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]

Is Audible’s big entry into podcasting innovative enough to push the field forward?

Welcome to Hot Pod, a newsletter about podcasts. This is issue seventy-nine, published July 12, 2016.

Audible pulls Channels out of beta. Well, it’s finally here: The spoken audio entertainment arm of Amazon has officially launched Channels, a new “short-form audio”-focused subscription service that will come packaged with the originally audiobook-oriented Audible app. The service has been in beta since April. In case you missed the writeups by The New York Times and Bloomberg, here’s the low-down: The feature is available to existing Audible members (who already pay $14.95 a month for the service) and will cost $4.95 a month for non-members who want access Channels content without having to deal with those pesky audiobooks. Offerings range from audio digests of publications like Forbes and Harvard Business Review to standup comedy recordings to ad-free versions of popular podcasts like WNYC’s Radiolab and Radiotopia’s The Truth.

Oh, and original Audible programming, of course. I mean, that’s the real cause for speculation and excitement, isn’t it? The service launched last week with four original products — an interview show featuring writer Ashley Ford called Authorized; a texture-driven documentary series about New York City called Mortal City that, quite frankly, is more than a little reminiscent of Radio Diaries; a Mary Roach-esque narrative show featuring stories about the human breast by writer Florence Williams called Breasts Unbound; and another narrative show that serves quirky stories about American presidents hosted by historian Alexis Coe and comedian Elliott Kalan called Presidents Are People Too! — along with the teaser for an upcoming project called The Butterfly Effect, which will feature the offbeat stylings of author and occasional This American Life contributor Jon Ronson.

“You’re seeing the first half dozen this week,” Eric Nuzum, Audible’s senior vice president of original content, said in a recent interview with Nieman Lab, referring to the original programming rollout. “But what will surprise people is how often we’re putting out material at the level we’re doing.” According to the writeup, the rate translates to about one new show every one or two weeks, with 40 projects being baked in the pipeline. Seasonal considerations will also impact rollout decisions. When we spoke at the Podcast Movement conference in Chicago last week, Nuzum told me to keep a particular eye out for the launches in September, hinting towards the release of more interesting projects during that period — a choice that was made to reflect generally higher on-demand audio engagements in the fall compared to the slower summertime.

So here it is: the long-awaited play from the 500-pound gorilla that’s been creepin’, quietly but surely, at the edges of the podcasting pond. The question is, of course, whether Audible can convert its infinite pool of potential into some form of tangible dominance over non-music audio. And will it fully change the way we think about, produce, and consume the stuff we used to throw over the airwaves and down RSS feeds?

Time will tell, obviously. But three things for now:

    • Audible has, to some extent, already won the battle to become the “Netflix for podcasts,” or “spoken audio,” or whatever it is you want to call non-music audio programming. After all, the company long ago beat the fundamental barrier to entry for any subscription content business: a critical mass of paid customers, which it cultivated and solidified through its years outmaneuvering and outpacing its relatively technologically flat-footed competitors in the book publishing business before sidestepping into podcasts and non-music audio content more broadly. By expanding its understanding of the product it serves and reducing audiobooks into one of many product categories that it will deal with, Audible instantly holds a tremendous structural advantage over any newcomers — including Howl, Midroll’s own attempt at a subscription audio content play that mixes back catalogues with original programming.
    • That said, Audible’s opening structural advantage can still be undermined in the long run, with the key battleground being the strength of its inventory over time. And while we’re literally in Channels’ first month at play, I will say that its initial slate of original programming strikes me as conceptually underwhelming. None of the Audible Originals seem particularly fresh, either in terms of subject matter or sheer structure and form. Authorized can be shuffled into a deck made up of Longform, Writers Who Don’t Write, The Guardian Books Podcast, and Between the Covers. Breasts Unbound can be slotted into a stable made up of Invisibilia, Hidden Brain, and Only Human. And even Jon Ronson’s The Butterfly Effect seems to be the product of fairly straightforward strategic thinking — so straightforward, in fact, that Panoply’s already done it, except with Malcolm Gladwell.Which is not to say that the shows aren’t good, or that I won’t eagerly pay $4.95 for the privilege of consuming some if not most of these projects. I enjoy Presidents Are People Too! a hell of a lot, and I will gleefully suck all the marrow out of anything Jon Ronson whips up. It’s just that the slate feels a lot like something you’d call Audiobooks+.

      (Alternatively, the goal may well be to produce shows that are structurally familiar to other podcasts but are either best-in-class or good enough, to a point where Audible users are satiated enough to not go looking for shows of similar categories off the Channels platform. Programming is only part of the value proposition; convenience is another.)

      And that’s a bit of a shame, considering Audible’s sheer potential to take insane risks without having to worry about conventional audience goals driven by advertising needs. Give me a musical, give me neo-Finnegan’s Wake, give me whatever’s the audio equivalent of Broad City or Terrence Malick. Give me something I’ve never heard before.

  • But perhaps that was never the direction Audible was meant to go. I’m reminded of something Nuzum told me for a Q&A I ran back in April: “It really is not a question of what shows we create. The question we ask is: What do people want to listen to?” And reckoning, for a moment, with the fact that the Audible data that informs Nuzum’s thinking is essentially data about audiobook consumers, it’s no wonder that we’re seeing these projects: more Jon Ronsons, more Mary Roach-esque compositions, and so on. When people indicate what they want by indicating what they once wanted, there’s only so much you can see beyond the frontier.Which raises the question: Who, then, will bring us to the next, next thing?

A curious partnership in ad tech. AdsWizz, a digital audio ad tech company, announced the launch of something called PodWave last week, which the company bills as “the first ad marketplace specifically created to meet the needs of podcasts.”

What does that mean, exactly? The theoretical purpose of a technologically-enabled advertising marketplace like PodWave is to serve as the platform upon which publishers can sell ad spots and marketers can buy them more efficiently. What “efficient” means can play out in a number of ways, including (1) the enablement of transactions at scale, (2) the increase of control among advertisers and marketers over the shape and depth of their campaigns, and (3) a similar increase in expectation and accountability of returns through stronger metrics, improved targeting capacities, and the implementation of best practices and creative executions, among other things. Podcast advertising, in its current form, still remains relatively high-touch and artisanal, with advertisers and agencies working directly with publishers to make bids, process buys, and evaluate campaigns. (Which isn’t necessarily a bad thing; such high-touch advertising workflows are probably desirable for podcast publishers that want full control over their value narrative and sales processes.)

AdsWizz’s press release didn’t get specific on how the platform measures up to those markers of efficiency, but what’s notable is its partnership with National Public Media (NPM), the sponsorship sales arm for NPR and PBS. NPM’s involvement with AdsWizz appears to be significant, with Ad Age reporting that NPM will assemble a “special team to sell PodWave and help marketers tailor their messages” in the podcast format — a situation that sees NPM playing a sort of ambassadorial role aimed at recruiting publishers. According to the Ad Age writeup, AdsWizz CEO Alexis van de Wyer has stated that “over 500 shows and publishers will participate” in the marketplace, though he declined to provide specific names. We’ll see how the marketplace shapes up, and whether marketers will bite, in the months to come. I imagine that if AdsWizz’s gambit is successful, it could encourage more advertisers to invest in the medium.

This is the second time in recent months that NPM has thrown its weight and reputation behind another company in an effort to encourage industry-wide formalization. When the podcast measurement company Podtrac announced its industry rankings project back in May — an initiative that could well help more advertisers ease into medium — NPM chipped in on the accompanying press release, with NPM general manager Bryan Moffett providing the quote: “With Podtrac’s monthly industry rankings and unique audience metrics, advertisers now have a view of not only the combined audience size across NPR’s many podcasts, but can compare our reach to other publishers to more accurately plan their podcast media buys.”

Smooth moves, NPM. Smooth.

High-level staffing changes at NPR. Some personnel changes to note at the public radio mothership, with some major implications for folks shopping around their projects:

  • Steve Nelson is the organization’s new director of programming. He was previously American Public Media’s director of on-demand programming, where he led the launch of the Infinite Guest podcast network in August 2014 which distributes on-demand versions of The Dinner Party Download, Too Beautiful To Live, and KPCC’s The Mash-Up Americans, among others. Nelson will reportedly front NPR’s “new anchor entertainment weekend programming” and assist with new podcast development. He starts in August, and will continue working from his current base in Minnesota.
  • N’Jeri Eaton joins NPR as senior manager for program acquisition, where she will be in charge of sourcing new external talent and programming to be brought into the organization. She was previously the content development and initiative manager at the Independent Television Service, an organization principally backed by the Corporation for Public Broadcasting that supports the development of independent filmmaking. According to the press release, Eaton will the organization’s “first point of contact for program idea pitches from outside contributors to NPR,” so keep that in mind, folks!

Also: Israel Smith has been promoted to senior director of promotion and audience development. He was previously the organization’s director of programming, the role that Steve Nelson now holds.

Two new distribution points for Libsyn. Last week, the stalwart podcast hosting platform company announced that podcasts hosted on its platform can now be consumed on iHeartRadio, the digital audio arm of iHeartMedia, the media giant formerly known as Clear Channel. The service reportedly has more than 85 million registered users, though it should be noted that its monthly active user count is unclear. (For comparison: Pandora has 250 million registered users and 78 million monthly active users around the end of 2015, according to Digital Music News.) Still, it’s a new point of access for podcasts, and I suppose it’s also worth noting that iHeartRadio’s app is one of the stronger brands available on connected cars.

Also worth noting: This isn’t iHeartMedia’s first foray into podcasting. The company previously partnered with livestreaming/podcast hybrid company Spreaker in 2014 to serve as a distribution point for its content, and back in June, it collaborated with the coworking space company WeWork to produce what appears to be a branded podcast about entrepreneurship. That podcast initiative was part of a much larger project called Work Radio, which involves iHeartRadio developing a live radio station for the WeWork network of campuses. Yep, it’s strange, but frankly, so is much of the radio industry.

Libsyn also debuted a new feature last week that lets its users publish podcasts on YouTube more easily, according to a MediaShift writeup. The measure and depth to which audio-only podcasts (as opposed to video-audio podcast hybrids) are consumed on YouTube remains unclear on the aggregate, but certain networks — like Night Vale Presents and the Loud Speakers Network — have seen considerable engagement on the platform in the past when they’ve repackage their episodes as videos with static images. (Depending on the show, both networks enjoy YouTube views in the tens of thousands. Examples can be found here and here.)

Cool.

Bites:

  • From a panel at the recent Podcast Movement conference: The IAB will be releasing a standards guideline for podcasting metrics sometime in the next quarter.
  • The nascent L.A.-based Wondery network picks up the increasingly popular true crime podcast Sword and Scale, expanding its true crime and audio drama-heavy lineup to ten shows overall. This development comes shortly after the announcement of the network’s first original production, Found, which is set to premiere on July 13.
  • A couple of ESPN job postings have been kicking about indicating the organization’s intent to develop an audio-version of its insanely popular 30 for 30 documentary brand. Having just burned through much of the series’ eight-hour doc on O.J. Simpson, I’m incredibly psyched for this. (Disney Careers)
  • John Sheehan, a producer on WHYY’s Fresh Air, has a new podcast for kids called The Radio Adventures of Eleanor Amplified, and it’s oodles of fun. It also appears to be the product of an internal station competition — one of those bakeoffs I keep hearing about — according to a writeup on Current. Terry Gross previewed it on the Fresh Air podcast feed last week. (WHYY)
  • And while we’re on the subject of kids podcasts, here’s a related read: “Who says kids don’t have podcasts? Here are 18 choices from public radio” by Melody Joy Kramer. (Poynter)

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