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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Grab your space suits, fellas.

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

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

Public radio genes run deep.

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

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

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

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

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

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

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

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

Tip of the hat, Louisville.

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

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

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

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

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

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

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

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

[storybreak]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[storybreak]

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

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

Bites:

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

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

Hot Pod: Is there an opening for budding U.K. podcast businesses to challenge the BBC?

Welcome to Hot Pod, a newsletter about podcasts. This is issue ninety, published October 4, 2016.

Night Vale Presents welcomes a new show to the podcast universe: The Orbiting Human Circus (of the Air), an audio drama that will “tell the story of a mysteriously impossible variety show broadcast from the top of the Eiffel Tower”…well, let’s just say it’s appropriately strange, and exactly what you’d expect from the Night Vale team. The show is written by musician Julian Koster of the band Neutral Milk Hotel, and will feature a really remarkable lineup of voice talent that ranges from Mandy Patinkin to Charlie Day and Mary Elizabeth Ellis of It’s Always Sunny in Philadelphia fame.

Orbiting Human Circus is the third project to be released under the Night Vale Presents label since its formation in January, after Within the Wires and Alice Isn’t Dead. The show also has the distinction of being the network’s first “independently produced” podcast, meaning that it’s the first project being distributed by the Night Vale Presents team that does not creatively involve Night Vale creators Jeffrey Cranor and Joseph Fink. (Cranor cowrote Within the Wires, while Fink wrote Alice Isn’t Dead. Both write Welcome to Night Vale.)

“Julian and his artistic team built the world entirely on their own and approached us with the season one concept and the first three episodes already produced,” Cranor told me when I reached out last week. “We saw a group of artists making music and theater, and they had devised this brilliant digital audio show, and we wanted to provide them with a financial base and audience base to get this work off the ground.”

Authentic, Podtrac’s advertising arm, is handling sales for the show, as they are for the rest of the Night Vale Present portfolio (including the flagship Welcome to Night Vale).

I’ve come to view Night Vale Presents as conceptually equivalent to an indie label and, to some extent, a book publishing imprint — with a strong curatorial commitment to a very specific sensibility, closer in spirit to something like Radiotopia but in structural opposition to more conventional, scale-oriented podcast network like Panoply. (That reminds me: I’ve got to come up with a different vocabulary for these companies; the specificities of their details have accumulated enough to become strong differentiators.) Which is really, really interesting given that, for the past year or so, the podcast industry has come to feel like a protracted land-grabbing conflict perpetrated by entities looking to become the foundational arbiter of economic activity in the space. And I have, in recent weeks, come to suspect that much of that fight has already completed its course.

That leaves us, of course, with the question of what frontiers are left for entrepreneurial creators looking to stretch out their arms in this ecosystem. The enterprise of figuring out how to build a fulfilling business in the post-scale-oriented-network stage of this creative economy is certainly a hard one, but I think Night Vale Presents is doing just that — and providing us with a template of one way forward.

“We have a couple of other artists with imaginative ideas/concepts and we are using our experience to help these people enter the world of podcasting,” Cranor wrote when I asked about what’s down the pipeline. “Joseph and I reaching out to provide whatever resources we can to help initiate these good ideas, whether that is professional support, financial support, or just cheerleading. We want more fiction podcasts, more diverse podcasts, more original podcasts.”

Season one of Orbiting Human Circus (of the Air) premieres on October 12, with new episodes dropping every other Wednesday. The first season will run for nine episodes. The podcast will also involve a live tour component, which will start this fall.

Spotify in “advanced talks” to buy SoundCloud, according to the Financial Times. Do keep an eye on this, given that the latter has long served as a solid podcast hosting platform option for newcomers — and even a few networks — and given the former’s gradual push into becoming a worthwhile podcast distributor. (Worth noting: I’ve been hearing from some publishers that their Spotify listenership appears to be growing steadily over time, though not a rate that particularly pops.)

I’m tempted to speculate how this acquisition may impact podcast publishers hosting on SoundCloud or publishers looking to distribute through Spotify — it remains a closed garden — but I imagine that will all be contingent on the details of whatever deal may emerge, should there be one.

Some notes on the U.K. I was curious, like most, when I heard that Panoply was setting up shop in the U.K. When I last wrote about the podcast scene in that region, I was left with the impression that building out an on-demand audio business there would be a tremendously difficult proposition, particularly given the outsized role that the BBC plays in the local non-music audio economy, presumably leaving little oxygen for potential competitors.

Panoply, I figured, is in for a tough fight. But I wondered what someone who has had experience building out a podcast business in the U.K. would think, and so I reached out to Stuart Last, general manager and SVP of audioBoom, a British on-demand audio company that has, in recent years, made inroads in the U.S. His extensive reply:

The podcast market [in the U.K.] is really in its infancy — there’s been an increasing number of independent podcasts, but a noticeable lack of podcast networks compared to the U.S., so the first stage of consolidation has not really begun. Also, the ad sales market is not hugely established yet, both in the money agencies and brands are dedicating to podcasting, and how sellers are selling.

The one thing the BBC’s dominance of the audio space has created is a really competitive independent production industry. By law, the BBC has to buy a large percentage of its radio programs from the independent sector — which means there’s creative, and well established production companies ready to develop and produce fantastic audio products. So I think the main challenge for them will be how to monetize effectively. But their key opportunity is all about content and being able to tap into the independent production industry for great ideas.

I think it’s great that a third major player is launching there — obviously it’s more competition for ourselves and Acast, but because the industry is so in its infancy, it’s a chance for all three companies to shape what podcasting becomes in the U.K.

Interestingly, Last also wanted to clarify the current state of audioBoom for me: “I know we’re also seen as a British company,” he wrote. “We are — that’s where the company was founded and where our HQ is based — but the majority of global business is out of the U.S and we’re growing here at 10 percent a month.” Last further notes his company’s position as a dynamic ad-insertion platform competitor to Art19 and Acast (“and at much bigger scale,” he adds; “over 50 million downloads per month are coming via audioBoom”) and, simultaneously, a podcast advertising sales operation. It currently reps Undisclosed, Astonishing Legends, and the NBC Sports podcast network, among others.

Meanwhile, in Australia. The great continent down under — sorry folks, I couldn’t find a less cliched nickname — enjoyed its inaugural OzPod conference last week, with WNYC’s Manoush Zomorodi presenting the keynote. The conference, which was organized by the Australian Broadcasting Corporation (ABC), is the second relatively high-profile conference in the country after the more indie-oriented Audiocraft that took place in March. Anyway, I’d like to draw your attention something that the ABC published ahead of the festivities: an audience research report that covers Australian podcast listenership, put together by the organization’s audience insights team.

The report drew from a sample of 1,145 surveys, and it should be noted that the majority of respondents had been listening to podcasts for more than five years. (Which, in my mind, presents a pretty engaged — and therefore somewhat irregular — respondent pool, so keep that in mind when you look through the findings.)

You can view the full report here, but here are the points that stood out to me:

  • Australian podcast consumers listen to an average of 5.5 podcasts per week. The report didn’t make it particularly clear, but I believe “podcasts” is equivalent to “podcast episodes” here. The report also found that nearly 1 in 5 respondents listen up to 11 podcasts per week.
  • The most common location where respondents consume podcasts is apparently at home, with 76 percent reporting that behavior.
  • This is interesting: 36 percent of respondents indicated that they are listening to more podcasts compared to previous year. The report further noted that this is a net 14 percent increase compared to the previous year.
  • Finally, nearly 1 in 2 discover new podcasts by word of mouth and listening to the radio or television.

Cool. And in case you were wondering: ABC Radio is the largest podcast publisher in the country, reporting about 135 million overall downloads and streams in 2015. The company is projected to enjoy about 160 million overall downloads in 2016.

A writer’s room? Parcast is a fairly new podcast network that has taken what’s becoming a conventional route to building out its initial audience base: leaning hard into true crime. (Indeed, it’s a strategy so compelling that even some city newspapers, like the Cincinnati Enquirer and the Atlanta Journal-Constitution, have adopted it…with moderate success, looking at the iTunes charts.) Unsolved Murders: True Crime Stories is a dramatic, reenactment-heavy take on the genre, and it comes off as a bit of campy mix between Nightline and an old-timey radio drama. I’m told it drew 1.8 million “listens” in its first three months.

Max Cutler, a cofounder of Parcast, tells me that the company is set up “like an old-time movie studio,” in that production is built around a rotating pool of screenwriters and voice actors, with different combinations working on a given episode. It’s an intriguing way of structuring your production process, especially if you can make the economics of running a team like that work, and I think it’s a model that other shops should try out in the future — particularly the drama-inclined.

Anyway, the network launched its second show, the salaciously-named Remarkable Lives, Tragic Deaths, in early August, and Cutler notes that they intend to launch five to seven more shows over the next year.

Recognition. Something’s wrong, argues Johanna Zorn and the Third Coast Festival team in a manifesto published on Medium last Monday. It’s time for the Fall Arts Previews — an annual tradition of sorts where publications across the print and digital spectrum draw attention to upcoming artistic and creative events — but there remains, quite glaringly, an absence of radio and podcast-related coverage. Zorn & Co. further characterize this gap as an extension of a greater lack of critical recognition for the medium — a long running state of affairs, to be sure, but one that’s grown increasingly incongruous given the medium’s recent burst in attention and popularity. “We seek recognition of the Radio/Podcasting genre through thoughtful reviews, criticism, and a deeper examination of styles and trends,” the manifesto concludes. “We know you can hear us.”

As you can imagine, I’m sympathetic to the issue that Zorn & Co. raise here, but reading the manifesto, I found myself wondering: What, exactly, does “recognition” mean here?

When I spoke to the Third Coast team last week, Zorn told me: “It’s like we’re fighting for equality here…We talk about novels, dance, and movies, but we don’t talk about radio and it doesn’t feel like it’s being treated as art.” Maya Goldberg-Safir, the team’s social media strategist, presented a more practical line of argument: “People are still using The New York Times or the Chicago Tribune for event listings. I think those outlets are crucial for us to get visibility as an art form that we deserve at this point.”

A few things here:

1. It’s worth decoupling those two arguments. So, Goldberg-Safir’s argument for greater discoverability — which can yield material economic impact — really resonates with me, but I find Zorn’s appeal for greater cultural positioning much trickier. In my mind, it conveys a sense that the team is appealing to a stable of elite cultural gatekeepers to open their doors and let them in. I’m generally skeptical of any impulse that ties recognition to an acceptance from an elite class, although I understand that feeling.

2. I generally believe in cultivating radio/podcast criticism in order to realize their functional utility as a consumer guide of sorts and to increase their influence over the economic outcomes of podcast projects. To that end, I’m hopeful about the way things are shaping out: Podcast recommendation lists appear to be more common these days, there’s a growing class of young and independent online operatives taking up the task (like the Bello Collective and Podcasts in Color), and there’s been a slow but steady rise in writeups within strong publications (a very recent example: The New York Times’ recent profile of You Must Remember This’ Karina Longworth in the Style section, mere weeks after a similar writeup of The West Wing Weekly in the Arts section.)

3. I also happen to absolutely love consuming criticism as a standalone editorial product. (Hell, I love producing it too.) And as an editorial product, criticism has been subject to all the structural brouhahas that the rest of the media industry is suffering through, including the bifurcation into commodifying plays for scale and narrowing plays for niches. And therein lies the problem: Rdio/podcast criticism of the former kind may be well served by all we’re seeing already — the lists, the occasional writeups by big publications (many of which have been downsizing form-specific critics for years), and so on. The deeper and more thoughtful stuff, the stuff that the Third Coast team advocates for, requires the development of whole new, probably niche, businesses, either within an existing organization or as an entirely new venture. And that is no small thing.

Heads up. The Reply All team is trying out something weird next week: a 48-hour live show where they will take every phone call they get for 48 hours — all day, all night. “We want to see what happens when you open a line to the internet and invite anyone to use it,” wrote Alex Goldman in an email to me. “I have no doubt that will include abuse, pranks, insanity, and very little sleep.” Phone lines open on Monday at 10 a.m. Watch their Twitter and Facebook accounts for the number after that time if you want to participate.

Bites:

  • iHeartMedia dips its toe a little deeper into podcasts with Taglines, a show that comes out of a partnership with Advertising Age. This comes a few months after iHeartMedia rolled out a similar programming partnership with the coworking-space company WeWork. It also follows Libsyn announcing that it would be now distributing podcasts through iHeartMedia’s listening platforms. (Ad Age)
  • I’ve been enjoying the different ways that publications are taking to the Amazon Echo. Here, The Guardian announces its own Alexa skill for the Echo, splitting its flash content pipeline between three categories: news and opinion, reviews, and podcasts. I’m looking forward to seeing how other publications handle design taxonomy. (The Guardian)
  • WNYC’s Note to Self continues its experimentation with audience engagement and service journalism through digital research projects: the show is collaborating with ProPublica on a Chrome-extension-driven study to figure out what, exactly, Facebook knows about you (or thinks it knows about you). (ProPublica)
  • Panoply works to even out its political programming with the inclusion of two gabfest-style podcasts from Ricochet, a conservative website, into its network. I’ve written a little bit about Ricochet and the spread of conservative podcasts before, and if that strikes your fancy be sure to check out this recent article by Wired’s Charley Locke.
  • (Panoply)

  • Quick shoutout to the political podcast producers working overtime to pump out post-debate episodes mere hours after the actual event: Jocelyn Frank and Jayson DeLeon of Panoply’s Slate Political Gabfest and Trumpcast mashup, Brent Baughman of NPR Politics, Galen Druke of FiveThirtyEight, and whoever pulled the super late hours on The New York Times’ Run-Up team.
  • Dropping this here, due to the company’s relative ubiquity as a podcast advertiser: BuzzFeed’s investigation [by former Nieman Lab staffer Caroline O’Donovan —ed.] into Blue Apron’s not-so-wholesome supply practices. (BuzzFeed)

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