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Vox Media announced this morning that it is expanding its audio efforts, effectively doubling its podcast portfolio. You can find the full details of Vox Media’s new programming slate in this announcement post, but it includes new podcasts from Recode (Pivot with Kara Swisher and Scott Galloway), Eater (Start to Sale), SB Nation (It Seemed Smart), and the broader Vox Media brand (Function with Anil Dash). Vox will also be launching a new podcast project that will accompany a new section of coverage.
There will also be show expansions: The Verge’s flagship Vergecast podcast and Vox’s flagship The Ezra Klein Show will now publish twice a week starting next week, and Vox’s The Weeds will publish special episodes every Wednesday, starting the first week of October, to cover the upcoming midterm elections.
Also, sports: SB Nation will roll out a new portfolio of 32 NFL podcasts, one for each team. This builds upon the media brand’s earlier move to build a mini-sports podcast network around the city of Philadelphia.
“Podcasting is a growth business for Vox Media,” wrote Nishat Kurwa, the company’s executive producer of audio. She noted that podcasting started out as “more of a hobby” at the organization but has since shifted into a strategic division for Vox Media. I’m told that downloads across the Vox Media Podcast Network have grown significantly year-over-year, and that the network is profitable. “Obviously, super-engaged audiences are compelling to advertisers,” said Kurwa. “We’ve notably diversified our mix of advertisers this year and see this demand growing over time.”
I asked Kurwa what she thought about recent industry shake-ups, which seemed to have sparked a wave of discussion around whether on-demand audio can actually provide value to media companies. “Growing a successful podcasting business can’t be a side job,” she said. “It takes serious dedication, support from the entire company, and building capabilities that require investment: development, production, marketing, and sales. And we know it’s going to take continued commitment and focus to stay competitive.”
She counted out Vox Media’s efforts on this front: how some of the organization’s top editors have put in work behind the mic for years, how the company formalized its audio division last year, and how they’ve been aggressively hiring to support the division’s programming and sales efforts.
“Even as some digital media players drop out of the podcast game, interesting new players will jump in as they see potential in this business,” Kurwa added.
SB Nation, Vox Media’s sports-focused editorial brand that’s built on a sprawling network of team-specific blogs, has established a mini-podcast network entirely around the great city of Philadelphia. The network will consist of four podcast channels — Bleeding Green Nation (covering the Eagles NFL team), Broad Street Hockey (covering the Flyers NHL team), The Good Phight (covering the Phillies MLB team), and Liberty Ballers (covering Dario Saric’s 76ers) — that, between them, will distribute twelve different shows.
Three aspects to this programming strategy worth clocking:
- The aforementioned use of the podcast feed as an umbrella unit to house different productions within the same topical focus;
- The initial move to bring in existing productions, some of which were outside the SB Nation family, into those podcast channels, as is the case with The Stepover podcast now being distributed through the Liberty Ballers feed;
- A resulting publishing schedule that, powered by twelve shows, will almost stretch across an entire week.
It’s mildly interesting to observe this development in the wake of Solution Set’s analysis on Season Ticket, the Boston-focused daily sports podcast by WBUR and the Boston Globe. The bet with Season Ticket was on the possibility that the Boston sports fan diaspora, along with the national interest in Boston’s sports teams, would pull together a big enough listenership that could sustain the podcast. That gambit quite didn’t work out. The podcast ran for one season before calling it quits, citing production challenges and what turned out to be a lackluster audience size. For what it’s worth, I’m stilling hopeful on there being a feasible (and profitable) future for local podcasting — especially local sports podcasting. I still buy into the theory that sports fandom is a ravenous, vibrant, and inexhaustible driver of media consumption behavior across all forms, including local. The question, I think, is about building the right bucket.
SB Nation declared it too early to discuss its thinking around advertising and strategy when I reached out last week. Fair enough. In the meantime, I think there are two useful comps to contextualize SB Nation’s Philadelphia experiment:
- The first is the popular independent Rights to Ricky Sanchez podcast, and
- The second is the sprawling and rough-around-the-edges Locked On podcast network, which publishes broadcast radio-quality daily podcasts around individual professional sports franchises.
On a separate note, I have doubts the Sixers will make the leap this year.
Quick preamble: I was working on my taxes yesterday when I realized that last Thursday marked the two-year point since I incorporated Hot Pod Media LLC. To celebrate the occasion, I’m hauling an old Hot Pod feature out of retirement just for this issue: the unnecessary deployment of irrelevant GIFs. Thanks for being a reader, and to those who’ve been reading me for a while now, thanks for sticking around. I really don’t know where all that time went.
Every Day, Explained. Rejoice, news nerds: We now have a name, a release date, and a sound palette for Vox Media’s upcoming entry into the daily news podcast genre. The show will be called Today, Explained — props for keeping it #onbrand — and it will begin publishing next Monday, February 19. A trailer for the podcast went up yesterday, and it sounds…well, quite different from what I would expect from Vox.com, but entirely in keeping what I would expect from host Sean Rameswaram, whose various hijinks I’ve followed intermittently over the years.
I wrote a preview of the podcast for Vulture that came out yesterday, and I spent much of that article trying to contextualize Today, Explained within the current state of the emerging daily news podcast genre. Now, “emerging” is a word I tend to use a lot (more on that in a bit), at times way too cavalierly, but in the context of this story, the use of the term is literal: It’s been a blast watching this species of podcast come into being.
Two things I’d like to emphasize from the preview:
- The choice to target the evening commute is a really, really smart one. I’ve argued this before, but I think it’s safe to assume that there might be considerable overlap between the audiences of The New York Times and Vox.com. As such, a move to complement The Daily is significantly more prudent than engaging it as a direct competitor. In any case, even if the overlap was small, the evening commute remains untapped by the daily news podcast to begin with — aside from Mike Pesca’s The Gist, of course, which isn’t really playing the same game anyway. It’s a safer, and therefore more reliable, base to build from, and besides, Today, Explained could always expand with an a.m. version at some point in the future. (Same goes with The Daily and a p.m. version, a prospect that it has previously explored with breaking news specials.)
- In case it fully doesn’t come across in the writeup: I think Today, Explained’s success will mostly hinge on Sean Rameswaram’s personality — more so, I’d argue, than how Michael Barbaro fits into The Daily as a presence. Which is, I suppose, kind of the point when you bring in someone with a specific sense of showmanship like Rameswaram to headline a project.
And two more things I’d like to add to the preview:
- Here’s Vox.com general manager Andrew Golis, responding to an inquiry about how the podcast fits into the company’s overall business goals: “It gives us an opportunity to have an audio daily presence in our audience’s life in the way our website does in text and our YouTube channel does in video. That persistent relationship and trust is a powerful platform for building our business…we believe ‘Today, Explained’ will give us a new way to introduce audiences to a growing network of Vox podcasts as we continue to expand our ambitions and programming.”
- I’d be remiss if I didn’t discuss Midroll Media’s involvement in the production. The Scripps-owned podcast company serves as the exclusive advertising partner for Today, Explained, but I’m also told that they provided upfront investment to help assemble the team and build out the production. Chris Bannon, Midroll’s chief content officer, was also involved in the development of the show. “Creatively speaking, I spent a day in D.C. with the Vox team, and together we started sourcing host and staff candidates,” explained Bannon over email. “Right now we’re in the fun part, listening to show drafts and sharing notes. They’re alarmingly well-organized, cheerful, and efficient.” Bannon, by the way, worked with Rameswaram back when he was still at WNYC. (He left for Midroll in early 2015.)
When asked about his perspective on the potential of Today, Explained, Bannon offered an analogy. “I think we want Today, Explained to be All Things Considered to the The Daily’s Morning Edition,” he said. “Except that we will be more like All Things Considered’s smart, funny, well-informed, and streetwise uncle.”
“Streetwise uncle” sounds about right.
On a related note: I heard there’s some big news coming later today on The Daily. Keep your eyes peeled.
What comes next for the Fusion Media Group. Last week, The Onion binge-dropped A Very Fatal Murder, the satirical news site’s first stab at a long-form audio project. The show was designed to parody the wildly popular — and eminently bankable! — true-crime podcast genre, which is an appealing premise right off the bat: indeed, there’s no team I’d love to see interpret the phenomenon more than the brains behind The Onion. A Very Fatal Murder turned out to be enjoyable enough, no more and no less, though I did end up thinking it didn’t come anywhere close to realizing its promise as podcast satire.
But there’s a thing, and then there’s everything around the thing. And despite the minor swing and miss of A Very Fatal Murder, I was nonetheless left quite excited about the prospect of future projects from The Onion, and curious about what’s going on with the audio team at The Onion’s parent company, Fusion Media Group (FMG).
So I checked in with Mandana Mofidi, FMG’s executive director of audio. In case you’re unfamiliar, FMG is the sprawling, multi-tentacled corporation best known in some circles — mine, namely — for absorbing the remains of the Gawker empire post-Terry Bollea lawsuit in the form of the Gizmodo Media Group that spans Gizmodo, io9, Jezebel, and others. A television arm factors in somewhere, as does the city of Miami.
Anyway, Mofidi tells me that since her team kicked off operations about a year ago, they’ve been playing around with a couple of ideas and formats to see what would stick. Weekly interview and chat shows made up the early experiments, which apparently ended up working well for Lifehacker (The Upgrade), Kotaku (Splitscreen), and Deadspin (Deadcast). But following the reception they received for A Very Fatal Murder as well as Containers, Alexis Madrigal’s audio documentary about the sexy, sexy world of international shipping from last year, more plans have to been put in place to build out further narrative projects.
Mofidi’s overarching goal this year, it seems, is to ensure that each of FMG’s properties gets a solid podcast of their own. To that end, they have several projects in various stages of development, including:
- A six-part narrative series from Gizmodo about “a controversial and charismatic spiritual guru who uses the internet to build her obsessive following.” That show is being developed with Pineapple Street Media, which appears to be really carving out a niche around themes of obsession, charismatic leaders, and the followings they spawn, following Missing Richard Simmons and Heaven’s Gate.
- A show for Jalopnik called Tempest, which will examine “the funny and at times tragic intersectionality of people and cars.”
- A series that “explores the connectivity of our DNA” — which evokes memories of Gimlet’s Twice Removed — featuring Grammy Award-winning artist René Pérez, a.k.a. Residente. Gretta Cohn’s Transmitter Media is assisting with this project.
- A collaboration with The California Endowment that’ll produce stories on young activists “who are using their platforms to promote solidarity between different communities and causes.”
Mofidi also talked about an intent to dig deeper into events. “We recently did a live taping of Deadspin’s Deadcast in St. Paul before the Super Bowl. We were expecting to sell about 200 tickets, but ended up with over 360 people,” she said. The smart speaker category is also of interest, along with figuring out ways to collaborate with FMG’s aforementioned television arm.
I asked Mofidi if she had any dream projects that she’d love to produce in her role. “A daily show,” she wrote back. “It would be ambitious, but with so many passionate voices across our sites it feels like something we could do in a way that was distinct.”
Related reading: Publishers with TV ambitions are pursuing Netflix.
We’re back with this nonsense: “Public media again in bull’s-eye in president’s FY19 plans.” Re-upping my column from the last time we were in this mess, on why it’s bad in ways you already know and in more ways you don’t.
And while I’m linking Current, the public media publication just announced the new host for its podcast, The Pub: Annie Russell, currently an editor at WBEZ.
Pod Save America heads to HBO. Surprise, surprise. Crooked Media’s flagship podcast is heading to the premium cable network with a series of hour-long specials that will follow the Obama bros — that’s former Obama aides Jon Favreau, Tommy Vietor, and Jon Lovett, in case you’re unfamiliar with the deep-blue podcast phenomenon — as they host live tapings on the campaign trail for what will most definitely be a spicy midterm election season this fall. This is the latest addition to the newly buzzy trend of podcasts being adapted for film and television, and the deal for this adaptation in particular was handled by WME.
Over at Vulture, I tried to turn a series of dots into a squiggly shape linking this development, the recent debut of 2 Dope Queens’ HBO specials, and HBO’s relationship with Bill Simmons to say something about the premium cable network’s potential strategic opportunities with podcasting. Put simply: Traditional standup comedy programming is getting more expensive due to the pressure of Netflix’s infinitely large war chest, and one could argue that certain types of conversational podcast programming offer HBO an alternative resource to adapt and develop content that can potentially hit the same kind of experience and pleasure beats you’d get from conventional standup TV specials.
But sometimes dots are just dots, and those aren’t really constellations in the sky — just random, meaningless arrangements of stars that are indifferent to your experience of them.
Happy Valentine’s Day.
Meanwhile, in the nonprofit world. This one’s pretty interesting: Tiny Spark, the Amy Costello-led independent nonprofit news outfit that covers the world of philanthropy and nonprofits, has been acquired by Nonprofit Quarterly, which is…well, a much larger independent nonprofit news organization that covers the world of philanthropy and nonprofits. “Amy…has done an exceptional job building the audience for her podcast. We are excited not only to add this new media channel to our organization, but also to collaborate with Amy to expand our reach into public radio,” said Joel Toner, NPQ’s president and chief operating officer.
As part of this arrangement, NPQ owns Tiny Spark’s intellectual property and Amy Costello is brought on as a senior correspondent to lead the organization’s investigative journalism work, podcast development, and public radio outreach. “Tiny Spark’s work fits very well into the topics we cover at NPQ,” said Toner, when asked about the strategic thinking behind the acquisition. “Additionally, our 2017 annual audience survey confirmed that our readers had a significant interest in having us develop a podcast channel.”
I’d like to point out just how much this arrangement reminds me of the one that was struck between USA Today and Robin Amer, which I profiled last week. Speaking of which…
A quick update to last week’s item on The City. In the piece, I talked a little bit about the USA Today Network’s podcast plans for 2018, chiefly drawing information from a summer 2017 press release the organization circulated when they first announced the acquisition of The City. The plans mostly involve launching more podcasts across its properties.
The company reached out to let me know that their thinking has since evolved. “The network already produces dozens of podcasts across its 109-plus sites, but is now focusing on a handful of those shows to support with resources and marketing à la The City,” wrote Liz Nelson, the USA Today Network’s vice president of strategic content development. “At the time [the press release] was written, we did have 60-plus podcasts — most of which bubbled up organically at the local level. We’re closer to 40 now. That number will continue to ebb and flow and we encourage experimentation at the local level, which gives our journalists the space they need to experiment in the medium.”
Nelson added: “But from a network level, we are not putting the same amount of resources we’ve put into The City into every single show. We’re concentrating on a smaller set of shows we believe can have national impact.”
Hold this thought. We’re going to talk about other stuff for a bit, but we’ll get back to this notion of resource focus.
“It amuses me,” wrote Traug Keller, ESPN’s senior vice president of audio, in a corporate blog post touting the sport media giant’s podcasting business, “when I read about podcasting in the media with references to it being ‘new’ or ’emerging.'”
As ESPN has done with other technologies — be it cable TV in 1979, the Internet in the ’90s, HD television or mobile initiatives more recently — we embraced podcasting as soon as we could and ran with it — even if we didn’t always know where we would end up! We launched our first podcast way back in 2005. A head start is often critical in a competitive business environment.
I also chuckle when people refer to podcasting as some mysterious new format to figure out. I’ve spent a career in audio, and I can tell you the key ingredients for compelling audio are constant…
Yeah, I don’t know, dude.
The borderline condescending tone of the post isn’t exactly something I’d want to hear from a company whose public narrative is one of crisis on multiple fronts — from the disruption of its cable-bundle–reliant business model to layoffs to its uneven handling of social media policies to the uncertain future of a gamble on OTT distribution — let alone a podcast publisher whose Podtrac ranking placement (as always, disclaimers of that service here and here) is powered by what is still largely a spray-and-pray strategy, in which 82 shows are deployed to bring in 35 million global unique monthly downloads. For reference, the infinitely smaller PRX team gets 4 million more with less than half that number of shows (34 podcasts), while NPR bags three times more downloads with just 42 podcasts that don’t at all traffic in naturally addictive sports content.
To be clear, I am, very generally speaking, more appreciative of a world with a strong (and better) ESPN in it than one without. And let me also just say that I really like some of its recent moves in on-demand audio, namely the creation of the 30 for 30 Podcast and having Katie Nolan launch her own show.
But I just don’t think very highly of this whole “oh we’ve been doing this for a long time/we were doing this first therefore we are super wise” mindset that either mistakes early sandbox dabblings for meaningful first-mover value creation or simply being first for being noteworthy. To be fair, this isn’t a knock that exclusively applies to Keller’s blog post; that thinking governs an alarming share of press releases and huffy emails that hit my inbox. But here’s the thing: I really don’t think it matters whether you did first. What mostly matters is if you did it right. Which is to say: If you invented Facebook, dammit, you’d have invented Facebook. Furthermore, as it stands, if there’s anything I’m acutely aware of writing this newsletter every week, it’s that, much like everywhere else, nobody really knows anything. It’s just a bunch of people working really hard, trying to figure this whole podcast thing out.
Anyway. I normally try not to be too worked up about anything, but this stuff really bugs me, and goodness, there’s nothing I would love more than to take this mindset, strap it onto the next Falcon Heavy rocket, and launch it straight into the dying sun.
Still, credit should be given where’s credit due: The post goes on to discuss what I think is a really positive development for ESPN’s podcast business:
To get there, we pared our lineup — once numbering in triple digits — to about 35, focusing on the most popular offerings (NFL, MLB, and NBA) and other niche topics where we can “own” the category. It’s a “less is more” strategy, where we can better produce and promote a smaller lineup.
Which reminds me of something…
After spray-and-pray. ESPN’s move to pare down and focus its overflowing podcast portfolio reminds me of another podcast publisher that’s been pretty active since the first podcast boom: NPR.
NPR’s podcast inventory, too, once numbered in the triple digits. In August 2005, its directory housed around 174 programs, 17 of which were NPR originals while others were shows from member stations that the public radio mothership were distributing on their behalf. (That practice has since been terminated.) The show number peaked around 2009, when the directory supported about 390 podcasts.
“Back in those days, podcasts were hard to access and only the really digitally savvy listeners could find and download them,” an NPR spokesperson told me. “We were experimenting and we were excited with the possibility of putting out NPR content on-demand, repackaging content that had aired about specific topics, seeing what the audience would like…It also allowed for additional creativity in programming, podcasts could be a sandbox for piloting new ideas.” Some of those ideas eventually grew into segments and radio shows of their own, but these podcasts mostly ended up being an unruly system of small, quiet, under-the-radar projects.
All that changed with this most recent podcasting boom, which started in the latter half of 2014. Around that time, a focused effort was made to identify and retain shows that fit a certain set of criteria that included having a native podcast experience (and not just recycled segments from existing shows), strong listener communities, an alignment with the organization’s business needs, and so on. The rest were culled. By the end, NPR was left with 25 shows. “Our thinking was that by having a smaller portfolio, we could draw more attention to them, serve them better, cross-promote, bring sponsorship support, create significant reach,” the spokesperson said.
The move felt like a gamble at the time, but it paid off. “While everyone expected our downloads to go down, within two months, downloads were somewhere near 50 million a month,” remembered Audible’s Eric Nuzum, then vice president of programming at NPR. “Within a year, it was over 80.”
That number is now 110 million. The point of this little parable is…well, I don’t think I have to spell it out. You get the picture.
Call Your 2018. There are few teams I admire more than the trio behind Call Your Girlfriend, the podcast for long-distance besties everywhere: journalist Ann Friedman, international woman of mystery Aminatou Sow, and radio producer Gina Delvac. The show has, over its nearly four years of existence, evolved from a fun side project to stay connected into something so much more than that. It is, in equal parts, a platform, a community, and an ever-growing resource. And if the enthusiasm of some friends of mine who consider themselves devout CYG fans are any indicator, Call Your Girlfriend is also damn close to being a full-fledged movement.
Last year was a difficult one for the team, given the political environment, but it was also a call to arms to which they responded with vigor. “Despite the trash-fire that was 2017 in America,” they wrote me, “Better yet, because of it, we wanted CYG to function as a place of refuge for our listeners, and for ourselves.” This translated into an interview schedule that was dense with guests that spoke directly to the moment — including but not limited to Hillary Rodham Clinton, Kirsten Gillibrand, Margaret Atwood, and Ellen Pao — as well as a multipart series on women running for office that featured sit-downs with first-time candidates and organizations that support women seeking political office. The team also worked to push the show creatively, producing a special episode on pelvic pain and trauma and occasionally handing the mic over to other podcasting teams, like Who? Weekly’s Lindsey Weber and Bobby Finger along with Good Muslim Bad Muslim’s Tanzila Ahmed and Zahra Noorkbakhsh.
The year was also fruitful for Call Your Girlfriend’s business. Though specific numbers were not disclosed, I’m told that the show’s revenues — which come from a combination of ad sales, live events, and a healthy merchandising arm — far exceeded their original targets. More ambitious goals were set for the new year.
We’re neck-deep into the second month of 2018, so I thought it was a good a time as any to check in with the team about their plans for the coming months, their thoughts on how the industry has changed, and their commitment to being independent. They were kind enough to oblige:
[conl]Hot Pod: What are y’all hoping to do this year?[/conl]
[conr]Call Your Girlfriend: One of our first interviews of the year was with Cameron Esposito, and we loved her answer to everyone who’s told her she’s too loud or too gay: She’s simply getting gayer and louder. Likewise here at CYG, we’re getting more political, more feminist, and more obsessed with the transformative power of friendship.
Editorially, we’re both digging in and branching out. We’ll be featuring more of our sheroes as well as women whose stories you haven’t heard yet. We’re deepening our work with political candidates who will (hopefully) be running our country soon, and the writers, critics, and artists whose interpretive work helps us endure. We have a number of themed episodes in the works.
We’re also each taking on more as individuals: Amina is sharing more of her personal experience with illness and grief, Ann is bringing more of her stellar reporting and editorial strategy evident in her many bylines and newsletter to the podcast, and Gina is stepping in front of the mic to host an upcoming episode about sex.
We’re also hiring our first ever associate producer! Applications just closed, so we’ll be excited to announce the newest member of our coven in the coming weeks.[/conr]
[conl]Hot Pod: How has it grown over the years?[/conl]
[conr]Call Your Girlfriend: We are very happy that we’ve stayed independent, and we’re working on some more official/structured ways of helping newer, like-minded independent podcasts find their footing as well. We’re also working on ways to leverage our listeners’ incredible political engagement. Our audience — primarily millenial women — drives book sales, ticket sales, merch sales, charitable donations in the tens of thousands and more. Folks on our mailing list are even volunteering to donate their blood for a national drive we’ll be announcing soon.
Part of how we’ve stayed independently owned is through the ads Midroll sells on our behalf. We’ve heard from the partnerships team that our sell-through rates are excellent, and our audience is a highly prized demographic segment. From a pure capitalistic standpoint, there are more advertisers recognizing the buying power in our demo than available ad inventory. We’d like to see more women behind the mic for myriad reasons, including getting paid. We’d also like to see more and better products and services that our audience will enjoy. We’re looking into ways to carve open more space, to bring revenue to great projects and better ads to fit women’s outsized purchasing power. (Weight-loss products need not apply. We love women of all sizes.)[/conr]
[conl]Hot Pod: How do you see Call Your Girlfriend right now, and how has the vision for the show changed over time?[/conl]
[conr]Call Your Girlfriend: When we started, this was a project to stay connected to one another and have fun. We still do that, but we’ve added a number of elements outside the podcast itself along the way. Like the music touring model, that’s mainly meant live events and selling merch. Now and looking into the future, we see Call Your Girlfriend as a great clearinghouse for authentic content for ladies who get it. We’re always thinking about bigger projects in audio, as well as TV, digital, political action, and more.
We’ve talked about engagement, but on a qualitative level our fans respond and show up the way that close friends do. The live shows are a great example. We see friends in cahoots who seem like lifelong besties — and then discover they’ve just met. The number of friends who’ve planned road trips or flown in to be with their long-distance BFF for our shows is astonishing. The community around what we do is really positive and powerful. So we’re interested in adding to that experience as much as possible, that sense of pride and belonging, whether it’s on stage, in your earbuds, on a t-shirt or, perhaps, a screen.[/conr]
[conl]Hot Pod: What’s worrying you guys?[/conl]
[conr]Call Your Girlfriend: As exciting as it’s been to see the emergence of so many new shows and projects, it seems harder than ever for new self-funded shows to find their footing. In an ad-centric model, it takes a lot of work to build a sizeable audience. Audience support has practical challenges. And while we’re excited about the energy around podcasting from media companies, not everyone has the production and marketing budget to invest to help insure a smash hit.
Discoverability remains a challenge. We’re also interested to see whether the proliferation of connected cars, smart home devices, and other access points to audio make it easier to entice brand new listeners.
Finally, for us and shows like ours, hosted by women who are overtly political, we worry about being overlooked or diminished, particularly when compared with similar endeavors that feature men. We specialize in conversations among politically-savvy women who are running things or will be soon. We blend serious discussion of the policies that dramatically impact women’s lives with a good dose of banter. We hope that audiences and industry watchers see that our delight in friendship is completely in line with the seriousness of our analysis and aims. We’re here for every facet of women’s humanity.[/conr]
[conl]Hot Pod: What have you been seeing with the rollout of Apple’s new podcast analytics?[/conl]
[conr]Call Your Girlfriend: It’s been really interesting to run a weekly show with the emergence of so many serialized and/or seasonal programming, watching which episodes really pop and which ones less so. It’s causing us to think critically about re-engagement, promotion, and leaning into vs expanding our style of content.[/conr]
[conl]Hot Pod: Has it been difficult staying independent?[/conl]
[conr]Call Your Girlfriend: It hasn’t been hard for us to stay independent — that’s remained one of our core values — but as we each advise fellow podcasters we recognize that these are very different waters to wade into. Listeners are getting really sophisticated, which is great. But, that makes it harder to learn as you go. There’s much less room to fudge things like your show’s editorial framing, ill-considered artwork, or audio quality. And kind of like your inner circle of friends, once you have core besties, you limit how many new intimates you take on, by necessity.[/conr]
[conl]Hot Pod: Finally, is there anything else you’d like to talk about?[/conl]
[conr]Call Your Girlfriend: Anyone who has money to burn, talk to us. You’re a fool not to talk to us. We’re killing it.[/conr]
- This is Love, the limited-run spinoff series from the team behind Radiotopia’s Criminal, is rolling out this week just in time for Valentine’s Day. Should be perfect for those who enjoy a steaming plate of romance with a side of spiders. (Website)
- WBEZ debuted Making Obama, the Chicago public radio station’s followup to Making Oprah, last week. As previously mentioned, I’m personally psyched for the entire “Making” model, and its Hearken-like potential for local radio stations across the country. Snazzy landing page, too. (Said landing page)
- FiveThirtyEight’s whiz kid Harry Enten has left the Nate Silver-led statistical analysis site to join CNN. Enten was a fixture on the site’s politics podcast, which I’ve always thought is one of the more entertaining and informative in the genre. Just as a reminder: There’s been some hubbub about FiveThirtyEight possibly being sold off. It’s currently owned by ESPN.
- However unclear the path forward might be for a reputable public radio station mired in controversy, the show must go on. Last week, WNYC launched Trump, Inc., a collaboration with ProPublica that endeavors to answer basic questions on how the president’s business works — a set of facts that remain quite murky. The fine folks at Nieman Lab have some deets.
- Speaking of Trump content, NPR’s Embedded is back with another season on the current presidential administration. (Show listing)
- “Podcasting Is the New Soft Diplomacy.” The underlying premise here isn’t particularly novel, but there are some nice ideas in this Bryan Curtis piece that help illustrate soft power in the age of digitally distributed media intimacy. (The Ringer)
- TheSkimm, that popular media company whose morning newsletter product reaches more than 6 million largely female readers, has launched its first podcast. (Though, it’s not the company’s first audio product. That would be the Skimm Notes feature that’s packaged into its app.) The show is called Skimm’d from The Couch, and it takes the shape of a career advice vessel in the minor key of Guy Raz’s How I Built This. (Official blog)
[photocredit]Photo of Sean Rameswaram by James Bareham/Vox Media.[/photocredit]
Welcome to Hot Pod, a newsletter about podcasts. This is issue 133, published August 22, 2017.
The daily show. If The New York Times’ The Daily and NPR’s Up First — taken collectively as, like, an index fund of the daily news podcast construct writ large — have taught us anything, it’s that there’s a market for such an audio product — at least for one that’s done smartly, thoroughly, and in a way that brings the weight of legendary newsrooms to bear.
The successes of these two operations have been nothing short of impressive. As you might remember from this Vanity Fair feature that dropped last month, The Daily is now averaging half a million downloads per day, a feat made even more remarkable given that the thing launched in February. As for Up First, NPR tells me that it’s reaching a weekly unique audience of almost a million users; that show launched in April. (The differences in metric might make an apples-to-apples comparison complicated for those interesting in doing so — but I think the victor is pretty clear.) Between the two shows — three if you count the offbeat entry from The Outline, but you shouldn’t, because it’s doing something completely different — you could argue that the daily news podcast space is more or less defined now, with the broad major players set well in place.
We’ll soon find out the extent to which that is true with a new entrant, one significantly different from the two incumbents in many key ways. Last week, I led the newsletter with word that Vox Media is working with Midroll Media to create a daily news podcast. That show will be supported by a six-person team, housed under the Vox.com banner, and will hopefully launch in early 2018. The search for the host and executive producer is on, with the job postings going up shortly after the initial news drop. (Here and here, if you’re wondering.)
I can’t say I’m surprised by the news. Vox Media has long exhibited a deep interest in the on-demand audio space, and the organization has proven to be consistently effective in its experimentation and increasingly formalized in its machinations: initially developing working relationships with multiple companies across the industry, deploying different arrangements for different podcasts between brands, eventually hiring an executive producer to oversee the entire operation, and finally inching towards consolidation. (Vox.com’s The Weeds and The Ezra Klein Show, whose productions were once handled by Panoply, were recently moved in-house.) This move to get into the daily news podcast fight seems a logical next step in Vox Media’s ambitions, even more so given the genre’s newfound prestige and rising prominence as the place to blaze some trails.
Where the Times and NPR are legacy entities with the weights and advantages of history behind them, Vox Media is young, emergent, and digitally native. Which, you know, kinda makes it unclear whether the latter will have any weight to bear or if this will be a pure deadlift. But then again, the critique against legacy entities has always been that they’re comparatively slow and lumbering. In any case, there’s a lot to consider with this bubbling development, and me, I’m mostly thinking about two things: time and talent.
Time. There’s something that the job description doesn’t note that I find eminently interesting: whether the podcast will cater to the morning or evening commute. This, in my mind, is the most interesting, if not the biggest, strategic question. My gut (which is by no means a reputable or scientific source) tells me that there’s some meaningful overlap in audience between The New York Times and Vox.com, and so I imagine if Vox were to pursue the morning news route they would be putting a good portion of their target audience in the position of having to choose between The Daily and its new audio product. Whether that outcome is suboptimal is worth weighing; on the one hand, Vox’s product starts off in a position of working to cull from the former’s base, and on the other hand, you might have a situation where Vox’s new product rubs up against the work of having to interrupt a habit that’s been cultivated as far back as possibly February.
One could assume the position that the daily-news-podcast-consuming audience — with its voracious appetite for news — would want more than one daily news podcast in their morning routine. But to play to that base is to set hard ceilings off the bat. Such a news consumer is a highly specific creature, the theoretical opposite of a general consumer — which is fine if that’s the intention, but there’s only so far you can go unless the broader strategy is to foster a new, bigger generation of news obsessive. (Again, if that’s the plan, fantastic.) Further, as a matter of programming, aiming to be the second in a morning rotation means having to prevent a sense of repetition.
But let’s say the strategic premise of developing another daily morning news podcast is to carve out a new audience, separate and apart from what’s already been built with The Daily and Up First. What competitive traits do you need to guarantee? You would, at the very least, require that your brand means something distinct (and perhaps meaningfully separate) from those of The New York Times and NPR, such that the brands do not overlap. (Is that possible, or even desirable? The question is worth entertaining.) You would also have to develop a mastery over podcast audience development channels that aren’t already over-exploited; would plastering house ads over Vox Media’s various brands be enough in forming a new base audience for the podcast?
Anyway, this is all a longwinded way of saying: At this moment, there’s more upside than downside to making a move for the evening commute. It’s a different kind of game, sure, but the end-of-the-work-day news roundup (the All Things Considered slot, essentially) is still unclaimed territory in podcast-land. (Though, I suppose, you’d still have to account for Slate’s The Gist, which can technically be sorted as a news podcast but is truly more of a magazine.)
Before I move on, there’s something else I’m wondering: Will the competitive environment of the daily morning news podcast function more like the morning TV arena — in that program-audience relationships are more or less exclusive and fixed — or will it be a little more fluid, like how multiple physical newspapers can fit into a morning media diet? I hope it’s more the former, and if so, someone better get moving on writing Top of the Morning, but for podcasts.
Talent. From the official job listing:
As we envision it, the host of this show will be the audience’s guide and champion — asking the questions they would ask, having the conversations they want to have, channeling the curiosity they feel. You are their smart, enthusiastic, skeptical friend — not their boring professor. To that end, we are relying on the host to have a strong point of view on the world, to see unusual angles and interesting stories everywhere, and to be genuinely, joyously interested in pretty much everything.
Big job, big ask, eh? My queries, right off the bat: Will Vox.com bring in a relatively experienced talent, perhaps from an established radio or podcast team, or will they elevate someone from in-house that may be less proven in front of the mic? (Or will they perhaps bring in an untested outsider with some measure of celebrity? Totally valid option, let’s be real.) Who will be the non-Ezra Klein sound of Vox.com, which is essentially what this amounts to?
Also, side question: How will they test the hire? The Daily’s Michael Barbaro, after all, was able to cut his teeth with the comparatively low stakes The Run-Up, and NPR never really had to deal with that question — after all, Up First was basically just a straightforward adaptation of the built-in Morning Edition operation, no talent testing required.
There’s so much potential here, and there’s a whole lot of room to assemble a really cool voice and vision with this gig. (And the opportunity for host-producer superteams! Man.) Anyway, I’m excited, obviously, I’ll be tracking this story closely. Who will be the anti-Barbaro? Send me your ideas, let’s place some bets, I’m all ears. (Speaking of which, the dude now has, like, two published appreciations: The New Yorker and BuzzFeed. This is getting out of control.)
More on Up First. In their response to my queries for the previous item, NPR also shared the following data points: A survey of Up First’s audience shows that 61 percent of its listeners are under 35, which is said to be younger than NPR’s overall podcast audience, and that 44 percent of the podcast’s listeners have never listened to Morning Edition. Further, 97 percent of the audience report that the podcast is “part of their morning routine” and 80 percent report that “they listen every day.”
Radiotopia’s Millennial has come to an end, creator Megan Tan announced in a final dispatch that dropped last Wednesday. The reason, we’re told, has to do a lot with the difficulty of sustainably maintaining the show’s unique diaristic format — Millennial is, was, for a long time, the first-person account of a life — and grappling with the podcast’s shifting identity when Tan made the decision to open the show up in scope after it was picked up by Radiotopia last May.
“Maintaining a memoir-style show is difficult,” she explained to me over email. “Even as Millennial transitioned from Season One’s linear narrative of my life to other people’s stories, we still had to tie each episode back to me personally. Finding ways to create a personal throughline to each episode with an emotional tie became taxing and wasn’t always possible…at a certain point, the more we problem-solved the production of the show, the more it felt like Millennial’s identity started to blur. When those two factors started to come to a head, it made sense for me to end the show.”
Millennial is the first Radiotopia show to officially cease production since the podcast collective’s launch in February 2014. The show’s closure also technically means that Tan is no longer with Radiotopia, though the possibility for future collaborations exists. As for what comes next, she tells me: “Being an independent podcaster in many ways is extremely lonely. My next steps are to find a team of people to work with and help contribute to a show. Right now, I’m casting a wide net and exploring a lot of different opportunities.”
Third Coast adds a new component to its programming. Tomorrow, the organization will announce a new public-facing live event series that will accompany its usual producer-focused conference. “The Fest,” as it’s called, will take place in Chicago, of course, and the programming slate will span across a two-week period in November. Its inaugural lineup will include live shows from Love+Radio, Re:sound, Reveal, and Longform, with more to come.
“To us, it’s the perfect scenario: A conference that hones producers’ talent alongside a public festival of live events, together making Chicago the epicenter of the audio storytelling world for two weeks in November,” the team tells me. “We’re excited to flex our Third Coast curatorial muscles to gather audiences for story-based podcasts that were nurtured over the years at our very own conference.”
The Fest’s website will launch tomorrow, so watch for that, and by the way, registration for this year’s conference opens today.
Alice Isn’t Dead gets adaptation deals. The Night Vale team is no stranger to book publishing, with two novels (Welcome to Night Vale: A Novel, It Devours) and one episode collection (Mostly Void, Partially Stars) under their belt. Last week, they announced a new addition to their list of book projects: Alice Isn’t Dead, Joseph Fink’s creepy road-trip audio drama about a truck driver in search of her wife, will now be a novel as well. Fink notes that the book will feature a new story “built on the same bones,” and it’s scheduled to drop next fall. The audio drama is also getting a TV adaptation, which will be Night Vale Presents’ first. That project is being developed by Universal Cable Productions for USA Network, though no specific dates are attached to it just yet.
The steady drumbeat of podcast-to-TV adaptations rumbles on.
Gatekeepers, demographics, a production studio. “It’s not a democratic process at all,” wrote Juleyka Lantigua-Williams, CEO of the newly formed production company Lantigua Williams & Co., when I asked for her thoughts on whether the podcast industry has gatekeepers. “The major distributors make themselves de facto gatekeepers by selecting what they distribute…Big media companies with deep pockets also crowd the field by using their megaphones to promote passable content and drowns out new voices in the process.”
She continued: “So much of what is being created now is still geared to the standard media audience: a middle-class white person living in a suburb. That is the media consumer from the past, and creators — especially Latino and other people of color — must orient their work towards the audience of the future: an educated middle-class woman of color living in a midsize city. She’s the future.”
Lantigua-Williams is a 17-year media veteran, having operated as an editor, writer, and syndicated columnist for various organizations including The Atlantic and National Journal. Most recently, she served as the lead producer and editor on NPR’s Code Switch team, roles she held until June when she decided to leave and start her own venture. She describes Lantigua Williams & Co. as a production company, one that’s dedicated to “partner with people and organizations to produce work that has a clear social justice thread using radio, digital, and visual media.” Since launch, the company has assembled a solid initial string of clients, including: Latino USA, a project called Protégé Podcast (which examines people of color in corporate America), and various independent film projects.
I originally got in touch with Lantigua-Williams when she sent me a pitch arguing that “podcasts are the perfect medium for Latinos to truly break into media and forego the traditional loops associated with establishment media.” When I followed up, she provided a response worth running in full:
As with most worthwhile endeavors, a good podcast starts off as a good idea that sprouts at the intersection of knowledge and storytelling. You have to figure out something that is worth knowing and worth sharing and find the most compelling way to bring it to an audience that has too many choices.
Latinos, because of our long history in the U.S.; because of how vociferous we have been about asserting our right to belong here; because of the continuous flow of Latinos and our ideas into and throughout the country; because we are the youngest population cohort in the country (60,000 of us turn 18 every single month); and because we will constitute the largest group in the ascending brown majority, are largely defining what it will mean to be American in the next century and beyond. What we eat, the sports we love, how we worship, how we spend our trillion-dollar portion of the economy, and ultimately how we define our hyphenated identity creates the most fertile ground for creatives with vision to amplify their version of life as in the U.S. now.
And podcasts are among the most cost-efficient media forms right now. With less than $1,000 in equipment and some savvy social media marketing, a good idea can flourish, and an original voice can be amplified by the masses.
For too long, Latinos have followed a very traditional path to success, the original formula dictated by the myth of the American Dream: We go to school, get a job, and wait to be promoted. That formula is outdated and outmoded. Billenials (as bilingual Latino millennials have been dubbed by Univision) can leapfrog the usual gatekeepers by using their natural high tech-adoption rates, advanced social media skills, and cross-cultural knowledge to tell rich and necessary stories beyond the fight at the border.
For more information, you can hit up the Lantigua Williams & Co. website here.
Career Spotlight. Let’s say you’re a young person looking for professional purpose, some idea of a future, so what do you do? You move cities, get closer to the action, grab some people, take whatever opportunities cross you by: internships, fellowships, freelance jobs here, there, anywhere. You cobble together whatever you can into the shape of a thing that could hopefully pass as a career. If you’re lucky, you don’t have to work a third or fourth gig to pay the bills. But that’s only if you’re lucky. And you wonder: Where is this all going? What does this all lead to? The answer, maybe, is always the same: Who knows, we’ll see.
This week, I traded emails with Alice Wilder, a young producer from the South in her early 20s.
[conl]Hot Pod: Tell me about your current situation.[/conl]
[conr]Alice Wilder: Currently I’m the podcast/video intern for FiveThirtyEight. Really, I’m the podcast intern. Right now, my manager Galen Druke is working on a miniseries for the site, so I’ve been focusing mostly on that (transcribing tape, assembling sessions, scheduling interviews etc). I also work on the weekly politics podcast.
[conl]HP: How did you get to this point? What does your career arc thus far look like?[/conl]
[conr]Wilder: I would not have any type of “career arc” if it wasn’t for Lauren Spohrer and Phoebe Judge, who let some random college girl transcribe tape for Criminal. People think I’m bullshitting when I say that I actually enjoyed transcribing tape, but listening to Phoebe interview is a masterclass and it gave me a deeper understanding of each story we did. I still miss logging tape for Criminal.
Then I asked if I could be an intern, and made a promise to myself that I would not say no to anything they asked of me. Lauren, Phoebe, and Nadia Wilson (our new producer!) are the best people to work for, they did not restrict me to typical intern tasks and took my thoughts (and pitches!) seriously, which means a lot when you’re an intern.
I stayed at Criminal for two years (I did not spend much time on homework for those years). When I graduated from UNC (Go Heels!) I moved to New York to start my internship at FiveThirtyEight. I’ll be here until early September, when I’ll start interning for Planet Money. I’m also starting a weekly(ish) newsletter for interns in the media industry. We don’t have access to much institutional power and I want to help build a network for jobs and career resources.[/conr]
[conl]HP: Being pretty early on in your work life, how do you think about your next steps? What does a career mean to you, at this point?[/conl]
[conr]Wilder: To me, a career means having health insurance. I really, really want health insurance. My initial thought going into my senior year of college was that I want to make radio in the South. I have roots in North Carolina and Louisiana and want to hear stories that come from those regions. I’m in New York right now because that’s where podcast jobs are. Eventually I’ll find a way to move back south.[/conr]
[conl]HP: When you started out, what did you think wanted to do?[/conl]
[conr]Wilder: LOL. I thought I was going to be a social worker. For all of high school and the first two years of college I was very involved in local activism and centered my identity around being a Teen Feminist. My 15-year-old self would be horrified that I didn’t participate in the Women’s March. But I couldn’t, because doing so violated my employer’s policies on political action. Instead I spent that time dogsitting for a family that was going to the march.
I wrote columns for my college paper for two years, and that involved writing about myself a lot. Right after I had a bad experience (intense street harassment, reporting sexual assault, etc) I would turn around and publish it for thousands of people to read. I (finally) realized that writing about something and sharing it with the world is not the same as actually processing it. So I stopped the column, did that processing, and used the platform I had built at the newspaper to tell other people’s stories.
The best lesson I learned about having a career in this field, I learned from Phoebe Judge. She gave a workshop at The Daily Tar Heel and told us that there’s not just one route to having a fulfilling career. You don’t have to major in journalism, intern for The Washington Post or NPR, and go straight to a big name publication after college. At the time, it felt like all my peers were taking that route and I felt like it was already too late for me. It was such a relief to hear that there are so many paths that can lead to a great career, and they don’t always involve having The New York Times on your resume by the time you turn 22.[/conr]
You can find Wilder on Twitter at @Alice_Wilder.
- “How public radio is using Amazon’s smart speakers.” (Current) Note that none of the three stations profiled in this piece “has had more than a few hundred unique listeners on the platform” and “St. Louis Public Radio saw about 6,000 plays on Alexa devices from some 500 unique customers from late January to mid-June.” Also, do pair this article with: “Why The Amazon Echo Show Won’t Bring Up Charlottesville (Or Bad News In General).” (Fast Company)
- TuneIn has raised $50 million to expand its programming portfolio, Bloomberg reports. “TuneIn will use the money to pay for rights to live sporting events and original programming like podcasts and music shows, which will help the company sign up more customers for a two-year-old subscription service.” (Bloomberg)
- This is curious, and generally consistent with RadioPublic’s principal thesis: the podcast playing platform is now “the only universal embed whitelisted on WordPress and Medium that works with any podcast hosting solution,” as CEO Jake Shapiro tells me. (WordPress Blog)
- Apple is moving its iTunes U collection, its audio-visual repository of free educational content, into the Podcasts ecosystem with the upcoming iTunes 12.7 update that will drop in September. A bit crowded in there, huh? Here’s the official statement on the matter, and here’s some analysis from MacStories. Fun fact: iTunes U is the old haunt of Steve Wilson, the former editorial gatekeeper for Apple Podcasts (now the division’s first marketing lead).
[photocredit]Photo of evening commute on Highway 85 in San Jose, California by Travis Wise used under a Creative Commons license.[/photocredit]
Welcome to Hot Pod, a newsletter about podcasts. This is issue 109, published February 28, 2017.
Hey folks — we got a ton of news to sort through. Let’s clip through, pew pew pew.
About those original Spotify podcasts. The music streaming giant announced its initial ((Initial, that is, if you don’t count Clarify, the tentative first English-language original podcast that the company produced with Mic.com and Headcount.org back in 2013.)) slate of original audio programming last week, somewhat validating the Digiday report from the week before about the company talking with various podcast companies — including Gimlet, HowStuffWorks, and Pineapple Street Media — to partner up for that initiative.
According to the writeups circulating last week, the three projects are: (1) Showstopper, a show looking back at key moments in television music supervision hosted by Fader editor-in-chief Naomi Zeichner that premiered last Thursday; (2) Unpacked, an interview show set in various music festivals around the United States that will drop on March 14; and (3) a yet-unnamed audio documentary about the life and times of the late music industry executive Chris Lighty, a seminal figure in hip-hop history. That last project will be released sometime April. For those wondering, it appears that Spotify is directly involved in the production of Showstopper and Unpacked, the former of which comes out of a partnership with Panoply. The Chris Lighty project, meanwhile, is produced by the Loud Speakers Network and Gimlet, with Spotify providing distribution and miscellaneous support.
It should also be noted that more Spotify Original projects are, apparently, on the way.
This news was extensively covered, but the integral question — namely, if the shows will live exclusively on Spotify, which one imagines would be central to the platform’s strategy with this — went largely unanswered. I reached out to the various parties involved in the arrangement, and here’s what I learned:
- Showstopper and Unpacked will be distributed exclusively over Spotify for now, though it remains a possibility that they might be distributed over other platforms in the future. As Dossie McCraw, the company’s head of podcasts, told me over the phone yesterday, the plan is to concentrate effort on raising awareness of original podcast programming on the platform at this point in time. When contacted about Showstopper’s distribution, a Panoply spokesperson seems to corroborate this point. “At this point, we can’t speculate whether it’ll be on iTunes in the future,” she said.
- The Chris Lighty project enjoys a different arrangement. Gimlet tells me that the podcast will not exclusively live on the Spotify platform, and that Spotify has what essentially amounts to an eight-week first-dibs window; episodes will appear on other platforms (like iTunes) eight weeks after they originally appear on Spotify. The show will be released on a weekly basis, regardless of the platform through which they are distributed. Gimlet cofounder Matt Lieber explained the decision: “One of our core goals is to increase the number of podcast listeners, and Spotify has a huge qualified audience that’s interested in this story of hip-hop and Chris Lighty.”
- In our conversation yesterday, McCraw puts Spotify’s upside opportunity for podcast publishers as follows: The platform’s user base, which he describes as being “music fans first,” serves as a potential audience pool that’s ripe for publishers to convert into new podcast listeners. (Echoing Lieber’s argument.) McCraw further argues that Spotify is able to provide publishers with creative, marketing, and even production support — even to those that produce shows not exclusive to the platform. To illustrate this point, he refers to a recent arrangement with the audio drama Bronzeville which involved, among other things, a live event that the company hosted in New York. “Admittedly, we’re still growing the audience for podcast listening for audiences in the U.S.,” he said, before positioning last week’s announcement as the company’s first big push to draw attention.
So what does this all mean? How do we perceive this development, and more importantly, how does it connect with the windowing that’s being done with Stitcher Premium? Is this the real start of the so-called “platform wars” in the podcast ecosystem? What, truly, happened at the Oscars on Sunday night? (Was there a third envelope?) I’ll attend to that next week, because we’re not quite done yet with developments on this front. We have one more piece of the puzzle to account for. Watch this space.
Speaking of Gimlet…
Gimlet announces its spring slate. The returning shows are:
- Science Vs, which will return for its second season under Gimlet management on March 9 and will stage its first live show on March 23 in Brooklyn;
- StartUp, which will return for a 10-episode fifth season on April 14 and will see the show go back to a weekly non-serialized format;
- Surprisingly Awesome, which will return on April 17 and will feature a new host: Flora Lichtman, formerly of Science Friday and Bill Nye Saves The World. This new season is being described as a “relaunch.”
A coalition of podcast publishers are launching a podcast awareness campaign on March 1. The campaign, called #TryPod, is being shepherded by Izzi Smith, NPR’s senior director of promotion and audience development, and the coalition involves over 37 podcast publishers — ranging from WNYC to The Ringer to How Stuff Works.
AdWeek’s writeup has the details: “Hosts of podcasts produced by those participating partners will encourage their listeners to spread the word and get others turned on to podcasts. The campaign is accompanied by a social media component unified under the #TryPod hashtag, which is already making the Twitter rounds ahead of the launch.”
The Sarah Lawrence College International Audio Fiction Award announces this year’s winners. Impeccable timing, I’d say. They are:
- “An Occurrence at B.E. Investments,” by Andrew Wardlaw for Lamplight Radio Play
- “Black and Blue: Two Radio Plays Exploring Race and Policing in America,” by Judith Kampfner
- “Homecoming,” by Eli Horowitz, Micah Bloomberg, and Mark Phillips of Gimlet Media
- “Randy’s Mema Died,” by Andrea Silenzi of Panoply’s Why Oh Why
- “Wait Wait Don’t Kill Me,” by Dave Holstein and Alan Schumckler with Wondery’s Secrets, Crimes & Audiotape
- “The Man in the Barn,” by Jonathan Mitchell and Louis Kornfeld of Radiotopia’s The Truth
The actual awards for each of these winners will be announced at this year’s ceremony, which will take place at WNYC’s Greene Space on March 28. An interesting way to do things, but cool nonetheless. Website for tickets and details.
Vox Media hires its first executive producer of audio: Nishat Kurwa, a former senior digital producer at APM’s Marketplace. A spokesperson tells me that Kurwa will be responsible for audio programming and development across all eight of the company’s editorial brands, which includes The Verge, Recode, Polygon, and Vox original recipe. She will move to New York from L.A. for the job, and will be reporting to Vox Media president Marty Moe.
I’ve written a bunch about Vox Media’s podcast operations before, and the thing that’s always stood out to me is the way in which its audio initiatives are currently spread out across several brands according to considerably different configurations. The production for Vox.com’s podcasts, for example, is being handled by Panoply, with those shows hosted on its Megaphone platform as a result. Meanwhile, Recode’s podcasts are supported by DGital Media with Art19 providing hosting, and that site still appears to be hunting for a dedicated executive producer of audio. The Verge, Polygon, Eater, Curbed, and SB Nation — though not Racked, alas — all have various podcast products of their own, but they all appear to be produced, marketed, and distributed individually according to their own specific brand infrastructures.
Kurwa’s hiring suggests a formalization of those efforts across the board. What that will mean, specifically, remains to be seen, but I wouldn’t be particularly surprised if it involves a consolidation of partnerships, infrastructures, and branding. In fact, I’d even go so far as to say that’s necessary.
Midroll announces the second edition of Now Hear This, its live podcast festival, which will take place on September 8-10. This year sees the company shift the festivities from Los Angeles to New York, which I’m told is largely a function of customer experience.
“[New York City] is an easy city for locals to commute in for the event and for out-of-towners to come for the weekend and easily get around. While our fans and performers loved Anaheim, it’s not always the easiest place to get to from the LA area. The fan experience continues to be our top priority,” Lex Friedman, Midroll’s chief revenue officer, told me. He also added that it was an opportunity to mitigate impressions of the festival as a West Coast event. (And, I imagine, impressions of Midroll as a West Coast company.)
Details on venues and performers will be released over the coming weeks. In the meantime, interested folk can reach out to the team over email, or get email alerts from the festival website, which also features peculiar videos of gently laughing people.
What lies ahead for APM’s on-demand strategy? Last month, I briefly mentioned APM’s hiring of Nathan Tobey as the organization’s newest director of on-demand and national cultural programming, which involves running the organization’s podcast division and two of its more successful cultural programs: The Dinner Party Download and The Splendid Table. Tobey’s recruitment fills a six-month gap left by Steve Nelson, who left APM to become NPR’s director of programming last summer. It was notable development, particularly for a network that wrapped 2016 with a hit podcast under its belt (In The Dark) and a bundle of new launches (The Hilarious World of Depression; Terrible, Thanks for Asking; Make Me Smart).
I traded emails with Tobey recently to ask about his new gig. Here are three things to know from the exchange:
Tobey’s role and immediate priorities:
The title is a mouthful. But it really consists of equal parts creativity facilitator, entrepreneur, and audience-development strategist.
He phrases his two immediate priorities as follows: the first is to invest in the future of the organization’s current podcast roster, and the second is to lay the foundation for APM’s on-demand future, including content development, business planning, and team building.
What defines an APM show?
The basic traits are similar to some of our big public media peers — production craft and editorial standards you can count on, creative ambition to spare, plus a steady focus on addressing unmet needs, from making science fun for kids (Brains On!) to de-stigmatizing depression (The Hilarious World of Depression). But really, the new shows we’ll be making will define what we stand for more than any slogan ever could – so I think the answer to your question will be a lot clearer in a year or two.
Potential collaborators are encouraged to pitch, regardless of where you are:
Hot Pod readers: send me your pitches and ideas, and reach out anytime – with a collaborative possibility, or just to say hi. I’ll be in New York a lot in the coming years, and we’ve got an office in L.A. too, so don’t think you need to be out here in the Twin Cities (though you should totally come visit). We’ll be looking for podcast-focused talent of all kinds in the years to come — from producing to sponsorship to marketing — so be sure to check our job listings.
I dunno, man. Minneapolis and St. Paul are pretty great.
NPR’s Embedded returns with a three-episode mini-season. Dubbed a “special assignment,” all three episodes will all focus on a single topic: police encounters caught on video, investigated from all sides. Two things to note:
- Embedded will enjoy some formal cross-channel promotion between podcast and broadcast. Shortened versions of the show’s reporting will be aired as segments on All Things Considered, and NPR is also partnering with WBUR’s morning talk program On Point with Tom Ashbrook to produce on-air discussions of the episodes.
- NPR seems to be building live event pushes for the show: Host Kelly McEvers presented an excerpt from the upcoming mini-season at a Pop-Up Magazine showing in Los Angeles last week, and she’s due to present a full episode at a live show on March 30, which will be held under the NPR Presents banner. Investigative journalism-as-live show, folks. I suppose it’s officially a thing.
I’m super excited about this — I thought the first season of Embedded was wonderful, and I’m in awe at McEvers’ capacity to lead the podcast in addition to her work as the cohost of NPR’s flagship news program, All Things Considered. (Personally, I can barely write a newsletter without passing out from exhaustion.)
Episodes of the mini-season will drop on March 9, 16, and 23.
Related: “NPR, WNYC, and Slate Explain Why They Are Betting on Live Events” (Mediafile)
RadioPublic formally pushes its playlist feature, which serves as one of its fundamental theses on how to improve the ecosystem’s problems with discovery. The company’s playlist gambit is largely editorially driven and built on collaborations with publishers, with those collaborators serving as the primary manufacturers of playlists. A blog post notes that the company has been “working with industry leaders like The New York Times, Salon, The Huffington Post and PRX’s Radiotopia network.” (RadioPublic CEO Jake Shapiro was formerly the CEO of PRX.)
We’ll see if the feature ends up being a meaningful driver of discovery on the platform — provided the platform is able to accrue a critical mass of users, of course — but I do find the discovery-by-playlist idea is intriguing. The moment immediately after an episode ends is a sphere of user experience that’s ripe for reconstruction, and I suspect that a playlist approach, which takes the search and choice burden off the listener to some extent, could serve that really well. Again, it all depends on RadioPublic’s ability to siphon users into that mode of consumption, so I reckon it’s the only real way the playlist approach is able to be properly tested.
Following up last week’s item on Barstool Sports. So it looks like the company’s podcast portfolio is being hosted on PodcastOne’s infrastructure, which isn’t measured by Podtrac. As such, it’s hard to accessibly contextualize the company’s claims of 22 million monthly downloads against how other networks — particularly those measured by Podtrac, like NPR, This American Life, and HowStuffWorks — and therefore how it fares in comparison. Nonetheless, it’s a useful piece of information to have in your back pocket.
Related: After last week’s implosion of Milo Yiannopoulos, the now-former Breitbart editor and ostensibly conservative provocateur, PodcastOne appears to have terminated his podcast — which the network produced in partnership with Breitbart — and scrubbed any trace of it from iTunes and the network’s website.
DGital Media announces a partnership with Bill Bennett, the conservative pundit and Trump advisor, in the form of a weekly interview podcast that promises to take listeners “inside the Trump administration and explain what’s really going in Washington, D.C. without the hysteria or the fake news in the mainstream media.” (Oy.) The first episode, which features Vice President Mike Pence, dropped last Thursday.
Interestingly enough, Bennett now shares a podcast production partner with Recode and, perhaps most notably, Crooked Media, the decidedly progressive political media startup helmed by former Obama staffers Jon Favreau, Tommy Vietor, and Jon Lovett.
Related: Crooked Media continues to expand its podcast portfolio with its third show, With Friends Like These, an interview-driven podcast by political columnist Ana Marie Cox.
- Hmm: “As it defines relationship with stations, NPR gains board approval for price hike.” Consider this a gradual shift in system incentives, one that anticipates potential decreases in federal support and further shifts in power relations between the public radio mothership and the vast, structurally diverse universe of member stations. (Current)
- And sticking with NPR for a second: Their experiments with social audio off Facebook doesn’t seem to have yielded very much. (Curios)
- This is interesting: “Progressive legislators turn to podcasts to spread message.” (The Missouri Times) It does seem to speak directly to the stuff I highlighted in my column about the ideological spread of podcasts from last summer, along with my piece for Vulture about the future of political podcasts.
[photocredit]Photo of someone listening to Spotify with a vaguely Spotify-colored mug by Sunil Soundarapandian used under a Creative Commons license.[/photocredit]
Gimlet’s StartUp being adapted for television. My inbox has long bubbled with rumors of Gimlet getting involved in television and L.A. sightings of company co-founder Matt Lieber, and so I wasn’t particularly surprised when a Deadline report dropped Monday night indicating that ABC is bringing the StartUp podcast to linear television.
According to the report, the project will be a comedy with Zach Braff (of Scrubs and Garden State fame) attached to direct the potential pilot and star as its protagonist. ABC has reportedly made a “put pilot commitment” — which, I understand, means the pilot will almost definitely see the light of day. I’m told that this arrangement is relatively uncommon, and indicates something of a vote of confidence in the project.
StartUp is merely the latest in an emerging trend of podcast properties being picked up for adaptation to television. (I published a deep dive on this back in April.) But however this first deal is structured — and whether or not it’s lucrative for Gimlet — I think it’s more interesting to see if the podcast company will be able to use the momentum of this first development to build out a formal adaptation pipeline — à la Epic Magazine, which commissions longform features with a specific eye for Hollywood interest. I think it’s good business: a good way to consistently multiply the value of their output, and an even better way of expanding their sphere of influence. (When I asked the company will be pursuing more adaptation deals, chief of staff Chris Giliberti replied: “Hopefully :)”)
But whether these adaptations will translate into good eye-fodder in the age of Peak TV is a separate matter. As a consumer, and a yuge fan of the podcast’s first season, I’m not wild about this StartUp news. For the uninitiated, the podcast was originally a first-person audio documentary that followed former Planet Money cofounder Alex Blumberg as he set out to form what is now known as Gimlet. And while the show moved away from its innovative diaristic first-person style in future seasons to adopt a more classically documentarian format, that first season was absolutely sublime for the way it was so…well, vulnerable and performatively personal and utterly real.
That the TV adaptation is set to be a fictional comedy broadly described to be “based” on the podcast, revolving around a thirtysomething dude who quits his job to start a business, feels contradictory to the elements that made up the original genius of the podcast, even if the TV show turns out halfway decent. I also wonder why, indeed, did Gimlet’s property need to be picked up to get television project of this subject going in the first place when there are already a number of original television properties that effectively explores in life lived within the paradigm of entrepreneurship. (See HBO’s Silicon Valley and the latter seasons of CBS’s The Good Wife.) A possible argument? Consider the built-in audience of the StartUp podcast, multiplied by whatever Braff’s star power is able to bring in. The question is, then, whether that equation will work for ABC.
Anyway, it’s bad form to moan about something that hasn’t even materialized yet. I’m excited for Gimlet — this is, unmistakably, a coup for the Brooklyn-based podcast studio — and I’m eager to see how the team figures the adaptation. I only pray that the show be a gritty, violent remake.
On the celebrity strategy. The trade publication Adweek is running a special series on audio this week, with a particular focus on podcasts that readers of this hyper-niche column would probably find interesting. It’s chock full of the fairly platitudinal findings one comes to expect from broad excursions into the subject — sample sentence: “the key, podcast pros say, is to do something that no else is doing, and to do it better than anyone else can” — but there are bits of interesting information (and fun posturing) packed in the quotes.
The series also contains what is perhaps my favorite quotation — which bears my favorite insight — in a long, long time. In the article “Celebrities Are Flocking to Podcasts, but Will They Stick Around?“, a podcast producer named Matthew Passy drops this gem:
Shaquille O’Neal could fart into a microphone for an hour and 100,000 people would download it, while other podcasters are putting out great content advertisers [don’t pick up on], because for advertisers there’s a high threshold…if you don’t have 10 to 50,000 downloads, most advertisers don’t bother.
Passy’s sentiment here addresses the annoying and increasingly prominent spike in the lazy (and cynical) strategy of plopping a known name in front of a mic with little direction or production value with the expectation of committing temporary arbitrage. It also usefully contextualizes it as prudent within the basic advertiser dynamic. It illuminates how the space currently possesses a value universe in which high-quality work is crowded out, and how these relatively slipshod programs, in their capacity to move money before advertisers gain full podcast literacy, leads to their further proliferation. Cheers, mate.
Vox Media on the hunt. Well lookie here: Vox Media posted a job listing earlier this week in search of an executive producer for audio. According to the job description, the EP will be in charge of both refining the existing stable of podcasts as well as launching new shows. It also appears to span across the company’s eight sites (and possibly its in-house creative agency, Vox Creative).
This comes a week after Recode, Vox Media’s tech and business news site, published a job listing for a similar position. Dan Frommer, Recode’s editor-in-chief, had indicated to me that their listing was “an early sign of things to come from Vox on the audio front” — and it seems that this is yet another development within a much larger strategic move. The juxtaposition of these positions suggests the probable reporting structure, with the former overseeing the work of the latter, which itself foretells a probable future where we may see similar roles emerge across Vox Media’s seven remaining sites. (It’s a matryoshka doll of executive producers!)
If you’re a mid-career audio operator looking for a big step up, it’s a good time.
The Washington Post is ramping up its podcast operations, months after testing the waters with the history podcast Presidential, which first dropped in January. To kick off its second wave, the Post recently launched two somewhat straightforward shows: a fantasy football podcast (The Fantasy Football Beat), rolled out in early August, and an interview-driven politics podcast hosted by PostPartisan blogger Jonathan Capehart (Cape UP), which dropped last week.
But it has also two rather interesting projects in the pipeline that should be watched. First, a quiz show named Ciquizza featuring Chris Cillizza — whose blog, The Fix, is already being delivered in audio form through the Amazon Echo. Second, a fascinating collaboration with American Public Media called Historically Black, which will leverage the Post’s reader-driven Tumblr of the same name. A call for submission was put out two weeks ago for Historically Black, which you can find here.
The scaling up comes shortly after the Post hired Carol Alderman to serve as the company’s in-house audio producer in May. Alderman previously worked on podcasts at USA Today. I’m told that Alderman is the only person on staff whose sole focus is on audio works — though the actual production flows involve collaborations from several other people in the newsroom. I’m also told that, as part of the audience team, she reports to Jessica Stahl, who officially holds the lengthy title of “editor for social, search, and communities.” Stahl serves as Alderman’s editor on the audio products. That’s a stark contrast from The New York Times’ approach, which has a much larger team of dedicated operators with at least six full-timers focusing on podcasts, by my count (many of them public radio veterans).
Also worth noting: The Post plans to further experiment with the Amazon Echo’s Alexa platform. I’m personally pretty bullish on the possibilities afforded by voice-based/audio-first computing and the way in which the Echo paves for a whole new way in which information can be transferred digitally, and I’ve been utterly fascinated by the number of news organizations that have begun dabbling with the platform. (A partial list of dabblers: NPR, Slate, The Wall Street Journal, Newsy, Refinery29, Bloomberg, TMZ, and, excitingly, local NBC affiliates.) I had originally planned to dive deeper into what’s been going at this particular nexus, but my friends at Nieman Lab beat me to the punch earlier this week. I highly recommend checking out their writeup on news organizations and Alexa.
There is, indeed, quite a lot packed into what the Post’s is trying to kindle on this frontier. To find out more, I asked Jessica Stahl a few questions over email, and I think her responses are pretty useful, so I’ll run them in full here.
Quah: Could you tell me about the scaling up and how Carol Alderman plays a role here — is she quarterbacking projects, or will she be directly involved in tape cutting and such?
Stahl: We’ve spent the past couple of months sending our first batch of projects through the development process and are really proud of what we’ve been working on. Presidentialhas always been almost completely reported, edited and produced by Lily Cunningham in what can only be described as a Herculean effort. Beyond that, Carol is directly producing/editing some of our podcasts, and working with others primarily during the development process to help refine the idea and provide the training they need to eventually edit/produce themselves. So we’re hoping that with those two workflows in place, it we’ll be able to create the high quality output we want while still facilitating as many great ideas as we can. We’ve also been able to start codifying best practices, which helps us be consistent about things like launch process, format for posting to our site, promotion on social media, and so on.
Quah: What are the factors that led to the Post’s decision to do more with podcasts?
Stahl: The first is passion and interest in this type of storytelling. We have people in this newsroom who listen to podcasts as consumers and love the experience they get with that medium. And that’s meant we have people in the newsroom who’ve been wanting to tell stories in audio form, including a couple — like Lily — who figured out they had the skill to go ahead and do it. So there was this enthusiasm for podcasts, and a well of exciting ideas, that was bubbling over. That’s kind of been reflected in the podcasts we’ve launched or are working on so far — they all come from people in our newsroom who were passionate about getting into this space and who were willing to work hard with us to refine pitches, record and re-record demos and basically create something they would be psyched to listen to.
The other major factor was the success of Presidential, which showed that audio can accomplish the type of deep, informative journalism we strive for, and that there are significant audiences for it if you do it right. We announced at the end of March, only about two months after Presidential had launched, that it had already surpassed 1 million downloads.
Quah: What does success look like for the Washington Post’s podcasts?
Stahl: We’ve talked a lot about how we can define different models of success so that something that is building engaged community, for example, or doing really important journalism, or growing slowly but steadily could be considered to be working — just like something that gets tons of listeners right away would be considered to be working. We have several dimensions we use to measure success — similarly to how we might think about whether a written reporting project is a success. Sometimes big numbers tell you something worked, and sometimes you know something worked because it causes real change.
We’re also trying to be very intentional about how we know what’s not working, so we can adjust quickly to try new strategies, or ultimately to decide that we want to move on. Podcasts actually live as part of the Audience team, so figuring out how to benchmark progress and measure success across all sorts of different platforms is kind of just part of our worldview.
Quah: Are you guys trying anything interesting with respect to distribution?
Stahl: Our Historically Black podcast with American Public Media (APM) Reports is definitely something new and different for us. That grew out of a UGC (user-generated content) project on Tumblr and has developed into a cross-platform multimedia effort that’s going to be distributed as a podcast, but also through Tumblr to the audience that’s participated in it, and through The Post website and all our various platforms via a series of articles.
We’re also thinking about podcasts in the context of audio more broadly. It’s still very early for us, but we’ve been having conversations across departments to talk about different ways we can think about audio and audio delivery, and there are a lot of great ideas. A platform we’re currently playing with is Alexa, which powers the Amazon Echo and other devices. We started out there with a daily politics flash briefing written by Chris Cillizza of The Fix that was delivered via text-to-speech. But we all realized that it would be more compelling to have a human voice with some personality deliver that information, so we used the Republican and Democratic National Conventions as an opportunity to launch a recorded, voiced version. I’m anticipating more experiments like that, both on the Alexa and on other platforms.
Quah: Tell me more about the Alexa projects. What’s the potential that you see here?
Stahl: The Alexa politics brief is something that started as a collaboration between the product team and the politics section, and Carol hopped in to help make the leap into recorded audio. It’s not the only thing The Post is doing on the Alexa platform — we’re also experimenting with “skills” that enable users to ask for information about the elections or the Olympics and get answers from us.
There’s a lot of crossover between the platforms our product team is interested in and what the podcast side is interested in, so that was a great opportunity to start the conversation about what we want to experiment with and where it makes sense to work together either on technologies or on content. I think there’s a ton of potential, not only with Alexa but with all the new ways that people are going to consume audio products — from voice systems like Alexa, to music sites like Spotify or Pandora that are opening up to spoken audio, to in-car systems, and things we haven’t thought of yet. Those are going to open up new audiences for podcasts and also demand new forms of audio storytelling. So we want to make sure we’re thinking about it and experimenting with it, and getting out ahead of it with offerings that feel right for the platforms we decide to focus on. And that means we’ll keep collaborating closely with all the teams that are thinking about those platforms from lots of different angles.
- “In the early days of the medium, Podcasting was disproportionately a medium for white males, ages 25-44…but today, the content universe for Podcasts has exploded, and the diversity of programming available rivals any other form of audio,” writes Tom Webster, vice president of strategy at Edison Research, which puts out the ever-helpful annual Infinite Dial study in collaboration with Triton Digital. Webster’s statement comes from new data, and you should check out the full blog post.
- Art19 announced a new executive vice president of content last week: Roddy Swearngin, who was most recently the director of digital at Levity Entertainment Group.
- Wondery follows up the successful launch of its first original property, Found, with an audio drama anthology show called Secrets, Crimes & Audiotape. (Spot the reference.) The company is clearly leveraging its roots within the film and television industry, from which its founder Hernan Lopez (formerly of Fox International Channel) hails, and it’ll be interesting to see its efforts will lead to a new model for audio drama outside its current strengths in horror and sci-fi — and whether it’s endeavors will draw in bigger advertisers. (The Hollywood Reporter)
- Audible partners TED to produce a new show, entitled Sincerely, X. (Fast Company)
- It looks the podcast components of ESPN’s multimedia initiative Pin/Kings were downloaded “more than 200,000 times” across all episodes as of August 26. The podcast published 17 episodes across its run, plus one teaser. (Digiday)
- “I’ve already done my first interviews for it last week. And tell your ad readers we’re looking for a sponsor for Season 2,” Malcolm Gladwell tells Adweek, when asked about a follow-up to Revisionist History’s highly successful first season. (Adweek)
- “U.K. Podcast Listeners Favor Ads over Payment”…and “56% said they didn’t mind ads during podcasts as long as they were relevant to the podcast topic,” according to a new survey. Usual survey-consuming disclaimers apply. (eMarketer)