences — pay off?

A potential clue can perhaps be found in examinations of another media platform type whose dynamics function similarly: ad exchanges. In a piece published last week at The New York Review of Books, Slate group chairman Jacob Weisberg made the following observation: “Ad exchanges…have made digital advertising more efficient without necessarily making it more effective in increasing sales.” Which is to say, time will tell whether 60dB’s gambit of equating content efficiency with effective experiences will amount to anything, and I’m very curious to see where this goes.

Gimlet officially announced its fall launch slate this morning, and in doing so, offers a look into what appears to be a new phase for the company. Close observers probably know many of these new shows already — they were unveiled during the Brooklyn Upfronts event over the summer — but this morning’s press release revealed a previously unannounced audio drama project with a high profile cast.

Here’s the lineup:

  • Undone, a show hosted by former Radiolab producer Pat Walters that revisits big events from the past. It’s a familiar premise, one most recently utilized to great effect by Malcolm Gladwell and Panoply with Revisionist History. Launches November 14.
  • Homecoming, an original audio drama project that’ll feature Oscar Isaac, Catherine Keener, and David Schwimmer on the talent roster. Launches November 16.
  • Crimetown, which will mark Gimlet’s first foray into the ever-dependable true crime genre. The podcast is driven by part of the team behind HBO’s The Jinx — whose bubbling popularity back in early 2015 compelled critical associations with Serial — and it will examine organized crime in Providence, Rhode Island. Launches November 20.

Additionally, the company’s flagship StartUp podcast will kick off its latest full season this Thursday. This fourth season follows Dov Charney, the controversial former American Apparel CEO who was forced out of the fashion giant in 2014 following numerous reports of misconduct — including sexual harassment — as he pursues a new venture. (Frankly, I’m morbidly interested in hearing how the StartUp team handles this. The push from their end would be for reporting, the push from his end is likely image rehabilitation, and how that dynamic plays out will be the thing to watch.)

Two things:

1. The close proximity of all the launches really stands out to me here. We’re talking three launches in seven days, with each project having its own distinct press hook. Clumping is a smart strategy, I think, one that focuses attention is a way that presents Gimlet with a clear run of opportunities to firmly shape its narrative. The staggered launches of the company’s previous shows (Heavyweight in mid-September, Science Vs in late July) led to a pretty diffuse sense of momentum, and when it comes to a hits-based business — which Gimlet most definitely is — launch momentum is a crucial kind of capital.

2. Also interesting: the strategic conservatism in these bets. You can see the math at work in all three projects: the combination of a legacy radio talent with a classic premise (Undone), stacking an experimental deck with Hollywood talent (Homecoming), and tapping into a battle-tested genre that is a staple on the iTunes charts (Crimetown). Not knocking the choices here; given Gimlet’s high-value-per-project business model and a growing need for its next big hit, these are understandable moves.

The company marches into November following a few optically rough weeks between the Mystery Show controversy and the subsequent winding down of Sampler, two developments that were even dissonant within the context of the most recent StartUp mini-season, which kicked off a few hours after the Mystery Show announcement with an anxiety narrative that seemed to further split its private and public narrative. This November launch week presents a much-needed break from the past, and a chance for the company to reset its bearings.

Planet Money’s Neal Carruth is NPR’s new general manager for podcasts, a brand new position. According to the announcement memo, Carruth “will support the teams working on those shows, strengthen connections between our podcast portfolio and the newsroom and member stations, and support innovation and new program development across NPR as a key member of the newly expanded NPR Story Lab.” He will report to Anya Grundmann, VP of programming and audience development.

“I think we could probably have much richer conversations about NPR’s strategy in a few months, but what I can say is this reflects the seriousness of NPR’s commitment to podcasting,” Carruth said, when I asked about his strategy. “A big part of this for me is talent development — leveraging the incredible talent we have in our newsroom and inside the public radio system. I want to make sure NPR is a great place for creative people.”

He added: “And we want to make sure that member stations are part of this too.” (Poynter ran a longer interview with Carruth, if you’re interested.)

The hiring process for the position took place over a five-month period, with the job posted back in June. This news emerges from the shadow of the NPR podcast promotion kerfuffle (which raised questions over the organization’s relationship to podcasts) back in March, the WBAA-This American Life brouhaha (which raised questions over the broader public radio system’s relationship to podcasts and digital audio) back in May, and NPR One managing editor Sara Sarasohn’s departure from the organization in early September. NPR has been driving a positive wave of announcements lately, unveiling its restructured Story Lab initiative and drawing attention to a strong ratings increase (though, as Current’s Adam Ragusea reported, it’s unclear how to read that apart from a tweak in measurement methodology and the bump from a bonkers election year).

Carruth, a 17-year NPR veteran who most recently ran the business desk and oversaw the Planet Money podcast, will start his new role after Thanksgiving. (He’s also a super chill dude.) David Sweeney will temporarily take over the business desk.

Travel Pod. There’s huge overlap between food media and travel media: a trading in the currency of desire, an editorial choice or balance between dispensing information and peddling fantasy, an indexing towards the visual. Also worth noting to the list of shared traits is the tension I wrote about a few weeks ago within food media — between food media and media about food — which applies, I think, just as well to the travel vertical, though I do struggle to think of strong contemporary examples of viscerally driven travel media beyond the heyday of the Travel Channel circa early 2000s. (I had cable once, as a child, and it was beautiful.)

Roads and Kingdoms, a Brooklyn-based digital media concern, is one such example of a media company about travel, in the sense that it plays with the symbols of globetrotting fantasy while running longform magazine-y pieces. (A chilled-out person’s Vice, one would say.) There is much I find fascinating about R+K: its magazine gloss, its malleable niche, its acceptance of investment by media personality Anthony Bourdain. This is the kind of boutiquey media company that counts among its leaders a guy, one Nathan Thornburgh, who says stuff like: “A great listicle about seven cabanas and seven beaches is still going to kill on the Internet and power glossy magazines, but there are lots of people who think about travel as losing yourself in someone else’s life.”

The company, of course, is pursuing a podcast project, which will be called The Trip. Hosted by Thornburgh and executive editor Kara Parks, the show will showcase the kinds of stories that you’d expect from the site — a mix of travelogue, foreign journalism, cultural anthropology, scenes, and places pieces — and will be backed by sound-rich production values. Bourdain will feature in some pieces. I’m curious.

Production is led by Josie Holtzman, a Brooklyn-based producer on NPR Music’s Jazz Night in America. Philadelphia-based Alex Lewis is handling the ad creative, a set of short midroll profiles on chefs working in New York City’s Lower East Side. The first season, which will run for six episodes, is sponsored in full by Tiger Beer, and Panoply will play a supporting role with distribution and promotion, whatever that means. It will tentatively launch in the first week of March 2017.

Governmental advertising on U.K. podcasts? Caroline Crampton, an assistant editor at the left-of-center British publication the New Statesman (which has a healthy podcast roster), writes in to let me know about a string of governmental ad buys that have been taking place on UK podcasts. Over email, she explained:

We’ve had two major government-sponsor campaigns on our shows. The first ran in spring this year, and was about the benefits to UK companies of exporting their goods to other countries (part of this initiative) and the other is from the Department of Work and Pensions and encourages small business owners to sign up for the new government Workplace Pensions Scheme (this one is due to run from 7 November). Both were sponsor reads, rather than externally-recorded ads, so we were sent a brief containing the facts and figures and then our hosts worked with it to create the final audio. Both campaigns appeared on the New Statesman Podcast, which is our biggest show and focuses on UK politics, and were mostly about spreading information — the action listeners was asked to take was just to read a website for more details.

I asked Crampton if she had heard of anything beyond governmental ads. She replied:

We haven’t yet seen any non-government political ads in the UK as far as I’m aware — at the New Statesman we haven’t yet been approached by a candidate or political campaign, and I haven’t heard such an ad anywhere else. My sense is that government media buyers have bigger budgets than everyone else in the political sphere, and are thus able to be a bit more forward-thinking and experimental with how they spend their cash. They seem to be trying out podcasts as a new platform for citizen informational campaigns beyond the more traditional posters and radio/TV spots. I don’t know of any political party or union that is yet choosing to spend money with podcasts as a way of reaching voters or members, although given that the 2015 general election was the first time the UK really saw parties spending big money on targeted social media ads (dominating the so-called “cyber war” is considered to be a big part of why the Conservatives won a surprise victory) I don’t think party political podcast campaigns can be that far off here.

Fascinating. Crampton, by the way, recently launched a new podcast criticism column in the New Statesman, and you should check it out.

Bites:

  • Oh, NPR’s Story Lab Pitch Portal is now live! (NPR)
  • Audible crawls out into the wild west: One of its original shows, Presidents Are People Too, is now available for free in podcatchers everywhere. “It’s been our plan since the beginning to try other platforms as a way to introduce listeners to the great series we have available at Audible,” Audible SVP of original content Eric Nuzum tells me. (iTunes)
  • Stephen Dubner writes in to correct a detail I ran last week: His Midroll show with James Altucher, Question of the Day, is actually not running any more, having wrapped publication in early September. Sorry about that!
  • The Memory Palace’s Nate DiMeo, currently the artist-in-residence at the Met, releases his first few episodes from that stint. (The Memory Palace)
  • BuzzFeed’s latest podcast: See Something Say Something, a show hosted by Ahmed Ali Akbar about being Muslim in America. (iTunes)
  • “How To Cope With 2016: Start An Election-Gambling Podcast.” (FiveThirtyEight)
  • Midroll’s inaugural Now Hear This festival took place over the weekend, and from what I’ve heard from a few attendees, it seemed to have been a successful first run. If you were there, let me know what you think! I’d love to run a reaction roundup.
  • The great Linda Holmes of NPR’s Pop Culture Happy Hour has a fun theory that sorts the different podcast communities according to a Hogwarts-like taxonomy, but her concluding point is cash money: “My point is mostly that when you’re trying to serve podcast audiences OR creators, many in these houses are UTTERLY indifferent to others.” (Twitter)

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.