A report on podcasting details some of the industry’s issues: diversity, talent, tech, and (oh yeah) money

Welcome to Hot Pod, a newsletter about podcasts. This is issue 105, published January 31, 2017.

The Knight Foundation has a new report out on podcasts, titled “From Airwaves to Earbuds: Lessons from Knight Investments in Digital Audio and Podcasting.” It was published last Thursday, and you can access it as a PDF or read it on Medium.

The report is the product of research done on the learnings gleaned from the various on-demand audio-related investments made by the John S. and James L. Knight Foundation — of which there have been quite a few. Indeed, the foundation is strikingly ubiquitous as a funder of the space through programmatic grant support, particularly among projects that lie at the nexus of public media and podcasts. Among its beneficiaries: Gimlet Media, RadioPublic, Radiotopia, and NPR One (originally called Project Carbon). [Disclosure: Knight is also a funder of Nieman Lab.]

“It was clear to us that podcasting was beginning to meaningfully gain traction as a way to provide audiences with informative audio content,” said Sam Gill, the foundation’s vice president of learning and impact, when we spoke over the phone this week. “I believe that one of the more important things private philanthropy can do is to give risk capital to innovative ventures…We felt that’s the best thing we can do to support the field, and we hope that a lot of what we’ve learned can be useful to others entering the space.”

While the report’s focus on the foundation’s investments renders its scope somewhat limited, the issues that it ends up exploring is nonetheless pretty wide — and fairly comprehensive, I’d argue, as far as the key narratives of the space are concerned.

Longtime Hot Pod readers probably won’t be surprised by many of its findings. Among the salient issues discussed: diversity (still challenged), talent (the brain drain is real), finances (podcasting still doesn’t pay the bills for most independents and freelancers), technological infrastructure (still undercooked), data (still a mish-mash), and of course, talk of a podcasting bubble (yes and no, a respondent notes). But there are some genuine gems to be found in the details — a close read reveals mention of what appears to be WNYC’s mobile podcast discovery play, called Discover (which I’m told was quietly launched on the station’s website two months ago, and they’re laying low for now), among others.

I asked Gill if he was surprised by anything contained in the research. He pointed out two things: first, the extent to which broadcast publishers seem to genuinely embrace podcasting as a “green field for experimentation”; and second, and perhaps more notably, how self-conscious the industry seems to be in terms of how much more work needs to be done to improve the space overall. To Gill, that self-consciousness is productive.

“There’s no clear way to run a podcast business [at this point in time],” Gill said. “So what we’re seeing is a moment where everyone is very open, and which creates incentives to get really creative.”

For what it’s worth, I think I agree with that.

Art19 strikes up a distribution partnership with iHeartRadio. The partnership will give shows hosted on the Art19 the opportunity to be distributed through the broader iHeartRadio infrastructure, which includes apps for mobile devices, connected car dashboards, and various digital media players. This marks iHeartRadio’s second partnership with a podcast hosting platform in recent months. In July, a similar arrangement was announced between the company and Libsyn.

It should be noted that shows won’t automatically appear on iHeartRadio’s platform by virtue of simply being hosted on Art19. They must opt-in for inclusion, the same way shows have to submit their feeds to iTunes to get listed. “I would, however, stress that iHeart is not re-hosting Art19 podcasts nor are they running any audio ads in or around them,” Art19 CEO Sean Carr said over email last week. “Essentially, iHeart is operating just like any other podcatcher, except they are shipping much better data to us.”

Of course, the question we should be asking about iHeartRadio isn’t really about the data its players are able to give podcast companies, but about the amount of listenership it’s able to give publishers. iHeartRadio reportedly has over 95 million registered users, though it’s always worth noting that the number of monthly active users — the key metric — remains unclear. Furthermore, it should be remembered that iHeartRadio’s business is largely driven through live streams, the digital adaptation of the broadcast experience, which leads me to wonder about how much on-demand listening is actually happening off the iHeartRadio infrastructure, which would determine the actual value of this partnership. Sure, the iHeartRadio-Libsyn press release back in July noted that podcast listening on the former platform has grown 58 percent in the past year, but percentages are tricky things without the base number. (A source tells me that “a sizable amount” of iHeartRadio users are listening to podcasts, but that’s not much more to go on, even if that’s true.)

Whatever podcast listening may be happening on the platform, iHeartRadio nonetheless continues its steady creep towards the medium. This news comes after the company hired its first senior vice president for podcasting back in November (Chris Peterson, formerly a content partnership manager at TuneIn), which is a sign of things to come — and perhaps of a new era where iHeartRadio is taking the format seriously with a clear strategy intact. It also comes after a couple of experiments with the format, including a peculiar branded podcast partnership with the coworking space company WeWork. All of this really begs the question: What’s happening here?

Carr offers a clue. When we traded emails last week over this story, he noted: “Their aim is to become a premiere destination for podcast listening, and they want to be both publisher friendly and take a leadership role in propelling the industry forward.”

Don’t we all.

Three more things, quickly:

  • Art19 is a member of Syndicated Media’s partner program. (For more info on that, check out this column.)
  • I asked Carr if he thinks these partnerships with iHeartRadio — which, in my mind, adheres to the likely convergence between on-demand audio and the larger digital audio universe — might ultimately change the value proposition and economics of the podcast industry. “We certainly hope so,” he replied. “In my mind, it’s a simple equation. Better data will increase agency dollars flowing into the space. That will support the creation of more quality content, and that is great for consumers.”
  • I imagine we’re going to see a lot more partnerships like this, from Art19 and competitors like Megaphone and Libsyn, in the very near future.

WNYC announces the third edition of its annual women-in-podcasting festival, Werk It. This year’s festivities will take place at the Ace Hotel in Los Angeles on October 3-5. In addition to standard sessions, the festival will feature a one-day “Podcast Bootcamp” intensive for entry-level or early-career audio producers. The list of presenters includes Anna Sale of WNYC’s Death, Sex, and Money; Jennifer White of WBEZ’s Making Oprah; Lisa Chow of Gimlet’s Startup, and Jessica Williams and Phoebe Robinson of WNYC’s 2 Dope Queens.

Early registration is now open on the event website, and folks interested in pitching a session can do so here. I’m also told that there will be scholarships available.

Gimlet cancels Undone. The podcast revisiting major news events of the past, which was hosted by Radiolab alum Pat Walters, ran for seven episodes across its first and only season. Gimlet confirms that Walters will continue on with the company as an editor, working on both current and upcoming projects. No official word on what will happen to the show’s other two producers, Julia DeWitt (a Snap Judgment alum) and Emanuele Berry, but I presume they will be reallocated within the company as well.

This is the third time that Gimlet has pulled the plug on a project that’s been out in the open. The first, as you might remember, was Starlee Kine’s Mystery Show, which took place under fairly chaotic circumstances and triggered an outcry that risked the company’s scrappy and transparent image, and the second was Sampler, which was canceled last October. As for the reason, here’s the key section from Gimlet’s official statement on Undone’s cancellation:

Undone was performing well, but the show requires a very particular kind of editorial support, and as we got into the first season, it became clear that as of right now, we don’t have everything we need for it to keep growing and experimenting and finding its way. Gimlet is a startup. Some things we try are going to continue on for a long time. And some things won’t.

I followed up by asking if the decision was less about the show itself and more about the current state of the company. A spokesperson replied:

Actually, the decision was more so centered around the talent squeeze we’re seeing in the industry overall. Hiring the particular editorial staff we needed to meet the vision for Undone was tough in this market. Right now, there is a shortage of seasoned audio editors with deep experience making complex narrative stories. By not being able to provide the required editorial support, we were unable to continue the show in a sustainable way.

The explanation here is somewhat resonant with what I’ve been increasingly hearing from other companies and teams: that there’s a shortage of seasoned talent in general, and of seasoned editors in specific. The editor shortage has long been a topic of concern in this newsletter; long-time readers might recall the Poynter column last summer written by NPR editorial specialist (and former Nieman Fellow) Alison MacAdam warning of an editor crisis, and the subsequent interview I ran with MacAdam. This problem seems to have only grown more salient over time — my inbox is often filled with requests for talent referrals, and I imagine that the public-radio-to-private-podcasting brain drain can only go on for so long before the public media pool runs out of bodies.

The need for talent, I think, marks one of the more significant differences between audio and every other medium as they pertain to digital enablement: One could argue that many other forms of digital media have exploded because they were able to derive strong returns from relatively low resource investments. (Which is to say: cheap talent.) One could further posit that the quality barrier for acceptable consumption within on-demand audio is high — relative to web text, broadcast radio, digital video — which means that experience and talent are uniquely crucial to moving the needle for any given podcast operation and for the industry as a whole. A lack of experienced talent or even a clustering of them, then, is detrimental to the health of the ecosystem.

Anyway, this is all not to say Undone’s fate is purely the product of conditions external to itself. After all, if the show was hitting its marks, it would be a dumb idea to shut it down even with a shortage of editorial talent. Podcast measurements being what they are, it’s hard to precisely tell how well the show performed, but the fact that it didn’t quite reach the upper echelons of the iTunes charts as consistently as its cohort peers, Homecoming and Crimetown, is notable.

On the bright side, from the looks of the Undone Facebook page, the company seems to be managing the cancellation more effectively than the last time.

The New York Times set to debut the new Michael Barbaro show tomorrow. Barbaro was previously the host of the organization’s election podcast, The Run-Up. He moved to the audio team full-time in December. As I suspected when the Times first hired former All Things Considered supervising producer Theo Balcomb, this new project will indeed be a daily news show, analogous to morning email briefings. Episodes are expected to be 15 to 20 minutes long each, each covering 2 to 4 segments. They’ll drop into feeds at 6 a.m. Eastern on weekdays. And of course, it’ll also be distributed over the Amazon Echo and Google Home.

The show will be called The Daily, and BMW will serve as the launch sponsor.

There’s also a text-message component to the project, where Barbaro will keep subscribers in the news loop via SMS throughout the day. It sounds, uh, pretty intimate, but I suppose you could consider it an example of push-notifications-plus. (“To text with Michael,” the press release wrote, “listeners can sign up here.”)

My buddies over at Nieman Lab have a piece up that gives good background on the project, including the organization’s previous attempt at daily news pod — way back in 2006! — and a good overview of the very thin spread of existing daily news-related pods. Anyway, I’m excited to see how it shapes up, but here are three design questions I’m keeping in mind:

  • How will the show buck or appropriate the conventions of radio shows that trade in daily news? Will it evoke a similar feel to All Things Considered, or will it attempt to consciously challenge that format? And will such attempts to challenge be distracting?
  • How the show handles pacing, given its brief 15-20 minute structure, will be interesting to watch. How will the show convey momentum, and how will it balance between moving through stories and pausing for moments?
  • What will the show’s take on the anchor be? That is, how important is Barbaro’s personality to the hosting apparatus, and what is the emotional baseline that the show will try to convey?

I guess I’m also curious about The Daily’s target demo. As Nieman Lab’s tweet on the matter suggested, could this be a swipe at public radio territory? I put the question to the Times, and got a reply from Balcomb that sounds a lot like Matthew McConaughey from those car commercials:

We know there is a giant audience for this show. It’s for anyone who wants to understand the news of the day. For me, I’m making this show for the enthusiastic, news-hungry person who wants to know what’s going on in the world but doesn’t have a way in right now. Because the news isn’t where they want, when they want it.

Listeners will come to rely on this show. It’s the length you want and can handle every morning. And it’s conversational — real people talking to each other as they actually talk — while still featuring the best journalists in the world. This is for people on the go, people who live on their phones. This is for people who want to engage with reporters who actually break stories and live their beats.

Oookay.

True-crime pods continues to flourish, even at a small station. Current has a handy profile up of Suspect Convictions, a show developed out of a partnership between independent journalist Scott Reeder and northwest Illinois-based station WVIK, which covers the Quad Cities. The podcast has reportedly clocked in over 600,000 downloads since launching at the beginning of January, and has been hovering pretty consistently in the upper echelon of the iTunes charts.

Two bits that stood out to me from the article:

  • The station isn’t expecting tons of revenue from the show, according to the station’s general manager, Jay Pearce. “Under the station’s agreement with Reeder, it only has rights to sell local sponsorships for the show.” Fascinating.
  • Pearce “intends to look for other partners in the community to create additional podcasts, especially on local subjects that could interest listeners outside of Northwest Illinois.”

Do check out the whole article.

After the Trump administration’s chaotic first week, I’m reupping my column from last summer: “Can a political podcast avoid being overtaken by events?” At the time, I was trying to think through the bananas 2016 election cycle, which seemed to churn out controversies in a brisk, staccato clip. Those days seem quaint now, as the sheer abundance of the Trump presidency’s first 10 days — with its rapid-fire signings of executive orders and ever-expanding number of complex issues involved — further accentuates the core weaknesses of the way political coverage is currently delivered through the podcast format. Back then, I was specifically referring to podcasts that adopt the weekly recap discussion format, but at this point, it really does feel applicable to just about everything else.

I wrote: “With every episode, the discussion produces a model for the listener that helps guide their reading of the news, and like all models, they are forced into iteration by every future development. As a result, the discussion in those episodes — frozen as they are in time — exist with built-in half-lives; their value erodes, organically, as more new things happen.”

At the rate this administration is going, weekly political podcast episodes have a remarkably high chance of being rendered irrelevant even before they hit feeds. Further compounding the problem is the fact that, from the looks of it, the high-octane news environment is only going to worsen in volume and complexity over time — a state of affairs that would likely make it very difficult to communicate the news with appropriate proportionality, focus, and depth.

I’m tempted to think that deploying a cool and sober approach to presentation might be an appropriate way to solve this problem of issue abundance, but I’m not entirely sure about current conditions would necessarily allow for that. The recent years has seen an increasing rebellion against news presented by a voice of authority — presenting a view from nowhere — in favor of more personality-driven, supposedly human conversational styles. Within that latter paradigm, a cool and sober approach would be deficient. However, the problem that arises from this is that the tone and emotional performance becomes an incredibly important editorial variable to convey severity, synonymous with the size of a headline or the text of a chyron.

There is, in my mind, a surreal disconnect when that isn’t fully considered. That informational uncanny valley is pretty present in shows like, say, Pod Save America or The Washington Post’s Can He Do That?, where the political horrors being examined are considerably undercut by off-hand jokes or spritely uses of music.

I’m still working through this idea, but I’ll say one more thing: I can’t think of any show that handles tone in this news environment better than On The Media, whose recent string of episodes conjure an emotional space so sophisticated that it allows for both horror and process.

Bites:

  • Heads up, business journalists with audio work: The Society of American Business Editors and Writers’ Best in Business 2016 awards has an audio category, and the deadline is February 7. (SABEW)
  • In case you missed it, First Look Media’s The Intercept has rolled out the first episode of its new podcast, Intercepted. Jeremy Scahill hosts. Its First Look’s third podcast overall, following Politically Re-Active and Maeve in America, and the show continues the organization’s political focus. All three shows are listed in iTunes as resulting from a partnership with Panoply. (iTunes)
  • Meanwhile, in Australia: the Australian Broadcasting Corporation, the country’s national public broadcaster, has launched a TV campaign promoting its podcasts.
  • Looks like Dan Carlin’s back with another long, long episode of his hit podcast Hardcore History: “The Destroyer of Worlds,” on the nuclear age. The episode clocks in at 5 hours and 49 minutes. Hardcore History saw only two episodes drop in 2016, but Carlin’s been keeping busy nonetheless with his political commentary show, Common Sense. (iTunes)
  • As always, you can find a curated list of upcoming podcasts here. And let me know if you’d like to add to it.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bites:

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

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