Tracking: November 20, 2018

  • ICYMI: Jacob Weisberg and Malcolm Gladwell’s new audio venture, Pushkin Industries, stepped into the open last week, and the company also announced a new Chief Marketing Officer: Heather Fain, a book publishing veteran.
  • Here’s an interesting personnel move: Jonathan Zenti, the creator of Meat (a finalist for Radiotopia’s PodQuest competition back in 2016), joins the podcast technology company VoxNest as Head of Content.
  • The fine folks at Edison Research and Triton Digital published an addendum to their Infinite Dial 2018 study that contains a breakdown of changes in monthly American podcast listenership by ethnicity between 2008 and 2018. It shows a medium that’s quietly grown in diversity. Here’s the corresponding blog post, and here’s the key slide:

 

  • I continue to be fascinated by the puzzle of smart speakers and news consumption, which doesn’t appear to be a behavior that’s growing proportionally with the rise in device adoption, according to a recent Reuters Institute for the Study of Journalism report. Nieman Lab has a great summary. The heart of the problem, it seems, is the black boxes of data: neither Amazon nor Google nor Apple were willing to share data or discuss how news is being consumed on their respective smart speaker devices. A tricky predicament, one that does not bode well for future smart speaker-news publisher relations, and also completely in keeping with tech-media industry dynamics that we’ve seen so far.
  • ESPN will apparently broadcast three hours worth of 30 for 30 Podcasts across its owned-radio stations around the country on Thanksgiving afternoon (1-4pm ET). As Planet Money’s Nick Fountain pointed out, this time-slot sets the sports doc podcast up against The Splendid Table’s live call-in show. A fight to the death, this.
  • WNYC Studios’ 2 Dope Queens ended its run last week with a final episode that featured an interview with Michelle Obama. By closing the podcast, the duo of Jessica Williams and Phoebe Robinson appears to have completed a full transitional arc: from live show to podcast to television.
  • Producers Eleanor McDowall and Heidi Pett are running a survey at the moment to crowdsource a rate card for audio production in the UK “to try and make pay more transparent”. If you work in the industry, fill it out here, and keep an eye on the UK Audio Network page for the results.

Tracking: November 13, 2018

  • Conan O’Brien’s podcast, Conan O’Brien Needs a Friend, launches next Monday, and the production has circulated a star-studded guest list preview. Stitcher (née Midroll Media) is handling advertising sales, and there’s an interesting connection there: Adam Sachs, the former CEO of Midroll, is now the COO of Team Coco, O’Brien’s production company.
  • ICYMI: “Some podcasters are reporting that they are seeing a steep decline in listenership, specifically when using Apple’s Podcast Analytics tool,” per 9to5Mac. Apple is reportedly on it.
  • The New Yorker published a pretty chunky piece on podcasts yesterday (titled “How Podcasts Became a Seductive — and Sometimes Slippery — Mode of Storytelling,” or “Binge Listen” on the print version). It’s a strange one, in that it could be read as a limited analysis of the kinds of shows New Yorker staffers typically listen to. But it also feels emotionally true, especially in its findings of entrepreneurial power (public radio “vow of poverty” be damned) and potential narrative pitfalls. The ending is superb.
  • I don’t think I’ve mentioned the actual date yet, but: Post Reports, the Washington Post’s daily news podcast, officially drops December 3. Also, as host Martine Powers noted on Twitter, the team will be “managed, hosted and majority-produced by women of color.”
  • Found this Vulture interview with Homecoming creators Eli Horowitz and Micah Bloomberg, on how the podcast was adapted to television, pretty interesting. Of note: the second season and the TV adaptation was written at the same time, and there will be no third season for the podcast.
  • Surviving Y2K, Dan Taberski’s follow-up to Missing Richard Simmons, drops today. It’s really good.
  • WNYC Studios tells me: the new Jason Reitman film, The Front Runner, about Gary Hart’s 1987 campaign for Democratic presidential nomination that was taken down by a scandal, was apparently directly inspired by a Radiolab episode, “I Don’t Have To Answer That.” Wild.
  • Who Weekly’s Lindsay Weber and Bobby Finger with the goods: “The Safe Space of the Celebrity-on-Celebrity Podcast.” Also, whoever gave Weber and Finger a column at Slate should be given a raise.
  • You probably saw this, but in case you didn’t, here you go. Think it could’ve been a hundred times better? It’s SNL.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Grab your space suits, fellas.

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

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

Public radio genes run deep.

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

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

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

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

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

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

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

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

Tip of the hat, Louisville.

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

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

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

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

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

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

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

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

[storybreak]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[storybreak]

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

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

Bites:

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

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

Turns out people really like podcasts after all (and now we have numbers to prove it)

Welcome to Hot Pod, a newsletter about podcasts. This is issue 149, published January 30, 2018.

One month in. When Apple rolled out its long-awaited in-episode podcast analytics last month, part of the anxiety (and excitement, really) was finding out whether, essentially, the world would end. Which is to say, whether this whole podcast thing was a bubble, a house of cards; whether perhaps many of the metrics the industry had been using to articulate, extract, and transact its value was nothing more than inflated abstraction, like the hollow vitality of a viral tweet lifted up by a golemnic army of stolen identities.

You can scratch that particular anxiety off the list. Over at Wired, Miranda Katz checked in with a few publishers one month in and wrote:

Though it’s still early days, the numbers podcasters are seeing are highly encouraging. Forget those worries that the podcast bubble would burst the minute anyone actually got a closer look: It seems like podcast listeners really are the hyper-engaged, super-supportive audiences that everyone hoped.

Among those quoted for the piece were reps from Midroll, Headgum, and Panoply.

But of course, whether podcasting was a bubble that better analytics would pop was always only half the question. The other half, whether the new data would lead to a boom, is a whole other bag of nuts. Katz writes:

On the business side, it’s likely that these high engagement rates and low levels of ad skipping will see a flood of new advertisers who have until now been reticent to enter the Wild West of podcasting — welcome news to anyone who feels about ready to throw their phone across the room any time they hear another ad for Squarespace or Casper.

We’ll see! When the analytics were first announced in the summer, Market Enginuity’s Sarah van Mosel told me: “This is certainly a step in the right direction. This is what we asked for and I thank the Apple team for hearing and responding to the podcast community. Now I want more.” More, as in the expected adtech bells and whistles like better targeting capabilities. More, as in anything above table stakes.

But hey, exciting stuff. I suppose this also means that Hot Pod will be somewhat relevant for at least a little while longer. Yay for jobs.

(Side note: I wonder how MailChimp, Squarespace, and Casper feel about their semi-lampooned ubiquity? Probably good, because ubiquity and synonymity with the rise of the medium is a plus, but there’s something about the mocking tone that suggests a more complex linkage.)

Big new clients for PRX. The Cambridge, Mass.-based podcast company announced two eye-catching partnerships yesterday: one with Night Vale Presents, the indie podcast outfit founded by Welcome to Night Vale creators Joseph Fink and Jeffrey Cranor; and one with Gen-Z Media, the kids podcast company founded by the people behind The Disappearance of Mars Patel.

These partnerships will see PRX providing the two companies with marketing, ad sales, and technology support services. That third bit means that both Night Vale Presents and Gen-Z Media will be moving their portfolio of shows onto PRX’s Dovetail platform, which currently serves as the hosting provider for all podcasts in Radiotopia network. (Well, almost. The Allusionist migrates over in April.) Dovetail also hosts podcasts from Serial Productions, most notably handling S-Town’s monster run. (More information on that situation can be found in this column from last April.)

Gen-Z Media’s shows were previously housed on Panoply’s Megaphone platform as a result of a previous partnership struck last January, which saw Panoply supplying production, financing, distribution, and technology support. Gen-Z is also an active partner on Pinna, Panoply’s app-oriented kids programming initiative, for which the podcast company was reportedly developing a suite of new shows.

“Truly, we’re not moving away from Panoply,” replied Ben Strouse, one of Gen-Z’s principals, when asked for clarification on the company’s standing with its previous provider. “Our shows on Pinna will proudly stay there, and we’ll continue collaborating with them on new projects. Our partnership with PRX is all about connecting with new listeners and reaching bigger and bigger audiences for our upcoming shows. We’ve got to diversify our business in 2018 to continue growing, and PRX has a tremendous distribution network and highly respected collection of great podcasts.”

Gen-Z’s move to PRX caps off a complicated month for Panoply, in which the company saw (1) the departure of its kids programming chief, Emily Shapiro; and (2) Slate, its sister company, taking over its podcasts’ sales processes from Panoply.

For Night Vale Presents, the move appears driven by an eye towards scale. Its shows were previously hosted on Libsyn. “We’ve got nothing but positive things to say about Rob Walch and the Libsyn team. They were amazing to work with — we’ve been with them since the beginning of Welcome to Night Vale, and we’ve always been very happy with them,” said Christy Gressman, partner at Night Vale Presents. “That said, we’re really looking forward to working with PRX in a streamlined way, where we’ll get to use their sales team and sponsor management resources and distribution technology (via their proprietary Publish and Dovetail applications), along with sharing other resources.”

Locking down Night Vale Presents and Gen-Z is a pretty big win for PRX, whose operations continue to sprawl out in a myriad of directions. The organization has evolved several times since its founding in 2003, when it was originally built to serve as a technology provider and tool hub for public radio stations looking to take advantage of the internet. (This involved, among other things, the creation of an online marketplace for programming and station-specific app development services.) In its current iteration, PRX has espoused a renewed commitment to independent creators, a stance that has expressed itself through the creation of its “indie podcast label” Radiotopia; the Podcast Garage in Allston, Mass.; and providing end-to-end podcast services for select partners that fit into this indie worldview. The organization is currently led by CEO Kerri Hoffman, who succeeded Jake Shapiro in 2016 when Shapiro moved on to found RadioPublic.

So, what’s the big picture here? One could argue that PRX — with its indie-minded orientation, technology stack, and expanding ad sales capacity supplied by Market Enginuity — makes for a fascinating foil for Midroll, which has long established itself as the dominant full-service provider for a good deal of the emerging podcast ecosystem. It’ll be interesting to see how PRX will further express itself as distinct from its competitors, and what kind of clients it will continue to target and lure away.

On a related note: Radiotopia’s Criminal is working on a spinoff called This Is Love that’s slated for a Valentine’s Day drop. I wrote about the details for Vulture, but I’d also like to say: What the Criminal team is trying out here seems like a good model for creative teams looking to flex their muscles in different creative directions without necessarily compromising the consistent audience interfacing of their core economic/production engines. It sets up an advantage not unlike what you’re getting in the relationship between This American Life and Serial Productions, where talent can flow between the mothership and one-off projects.

This week in public radio:

1. Last Friday, WNYC announced an executive reshuffle that sees Dean Cappello — the station’s chief content officer and CEO Laura Walker’s righthand man throughout her two-decade-plus tenure at the station — demoted into an advisory role with no direct reports. Cappello was previously responsible for overseeing WNYC News and WNYC Studios, the station’s on-demand audio division. The shift comes almost two months after New York Magazine’s The Cut published a piece from the journalist Suki Kim detailing sexual harassment complaints and allegations made against The Takeaway’s John Hockenberry during his hosting tenure at the show. Kim’s story has since catalyzed a broader reckoning about the station’s management, which was deemed to have inadequately handled the Hockenberry complaints and, more broadly, manifested a culture that allowed for bullying, harassment, and discriminatory behaviors that have especially hurt women and people of color.

However, in a statement to Splinter, a WNYC spokesperson clarified that Cappello’s demotion was part of a strategic shift and unrelated to The Takeaway controversies. (Cappello directly oversaw The Takeaway and worked closely with Hockenberry for years, as a recent New York Times piece noted.)

It’s a peculiar clarification. But then again, if Cappello’s demotion was indeed meant to be the official response to the overarching concerns about the station’s culture, then it would have been an insufficient act of accountability. As it stands then, the station still hasn’t outwardly — or inwardly, as far as I can tell — indicated what it will concretely be doing to seriously address its systemic issues.

We may well still see…something from the station. In the WNYC News piece on the matter, it was noted that station management has brought in the law firm Proskauer Rose to investigate workplace conduct and former NPR executive editor Madhulika Sikka to review editorial content and structure. But for now, it feels like the impetus for change remains more centered in the hands of the station’s supporting member base, and how that constituency will collectively choose to alter the cost of reinforcing the status quo.

2. Minnesota Public Radio’s Garrison Keillor problem continues to be a flaming mess. A quick list of recent developments:

  • Last Tuesday, MPR News published an investigation going deep into Keillor’s troubling history of inappropriate workplace behavior around women. “An investigation by MPR News…has learned of a years-long pattern of behavior that left several women who worked for Keillor feeling mistreated, sexualized or belittled,” the piece wrote. “None of those incidents figure in the ‘inappropriate behavior’ cited by MPR when it severed business ties.”
  • That same day, MPR CEO Jon McTaggart published a note responding to several questions that have been sent in by listeners about the controversy. “The irony is that while MPR has been careful to protect Garrison’s privacy and not hurry any decisions, others have rushed to judge and criticize MPR’s actions without knowing the facts,” he wrote in response to one query.
  • A few days later, Keillor pushed back against MPR, MPR News, and an accuser through a statement published on his website and sent to HuffPost. “If I am guilty of harassment, then every employee who stole a pencil is guilty of embezzlement,” he wrote.

There remains a standoff between MPR management and Keillor, with the fate of the Prairie Home Companion archives — considered “historically valuable” by a curator at the University of Maryland, and to which Keillor holds many of the rights — at stake, as the Star Tribune reports.

3. NPR published the 2017 edition of its staff diversity numbers last week, which shows virtually no progress from the year before. Ombudsman Elizabeth Jensen with the details:

The overall racial and ethnic diversity of the news and information division remained virtually unchanged as of Oct. 31, 2017, when compared with the year earlier. Figures supplied by NPR’s human resources department showed the division of 377 people to be 75.10 percent non-Hispanic white (as self-identified). That compared to 75.4 percent the year earlier, when there were 350 newsroom employees. I’ll repeat what I said of the 2016 numbers, which showed only incremental change over the last five years: this was a disappointing showing.

Year-to-year, there were some small changes in the makeup of the remaining 25 percent of the newsroom. The percentage of employees who reported they were Latino or black rose slightly; Asian employees as a percentage dropped slightly.

Jensen’s piece unpacks a number of elements embedded in the station’s problem with employment diversity that’s worth thinking about, including a “trickle down” dynamic as well as the indirect impact of the broader public radio ecosystem’s lack of diversity as a potentially relevant factor in the station’s failure to adequately solve the problem. (One thing I’m personally wondering about, though, because I’m a yellow person: Why did the percentage of Asian employees drop slightly? Are we just, like, not talking more about that?)

But there is absolutely nothing new to be said about this issue that hasn’t already been said, not that doesn’t it have to be said repeatedly, ad infinitum, until the light of the sun snuffs out or the percentages actually change: This needs to be fixed, like now, and it’s ridiculous that the needle has barely moved, maybe even regressed.

In other news: Marjorie Powell, vice president of human resources, has left the organization. Current has some noteworthy background on the development.

Nope, not a good week for public radio.

Personnel notes:

  • Dave Shaw, the executive producer of podcasts at E.W. Scripps, has moved to Politico to lead the podcast team there. He started work today. Also at Politico: Bridget Mulcahy has been promoted to senior producer, and Micaela Rodríguez joins full time as assistant producer.
  • Vox Media now has a dedicated podcast marketing manager: Zach Kahn, who previously worked in the brand marketing and sponsorship division.

Dirty John in the age of Peak TV. The multimedia true-crime project from the Los Angeles Times is in the process of being adapted into two different series for two different networks, according to The Hollywood Reporter.

Bravo, home of the Real Housewives Expanded Universe, is reportedly “near a deal” for an anthology series based on the Times’ Christopher Goffard’s reporting and accompanying podcast (produced in collaboration with Wondery). It will be a two-season order; first season of that show will be based on the Dirty John story, while the second will focus on a new tale altogether.

The Oxygen network is the other suitor, having ordered a companion unscripted series focused on the subject of Goffard’s feature, John Meehan.

Three things:

    • Dirty John is the latest in a growing line of podcast-to-television adaptations, which you can read more about here, here, and here. At some point, I’ll put together a spreadsheet or something tracking the pipeline so we can figure out the split between fiction and nonfiction projects, true crime and non-true crime, so on and so forth.
    • The fact that Dirty John is being adapted into both scripted and unscripted forms is super interesting. How much juice can you squeeze out of a fruit? Depends on the fruit, I guess. Or maybe not?
  • This bit of news comes as the L.A. Times is increasingly engulfed by managerial maelstroms, including dramatic reshuffles in its management, sexual harassment allegations levied against publisher and CEO Ross Levinsohn, and a comically capitalistic parent company called Tronc that’s engaged in questionable business strategies to the detriment of its talented newsrooms. The situation remains fluid; I recommend following Ken Doctor and David Folkenflik if you’re tracking the story.

Macmillan outlook. The podcasting adventures of Macmillan, the international book publishing giant, can be traced back to the closing weeks of 2006 when John Sterling, then the publisher and president of the Henry Holt imprint, called up a science writer named Mignon Fogarty after reading about her rapidly growing podcast, Grammar Girl, in The Wall Street Journal. A phone call about a potential book deal turned into the mutual identification of a unique opportunity, which in turn led to the creation of the Quick & Dirty Tips Podcast Network, one of the earliest podcast publishing experiments by a non-audio native company. (Simon Owens has a great recent history of QDT on his website.)

The network has since grown into a robust and well-oiled machine. It is now over 275 million podcast downloads strong, having added 25 million episode downloads across 2017 to the 250 million in lifetime downloads the network had accumulated by the end of 2016. Fogarty continues to publish Grammar Girl, the network’s flagship program now flanked by an array of spinoffs, and she has published several books that direct extend from her work on the podcast. Meanwhile, Sterling, who continued to oversee QDT even as he ascended to the role of executive vice president at Macmillan proper in 2008, recently announced that he was stepping back from full-time work at the publisher to get into politics. The news comes shortly after he completed work as the editor of Michael Wolff’s Fire & Fury.

With delicious lore to spare, Macmillan is a fascinating figure in podcasting: an early adopter, a persistent player, and a singular operation. And last year proved to be no different for the publisher as it continued to work the on-demand audio angle.

At the tail end of 2016, I wrote about Macmillan’s ambitions to further scale up its on-demand audio operations with the formation of Macmillan Podcasts, a new internal venture that seeks to explore more systematic ways of bridging authors and podcasts. Led by Kathy Doyle, the company’s vice president of podcasts, the newly formed division spent the year setting the table — “We tripled the size of our team and put together a workflow that enables us to be nimble and responsive to requests from our publishers, as well as authors and talent, as we grow our catalog,” she said — and establishing their presence within the organization. This work was mostly tied in the development and rollout of new projects, of which there were five in the latter half of 2017 (Raise My Roof, Dig If You Will, Feminasty, Rossen to the Rescue, and Steal the Stars), but it also revolved around an internal awareness-raising campaign. “We did a road show introducing the potential inherent in podcasts to all our publishers and showcasing the ways we can help contribute to their success — no topic or narrative style is off limits,” she explained.

Steal the Stars, in particular, emerged as the standout project for the division. I first wrote about the podcast last summer, when Tor Books, a science fiction and fantasy-focused Macmillan subsidiary, announced the formation of Tor Labs, an experimental imprint “emphasizing experimental approaches to genre publishing,” which developed Steal the Stars as its first project. I loved the idea of Tor Labs; here you have a new internal venture that’s working to cultivate publishing projects that are meant to contemporaneously span across multiple platforms such that value can be simultaneously extracted from the different markets of different mediums. Such a setup vastly expands the surface area of a single project, dramatically increasing the work’s exposure and further allowing for the possibility of ushering more audiences to cross over between mediums. Sure, much like Subcast from last week, the whole thing isn’t particularly revolutionary — we do live in an age where just about everything gets adapted into any given direction, from podcasts-to-television to documentaries-to-podcasts — but the real innovation is the efficiency and contiguity of the arrangement. Every element is plugged in together from the outset, and that seems new to me.

Steal the Stars was indicative of what the bleeding edge for Macmillan Podcasts could look like. It involved close coordination between Gideon Media (which created and produced the podcast), Tor and Tor Labs, Macmillan Podcasts, and Macmillan Audio (which oversees its audiobooks operations), all collectively working together to ensure that every format of the show was set up to perform well within their respective markets.

Doyle considers the experiment a success. The podcast ended up clocking in a solid performance with listeners; I’m told that the 14-part run surpassed 1 million downloads and continues to perform well in the postseason. “Our strategy included taking the podcast content and adapting it into a trade paperback and ebook and just last week we released an audiobook with bonus content — we even did a prequel live event that sold out — all of which continues to drive interest in the podcast,” she explained. “We’ll be leveraging this model again.”

As far as the product itself goes, I thought it was a really fun listen. A sci-fi audio drama written by Gideon Media’s Mac Rogers, who also wrote The Message and Life After for Panoply, Steal the Stars was a comparatively straightforward narrative romp involving aliens, secret government hijinks, and romance.

So, what does the year ahead hold for Macmillan Podcasts? As you would expect, they’ve got a pile of projects in the pipeline. The division recently released a few trailers teasing two February launches: the first is called One True Pairing, which will be hosted by two St. Martin Press staffers — “Think My Favorite Murder for people who read US Weekly,” Doyle said, a description that sounds a lot like a Who? Weekly competitor — and the second is called But That’s Another Story, which “looks at how books and reading change and shape our lives” and will be hosted by best-selling author Will Schwalbe. More are on the way.

Doyle also notes that the year will be spent further building out key relationships, distribution points, and co-marketing opportunities within the industry. “We’re spending a lot of time thinking about ways we can collaborate with our partners in support of our authors and continue to innovate with new audio-first formats,” she said. You can already see some of that with Macmillan Podcasts’ participation in the marketing of Launch, a new podcast about writing a novel developed by Wondery.

Like most other podcast operatives, Doyle is thinking about the discovery gap — and where the closing of that gap will come from — as well as the longevity of the advertising model, which is the primary revenue channel for their show portfolio. That latter concern is pushing her to explore alternatives. “We’re open to additional models, perhaps working with distributors on a windowing relationship or developing exclusive content,” Doyle added. “It’s a case-by-case basis.”

But for now, though, Macmillan Podcasts is settling into itself. They remain occupants of a unique corner in the broader podcast ecosystem, hard at work figuring out how to add more layers to its niche.

Bites:

  • ESPN is reportedly exploring a sale of FiveThirtyEight. Should FiveThirtyEight break off from Disney — which owns ESPN, among so many other things — there would be considerable ramifications for the FiveThirtyEight Politics podcast and ESPN’s 30 for 30 podcast, as both shows share Jody Avirgan as a principal producer. (The Big Lead)
  • Gimlet is producing a live festival for itself. Called Gimlet Fest, it is scheduled to take place on June 16-17, not too far from their new 27,000-square-foot downtown Brooklyn offices.
  • A documentarian is developing a project about Joe Frank, and is raising funds on Indiegogo.
  • WBUR is launching its collaboration with The Washington Post, Edge of Fame, next month. The show is fronted by WaPo national arts reporter Geoff Edgers, and each episode will profile artists, actors, musicians, and comedians — including Ava DuVernay, Jimmy Kimmel, and Norm Macdonald — through a blend of interview and field recordings. Debuts on February 15.
  • Two shows to track on the local podcasting front: Nashville Public Radio’s The Promise, a limited-run series on public housing in the city, out now; and KPCC’s Repeat, which investigates the story of an L.A. County sheriff’s deputy who shot at four people in seven months. It starts February 7.
  • Variety has a big feature up on Spotify as the music streaming company sets off towards going public, titled “With 70 Million Subscribers and a Risky IPO Strategy, Is Spotify Too Big to Fail?” The piece is super useful to get a sense of what’s going on (and what’s at stake) for the company and its relationship to the broader music industry. Once you’re done with that, pair it with this Financial Times bit: “Songwriters’ court victory deals a blow to Spotify.
  • Not directly podcast-related, but maybe it can be: “A Bunch of TV Writers Are Building a Salary-Transparency Database.” (Vulture)
  • Because true crime is arguably the pulping heart of podcasts in 2018…”Hunt a Killer, One Subscription Box of Clues at a Time.” (The Ringer)

Who needs video? Slate is pivoting to audio, and making real money doing it

Slate Outlook. This is a tad newsier and more with-the-pack than I generally like to be, but whatever — there’s a bunch of juicy, usable stuff in here.

Slate readers woke up this morning to something big from the 22-year-old online magazine: a total redesign, complete with an overhauled backend to improve the site’s user experience and a new logo to mark its third decade of publication. Accompanying the aesthetic revamp are significant adjustments to the site’s editorial architecture — including, among other things, a reorganization of its content verticals and, of course, a long-overdue push to make its substantial audio output more prominent across its web presence.

“We look at the redesign as a recommitment to the written word and audio,” Julia Turner, Slate’s editor-in-chief, tells me. She also notes that those renewed commitments are, in part, a reaction to the “pivot to video” gambit employed elsewhere in the digital media ecosystem, increasingly lampooned these days either as folly or a cynical ploy to extract dollars from the unstable hype surrounding digital video. “We’re planning to expand editorial spending on podcasts and articles,” she said. “There are good economic models behind both.”

We’ll stick to the audio portion here, of course, and our primary interest is to get a sense of just how strong that podcast business model is for Slate. Turner dished out some numbers to set the scene:

  • Slate enjoyed 100 million downloads in 2017 across its entire podcast network, not counting shows under the Slate Extra banner.
  • Podcast downloads are said to be up 42 percent from 2016.
  • December proved to be Slate’s biggest podcasting month, driven in good part by Slow Burn (more on that show in a bit), with 3.5 million downloads across the period.
  • Slate’s podcast advertising revenues were up 36 percent in 2017 over 2016, and the company expects continued growth this year, or so it is said.

(“We like to share when they’re happy numbers,” Turner said, when I expressed marvel over the volume of information being provided.)

But perhaps the most telling data point is this: In 2014, podcasting made up 0 percent of Slate’s revenue portfolio. By the end of 2017, that number has shot up to 25 percent. Whether that number continues to grow over the next few years will be something to watch. Unsurprisingly, the company expects growth in all key revenue areas — including display advertising and membership dollars in addition to podcast advertising — which, if true, would stabilize the growth of Slate’s podcast advertising dependency. But I do find it compelling to contemplate a future in which Slate primarily operates as a podcast publisher with a significant written web engine that functions as an effective lead-generation tool. (Thereby ultimately adhering to the construct sketched out by Stratechery’s Ben Thompson in his November 2015 piece, “Grantland and the (Surprising) Future of Publishing.” Indeed, such a result would create an unexpected homology between Slate and Grantland’s successor, The Ringer, if I’m reading the latter correctly.)

Anyway, depending on how you look at it, one could interpret Slate’s podcasting fortunes either as a product of luck or persistence, maybe both. Slate’s adventures in podcasting began over a decade ago, in 2004, and as Andy Bowers, who joined the company around that time as its OG producer after a twenty-year career in public radio, is fond of telling it, the site’s early audio dabblings involved publishing recordings of him reading articles out loud into a microphone. (Some ideas never really go away.) Those experiments would eventually evolve into shows with more substantial discursive formats, which would then go on to cultivate strong communities over an extended period of time. Digging through the archives and thinking back on that era, one could argue that there was no real reason for the company to continue producing those podcasts beyond simple enjoyment and serving those early communities; hence the notion of luck and persistence. But sticking to the experiment paid off, as that commitment ultimately primed them to be particularly ready for this historical juncture in digital audio publishing.

Nowadays, the Slate podcast network is a sprawling 24-show portfolio that’s spread across various Gabfests (a model that it pioneered across multiple shows and that is widely emulated these days by other online publications dabbling in the medium), some personality-driven shows (The Gist, Dear Prudence, etc.), and an emerging bucket of more ambitious projects. Bowers, after a long tenure as Slate’s EP of podcasts, went on to cofound a podcast-specific sister company, Panoply, in early 2015, and his role has now been passed onto another bald public radio veteran: Steve Lickteig.

2017 proved to be an interesting year for Slate Podcasts. Most prominently, it struck a curious partnership with Studio 360 last summer, taking over coproduction and digital distribution responsibilities from WNYC (where the show had been housed since its launch in 2000) as well as physically bringing the team into its offices. The network also steadily rolled out a suite of new shows, including a Spanish-language Gabfest and a few highly-produced narrative projects.

One such narrative project was Slow Burn, the Leon Neyfakh-led narrative podcast that sought to capture a sense of how it felt to live through Watergate, which I largely enjoyed and reviewed for Vulture last week. It turned out to be a hit for the company — not just as a standalone podcast project, but also as a lead-generation vessel for its membership program, Slate Plus.

Even though the core Slow Burn experience is available for free as a weekly podcast, a Slate Plus membership gives Burn-heads access to bonus episodes and other additional material. The carrot was apparently effective. “We’re seeing conversion at an extraordinary rate,” Turner said, noting that the Slow Burn campaign yielded 2.5× to 3× the daily conversion rates of an average day. “We’re seeing a ton of overlap between audio audiences and Slate Plus,” she adds. Plans are now in place to develop the property further, including an upcoming live event at the Watergate itself and a broader vision to untether the podcast from Watergate and use its conceit as a way to build future seasons around other historical events.

Slow Burn’s success should give Slate some extra confidence for the upcoming shows they’re planning to launch this year. Projects in the development pipeline includes:

  • A documentary series led by the author Michael Lewis, of The Big Short and Moneyball fame, about umpires.
  • A project built around Slate TV critic Willa Paskin, which I’m told will neither be a chat show nor an interview-show.

One imagines there will be more to come.

The notion of an online magazine entering its third decade is a wild thing to consider. (I’m not too much older than the site itself, which was founded in 1996.) Even wilder is the challenge of continuing to exist — and to fight for relevance — as a digital publication in a notoriously rough industry environment whose narratives are generally oriented around the downswings of the hype cycle these days. In its relative geriatricity, Slate now has the opportunity to contribute to a playbook that few digital publications get the chance to write.

Some odds and ends:

  • I’m also told that, as part of the changes surrounding the redesign and internal shifts, Slate will be taking over its own podcast sales from its sister company Panoply, which previously held that responsibility. A spokesperson explained the change as follows: “Since Slate podcasts are separating from the rest of Panoply, the direct response advertisers that Panoply was calling exclusively for the total network — including Slate — will, starting Q2, be called on by Slate sellers for only Slate’s network of shows. Panoply will continue to call on them for Panoply shows. Obviously, Slate very much believes in Panoply. We are creating this structure so that Slate and Panoply can each focus and do what it does best.” This separation is, of course, quite curious for Panoply.
  • It is not lost on me that the Slate Political Gabfest, one of the network’s oldest and most prominent shows, is hosted by three people who are no longer full-time Slate employees: David Plotz (now the CEO of Atlas Obscura), Emily Bazelon (now a staff writer for The New York Times Magazine and senior research fellow at Yale Law School), and John Dickerson (installed last week as cohost of CBS This Morning). This is both a testament to the legacy that Slate Podcasts has created across its run, and an indication of a potential vulnerability.
  • Speaking of Dickerson, Slate’s podcast chief Steve Lickteig confirmed that Dickerson will continue with the Slate Political Gabfest and Whistlestop.
  • As part of the editorial restructure, the Double X vertical is being phased out as its previous responsibilities become absorbed by all other verticals (there are now five: News & Politics, Culture, Technology, Business, and Human Interest). But the Double X Podcast will continue to operate, serving as the living connection to the vertical’s legacy.

Panoply loses its kids chief. I’ve confirmed that Emily Shapiro, the director of children’s programming, has left the company. Shapiro was originally hired in January 2017 to lead the emerging division, which is primarily built around the Pinna platform. I wrote about Pinna when it first rolled out last October.

Panoply declined to comment on Shapiro’s departure, citing a strict policy on discussing personnel matters.

Prior to joining Panoply, Shapiro was the cofounder of the New York International Children’s Film Festival — considered by some critics as one of New York’s best film festivals — where she worked for almost two decades. Her departure comes at a particularly hot time for the kids podcast genre, including recently launched pushes from WNYC Studios and Gimlet Media, along with long-running efforts from the Kids Listen community.

WBEZ is working on a follow-up to Making Oprah. But it won’t be about Oprah. Brendan Banaszak, the station’s interim executive producer of content development, confirmed the project over email, and noted that they’re applying the “Making” conceit to another Chicago figure whose identity will be revealed at a later date. (A move not unlike what Slate is hoping to do with Slow Burn.) Jenn White will host once again.

I don’t know about you, but I’m really into the idea of “Making” as a podcast template for local public radio stations across the country in the vein of the Hearken-powered Curious City franchise expansions. I would love a Making-style show for Idaho. (Aaron Paul??)

Science Friday joins the WNYC Studios portfolio. The move was announced last Friday. Here’s what that means:

  • WNYC Studios will lead sponsorship sales for the Science Friday podcast along with its spinoff show Undiscovered.
  • Starting April 11, WNYC Studios will take over distribution responsibilities for the Science Friday radio broadcast.
  • Science Friday remains an independent nonprofit media organization, and will continue production as usual in their current studios and offices.
  • WNYC Studios will also assist in the scaling of Science Friday’s audience, along with fielding opportunities for potential future creative collaborations between the two organizations.

This development bears strong resemblance to the August 2015 Snap Judgment move to enter into a coproduction deal with WNYC, the specifics of which you can read in this Current writeup from the time. In this case, however, Science Friday is breaking away from its distribution ties with PRI, with whom they’ve had a relationship since January 2014.

“We love PRI — they’ve been great partners, and our audience is bigger than its ever been” Christian Skotte, codirector and head of digital at Science Friday told me. “For us, as we look forward into the future, WNYC has shown how to launch and market podcasts, and as we think about what our future looks like, we’re thinking beyond just being a radio show and podcast towards being able to create whole new suites of content.”

Science Friday is currently celebrating its 27th year of production.

This week in the revolving door:

  • Eleanor Kagan, the director of audio at BuzzFeed, is leaving the company to join Pineapple Street Media. This move comes almost a month after BuzzFeed announced that it was parting ways with Another Round due to “strategic changes” at the company. Worth noting: Pineapple was cofounded by Jenna Weiss-Berman, who originated the podcast team at BuzzFeed.
  • Jessica Stahl, who originated The Washington Post’s current audio operations in her role as deputy editor on the audience team, has been promoted to director of audio. In related news, The Washington Post’s audio operations launched seven new podcasts in 2017, including two specifically for smart speaker devices.
  • James Green, cofounder of the Postloudness collective and a former producer at Gimlet Media, is joining The Outline to work on its daily show, World Dispatch.
  • John Lagomarsino, audio director at The Outline, is moving to Anchor to serve as head of production. It is a newly created role.

Wait, Anchor has a head of production now? Yep. But the gig is more a product role than anything else. “Ultimately, I’m responsible for making sure content on Anchor is high-quality, well-curated, and relevant for creators and listeners,” Lagomarsino tells me through a rep, before going on to describe a role that liaises between Anchor’s userbase and the company’s product, marketing, and content teams.

For the uninitiated, Anchor is a mobile-oriented app that originally rolled out within the “Twitter, but for audio” construct. That initial orientation was defined by a twin focus: ease of creation and ease of sharing. The company was founded in 2015 and, after picking up some initial buzz at SXSW the year after, has persisted to kick about in pursuit of a place within the marginally iterating podcast technology ecosystem. Last fall, Anchor raised $10 million in a Series A round led by Google Ventures. According to a TechCrunch writeup at the time, the company is still not generating revenue.

The current iteration of Anchor further increases its focus on creating the “easiest path to making a podcast” for the biggest number of people (the bulk of which, one imagines, is relatively inexperienced in audio production). This positioning was expressed last July, when Anchor seized on the reported instabilities at SoundCloud — previously the go-to hosting option for first-time and newer podcast publishers — by offering easy hosting transfers. It was a shrewd move, as the two services map nicely for their target demo given that both platforms are free and relatively simple to use.

How Anchor fits into the broader on-demand audio universe remains to be seen. Will the platform continue to be the lord of its own content universe, or will it meaningfully usurp portions of the technology stack that supports the rest of the podcast ecosystem? The answer hinges on whether CEO Mike Mignano’s thesis on the space pans out.

“The reality of the current landscape is that podcasting has remained an artificially small industry, because it’s so hard to contribute to,” Mignano wrote through a rep. He continued:

Between the friction that exists at nearly every step of the content lifecycle, and the antiquated technology that the industry has relied on for years, creators are left with limited data and limited opportunity for monetization, thus capping the potential of the market. We’re well past the breaking point where innovation across the entire stack is absolutely necessary for growth.

With Anchor, we’re focused on creating technology that strengthens the entire ecosystem and unlocks the true potential of the audio landscape. I expect Anchor to have a lot of competition in the coming years, which we’re excited about, because true innovation is ultimately going to come from technology pushing the boundaries of what’s previously been possible.

I happen to agree with the characterization of podcasting as an “artificially small industry.” The question I’ve kept encountering throughout my years writing this newsletter is whether that’s actually a bad thing.

Billboard outside ATL, Georgia. Atlanta Monster, the new true crime series from Atlanta podcast companies HowStuffWorks and Tenderfoot, appears to be playing around with OOH advertising local to the Atlanta city area:

Neato.

“Gimlet is a multimedia storytelling brand, not just a podcast network.” So goes the opening argument from Gimlet’s new chief marketing officer, Jenny Wall, which headlined a quick Fast Company piece last week, as she moves to elevate the company’s profile.

This is, of course, no new revelation for Gimlet, which has pretty explicitly highlighted its formalizing intellectual property pipeline — carved out in large part by Chris Giliberti, its young “head of multiplatform” — as both differentiating factor and exceptionally strong potential growth channel. Nor is it a particularly new revelation for the industry as a whole; as I noted in my 2017 year-in-review column, the adaptation pipeline is one that extends widely across the ecosystem (though with particular concentration within the audio drama category) and offers the industry a significant pathway to gain strength independently from the platform dynamics governed, still, by Apple. Nor is Gimlet the only entity that’s been exceptionally active in ushering podcast-first properties into projects for other mediums; Night Vale Presents has proven to be equally prominent, with the added nuance of not potentially burdened by the demands of venture capital.

But I thought the quote was interesting for three reasons:

  • It’s super reminiscent of HBO’s “It’s Not TV, It’s HBO” campaign that Wall worked on earlier in her career, which I pointed out last week when writing up her appointment.
  • I was wondering when Gimlet would explicitly make the “actually, we’re not just a podcast company” turn in its narrative. It’s a mindset that you could arguably trace back to a point as early as the company’s participation in the summer 2016 Brooklyn NewFronts event, where it sought to gain association with broader digital media brands like Genius, Atlas Obscura, and Lenny Letter. Perhaps you can trace it back even further.
  • One potential function for the narrative redraft: to open and grease more paths for acquisition. It’s one thing if you’re a podcast company whose most literal suitors would be a bigger, traditional audio company — see Cadence13 and Entercom — but it’s another thing altogether when your perceived value is non-medium specific. It definitely makes things more interesting for, say, a talent agency, or perhaps even a global advertising agency not unlike the one that chipped in $5 million into Gimlet’s recent investment round.

Bites:

  • Like Slate, This American Life has also undergone a redesign, which includes a new shock-red logo. I think the Washington Post’s Alexandra Petri said it best: “Congrats to @ThisAmerLife on its new job as The Economist.” I myself, er, am not a fan. (Website)
  • Last Thursday, ESPN Audio rolled out the first episode of a new podcast from Katie Nolan, who joined the sports media giant from Fox Sports in October.
  • The Loud Speakers Network is bringing back its brand collaboration with State Farm, Color Full Lives, with Aminatou Sow and Angela Yee in the hosting seats. Interestingly, this will be the branded podcast’s third season. They’re also set to experiment with an accompanying video component. (Apple Podcasts)
  • At CES last week, NPR published a new smart speaker study that has some additional data points for your pitch decks. Check it out.
  • This is cool: closing out her third season, Flash Forward’s Rose Eveleth graphed the gender ratio and racial diversity of the guests she brings onto her episodes. (Flash Forward)
  • This is also cool: Doree Shafrir, author and senior tech writer at BuzzFeed, is independently publishing a podcast called Forever35, which is focused on serving women in their 30s and 40s. This is her second indie podcast project, following Matt & Doree’s Eggcellent Adventure, which chronicles her and her husband’s experience of conceiving through in-vitro fertilization.
  • Meanwhile, on the Beltway: Senator Cory Booker (D-New Jersey) has jumped on the politician podcasting train with one of those shows where he talks to people doing stuff he’s likes. He joins senators Bernie Sanders (D-Vermont) and Keith Ellison (D-Minn.), along with former U.S. Attorney General Preet Bharara, in the style.
  • “Pandora CEO Roger Lynch Wants to Create the Podcast Genome Project.” Okay. (Variety)
  • “The Opening of the American Mind: How Educational Podcasts Are Making Us Smarter Citizens.” (Pacific Standard)
  • “Alexa, We’re Still Trying to Figure Out What to Do With You.” (NY Times)
  • PodcastOne announces partnership with the Associated Press around a daily audio news product accompanying the Winter Olympics. (Press Release)
  • “Whatever it is, I’m not afraid of what happens after death.” Don’t miss this glorious conversation with Terry Gross by Vulture’s David Marchese.

Next week, we’re talking crypto-pods.

Correction: In the January 2, 2018 edition, I mentioned that Mary Wilson, current producer of Slate’s The Gist, was a former WNYC staffer. She is not. I regret the error!

If podcasts and radio move to smart speakers, who will be directing us what to listen to?

Welcome to Hot Pod, a newsletter about podcasts. This is issue 139, published November 7, 2017.

Charla de Cóctel. Slate Podcasts is now bilingual. Last week, the network leveraged its hefty experience with conversational programming — which birthed the style known as the “gabfest” — to launch what it bills as its first-ever Spanish language product, El Gabfest en Español. The lineup includes León Krauze, the main anchor at Univision’s KMEX station in Los Angeles and the Wallis Annenberg Chair in Journalism at USC; Fernando Pizarro, a political reporter for Univision’s local TV stations; and Ariel Moutsatsos, the Washington bureau chief for Noticieros Televisa. (A fourth panelist will be added at a later date.) The podcast comes out of a collaboration with Univision Noticias, the Spanish-language American news source, but I’m told that Slate has full editorial control over the project. Paulina Velasco, who is based in Los Angeles, serves as the show’s producer.

When I asked the managing producer of Slate Podcasts, June Thomas, about the motivation behind the project, she systematically ticked off the drivers: demographic opportunity (“We know the stats about the growth of Spanish and bilingualism in America,” Thomas said: “37 million Latinos speak Spanish at home; the U.S. Latino population is set to reach 107 million by 2065, etc.”); a largely untapped market (“Everyone working on English-language podcasts worries about market saturation…There are a few U.S.-produced Spanish-language podcasts out there — Radio Ambulante is especially great — but the market is the opposite of saturated”); and Slate’s general intent to seek new audiences to bring into the fold.

That last bit is as much opportunity as it is challenge for Slate Podcasts. “Although lots of bilingual Spanish speakers read Slate, it isn’t an obvious place for people to come to seek out Spanish-language content,” Thomas notes. “So we have to go out and find them.” Thus the Univision Noticias partnership, given the channel’s deep knowledge of the market, its sustained relationship with the demographic, and its growing interest in podcasting as a channel.

Another challenge that Thomas’ team is finding: advertisers. “The direct-response companies that advertise on podcasts work by driving listeners to a site that touts the product’s benefits; many have told us they don’t yet have a Spanish-language website,” Thomas explained. “I don’t want to be too much of a downer, though, some of our brand advertisers are specifically looking for a sophisticated Spanish-speaking audience as they launch new products, and we expect to see more of that business.”

You can check out the show here.

Side note: In my estimation, and do let me know what I’m missing, there seem to be few formal entities explicitly working to serve and build a business around Spanish-speaking podcast listeners. (Granted, I’m a non-Hispanic immigrant who doesn’t speak Spanish, so my natural grasp of that ecosystem is limited.) Among the ones I’m familiar with: Caroline Guerrero and Daniel Alarcón’s aforementioned Radio Ambulante, CNN en Español, and Revolver Podcasts, the network founded by former Univision executive Jack Hobbs. Speaking of which, Hobbs tells me that the network sees about 2.3 million monthly downloads across its 47 shows, and that they, too, enjoy a partnership with Univision.

More podcasts on Pandora? Facing third-quarter declines across a slate of key metrics — monthly listeners, listening hours, and sold ads — the music streaming platform indicated in a recent earnings call that it will be shaking some things up to get things back on track. Among the moves articulated: expanding the platform’s non-music programming, like podcasts and spoken-word content, according to Variety.

You might remember that Pandora had previously struck up an arrangement with This American Life to bring the show, along with the two Serial seasons, onto the platform last April, where the podcasts were chapterized, given their own station, and packaged with a Pandora-specific ad unit. (You might also remember that this arrangement led to the WBAA-TAL kerfuffle, which raised the question of whether such partnerships with explicitly for-profit platform companies compromised This American Life’s commitment to the public media mission, and whether TAL should therefore be penalized by the system as a result.) In any case, despite indications at the Hivio conference in Los Angeles last summer that Pandora was “pleased with the experiment,” it hasn’t looked like the platform was moving to scale up the initiative anytime soon…until now.

What does this mean for publishers? Probably that one should expect Pandora to go knocking around for potential partnerships — I presume we’re going to see more instances of exclusives and windowing — and that the first teams to get contacted are the ones you’d expect. (The big get bigger, etc.)

Two more things to note. The first is how this tosses Pandora into the pit with Spotify, TuneIn, iHeartMedia, Stitcher, and Audible in the hunt for content partnerships that would give any one of them an edge over the others. The second is Pandora’s strategic assumptions in its pursuit of such arrangements; new Pandora CEO Roger Lynch “signaled that such a move would also make economic sense since royalties will be lower than for music programing,” as the Variety writeup notes. Remember to squeeze, folks.

What does this mean for every other type of publisher — the independents, the small shops, the niches, the locals, the ones that advocate for the medium’s openness? Nothing particularly comforting, I reckon.

Crisis at NPR. The story can be told in a series of headlines: “NPR’s top editor placed on leave after accusations of sexual harassment,” “Top NPR News Executive Mike Oreskes Resigns Amid Allegations Of Sexual Harassment,” “NPR bosses knew about harassment allegations, but kept top editor on job,” “At NPR, Oreskes harassment scandal leaves deep wounds,” “NPR retains law firm to review how Oreskes allegations were handled,” “NPR CEO to staff: ‘I let you down’,” “NPR Management Under Fire Over Sexual Harassment Scandal.”

It’s been an exceedingly dispiriting week for the public radio mothership. The question now is what happens next to NPR’s leadership, and in particular CEO Jarl Mohn, given his handling of newsroom concerns in the wake of the scandal — and his management of the actual allegations in the years before they were publicly revealed by The Washington Post. Parallel to this, and perhaps more importantly, is the longer-term question of how, and how vigorously, the organization will build systems to combat sexual harassment and support a better workplace culture. This latter question involves a process, constant and attentive, as the organization moves to repair a culture that has systematically affected the women in its ranks.

None of this should be viewed strictly as an internal affair. The health and internal culture of any news organization is directly relevant to our relationship with them, and this is ever more true for NPR, which is fundamentally supposed to be more than a news organization. It is a civic institution, a symbol that this society — from its government down to its people — can continuously collaborate to maintain a system meant to elevate the whole. It is also an operation financed in this spirit. NPR is not a news organization that sells you the news; it’s an entity in which you invest to improve public knowledge. You’re invited to be directly responsible for the thing — for its achievements, its character, its moral authority. Indeed, that responsibility is core to the strength of its identity and brand, if we’re allowed to use the term. That’s why any scandal, and particularly one of this nature, within NPR cuts deeper. That’s why, as both its consumers and its constituents, what troubles the institution should trouble us too.

The string of stories about sexual harassment in the media and beyond has raised a great number of questions that should be grappled with long after this moment — about its painful pervasiveness and complexities, about the way it has shaped public narratives, and so on. The NPR case clarifies an additional layer, refining a question about the role of the audience. There is a tension, it seems, when it comes to figuring out how to support the general while protesting the specific as consumers with the voting power of a listen or a download or some contribution to the AQH (now at an all-time high, we’re told). How does one express solidarity with Mary Louise Kelly & Co., while signaling displeasure or ambivalence with the leadership? How does one do these things in a way that matters?

Read also: “Reporting on Journalist-on-Journalist Sexual Harassment is a Proxy for Dealing With the Trust Problem (and can make it worse),” by Nikki Usher.

WNYC boomerangs? The station circulated an internal memo last Tuesday that Pat Walters, most recently of Gimlet Media, has returned to the Radiolab team that gave him his start. Walters left Radiolab in 2014 to join Pop-Up Magazine, the beloved “live magazine” operation, as senior editor. He later moved to Gimlet to launch and host the Undone podcast, which was ultimately canceled after one season. He was subsequently involved in the launch of Uncivil, a Civil War history podcast with journalists Chenjerai Kumanyika and Jack Hitt. At Radiolab, Walters will assume the role of “senior editor of the special projects unit.”

Walters marks the second return to WNYC in recent weeks. Joel Meyer, who was an executive producer at the station before leaving for Slate in 2014, kicked off his return engagement as an executive producer for WNYC Studios last Monday. Is this the beginning of a trend for the station?

Keep an eye on WNYC. I hear something else is afoot.

And while we’re on the subject of personnel: American Public Media’s Marketplace announced a few executive hires last week, the most relevant of which is Sitara Nieves, who will now serve as executive director of on-demand audio. Nieves was previously the interim executive producer of Marketplace, and before joining the organization in 2012, she worked on WNYC and PRI’s The Takeaway. The news comes as APM sees off the retirement of Dinner Party Download, and not too long after losing its former Marketplace Tech host, Ben Johnson, to WBUR’s budding podcast division.

Search to suggest. Look, this is going to get pretty woo-woo head-in-the-clouds in, like, a hot second, but this is my newsletter and I’ll cry if I want to, so strap in and bear with me for a bit.

So I was talking to this guy, Dan Sacher, who heads up content partnership in the United States for this Tel Aviv-based company called Audioburst, which according to Crunchbase endeavors to create a “screen-free, speech-based technology that enables search and interaction with audio.” The premise is basically “Google, but for audio,” which isn’t an entirely new gambit all by itself, if you’ve been looking around long enough. Among other tools, there’s Pop-Up Archive’s Audiosearch (which ceased public operations two weeks ago), and more recently there’s this service called Listen Notes, which got itself billed as “the Best Podcast Search Engine” by Lifehacker back in September.

But I’m not talking to Audiosearch or Listen Notes; I’m talking to Sacher, and the dude is describing how Audioburst works. As explained to a lay person (i.e. me), the mechanics feel straightforward and familiar: The technology ingests on-demand audio files and linear broadcast streams to create transcripts, which it then scans for keywords to be broken out as searchable tags for listeners — and eventually advertisers, I suppose — to look up. As with all things artificially intelligent and machine-learning–related, Audioburst’s abilities theoretically improve over time as more raw material is fed into it, and this is presumably where choices are made pertaining to the substance of the algorithm. (Here’s also where conversations about the “editorial character” of algorithms should be located, I guess.)

There is an apparent ambition to use that data to build personalized matches for individual consumers, constructed around personas or listener profiles. (This portion would not be unprecedented in this space; think Panoply’s partnership with Nielsen Data.) To this date, Audioburst has rolled out a few products built off its core indexing capability, including two smart device integrations (one for Google Assistant, one for Amazon Alexa), a developer API, and most recently, a consumer-facing search engine. One assumes there are more to come.

TechCrunch has a more in-depth explanation of the company, if any of this tickles your fancy, and the piece contains some detail on Audioburst’s strategic machinations. Among them:

The company is largely focused on partnership deals with radio stations, radio programs, and podcasters. It’s also starting to venture into the TV space, with plans to index TV news, and is chatting with a small handful of auto manufacturers about integrating Audioburst into their own in-car entertainment systems.

All right, so. This is all super interesting, but what’s the bigger thought bubble here? What’s this got to do with you?

Well, as you might’ve noticed, I’ve spent some time in this newsletter keeping tabs on the emerging smart-speaker category, and that attention is driven by a sense that some conflict and conciliation is on the horizon between the way we currently consume podcasts — as well as radio and music, for that matter — and how we will eventually consume all audio should voice-first computing further broaden itself out in the mainstream. (This is directly related to the probable convergence among different publisher types that I’ve been yammering on about since last March; the notion is that as the nature of distribution changes, so do the structural groupings of different kinds of spoken-audio content, which drains the fundamental meaning from a word like “radio” as much as it does “podcast.”)

I think the way Audioburst is setting itself up in the market, and how it views the field in the years to come, is worth mentally working through if you plan to continue playing in this space five to ten years from now. Currently, the company appears to be building out a search portal for audio content, but it’s really laying a foundation for a more linear — and to some extent, more opaque, even than Apple’s podcast editorial pages and chart algorithms — form of discovery and distribution: personalized suggestion. Audioburst’s “search to suggest” thesis comes as an anticipation of how the internet, represented visually and aurally, might next shift paradigmatically. And as this one dude Andre Staltz pointed out in a recent blog post about the Internet and Everything Else, “search to suggest” is precisely the thesis currently being operationalized by Google.

(It’s worth reading Staltz’s whole piece, by the way, which essentially walks us through the end of the seb and the rise of what he calls the Google-Facebook-Amazon “Trinet.” This all has the capacity to make you feel so very small in the face of the conflicts and tensions of structures way bigger and way more powerful than you, and that may well be true for most of us normal human individuals. But much like matters of foreign relations, we will nonetheless be recipients of the process and outcomes of those conflicts. Side note: The thing about optimism is that given a long enough time horizon, all optimism turns into tragedy. Moving on.)

Assuming you’re the kind of podcast publisher that likes to worry — or just think through — hypothetical futures, it’s worth applying some imagination in pursuit of a few workable questions around this scenario. What I’m personally trying to grasp, and where I think new knowledge is to be created, revolves around the question of how consumer power can meaningfully express itself within the “Suggest” paradigm, if consumer power will continue to exist at all. If the Amazon Echo, Google Home, or whatever else that comes down the pike becomes the primary way of consuming podcasts, the radio, or music, what does the user pathway of selecting what to listen look like? How are those user journeys structured, how can they be designed to push you in certain ways? (The “Power of the Default,” by the way, is a very real thing.) How would discovery work? Which is to say, how does the market look like? Where and how does the consumer make choices? What would choice even mean?

All right, I’ll come down from La La Land now.

Career spotlight. This week I traded emails with James Kim, a Los Angeles-based producer who primarily works at KPCC, and who probably represents the strongest argument for us needing to have some sort of IMDb situation going on. Kim’s rap sheet is a steady stream of weird, interesting shows, both broadcast and podcast, and it suggests a consistency in aesthetic as much as a professional progression.

[storybreak]

[conl]Hot Pod: Tell me about your current situation.[/conl]

[conr]James Kim: I’m an associate producer at KPCC making podcasts with my boss/work wife Arwen Champion-Nicks. Side note: She’s so damn good at what she does and is constantly inspiring me in many ways. We’re working on some new projects that I can’t talk about at the moment (I feel like I’m in the CIA), but you’ll hear about it pretty soon!

I’m also working on the audio drama podcast Deadly Manners. It’s been a nice shift from the projects and podcasts that I normally do.[/conr]

[conl]Hot Pod: How did you get to this point?[/conl]

[conr]Kim: I grew up on Korean talk radio and Top 40 music, and I had no idea what NPR was until I got to college. I was studying music and making documentaries and I somehow found This American Life on iTunes. That show told everyday stories in an interesting way and each episode sounded like an indie film. After becoming obsessed with it, I realized that I wanted to make audio documentaries as a career.

My first job in public radio was actually at KPCC. I started as an intern a few years back for the weekend show Off-Ramp and I did an internship with The Dinner Party Download (R.I.P., fam) shortly after. After finishing those internships, I couldn’t find a job or even freelance work in radio for about a year.

During that time, I almost gave up in finding a career in public radio entirely. But I decided to give it one last shot and I moved to a 2,000-person town in Texas to do another internship. I told myself, “You better make this one count, girl.”

I spent every waking hour making a podcast at Marfa Public Radio called There’s Something Out There. It was an audio documentary series about the supernatural activity in West Texas. Right before I ended my internship, I got offers to work on a couple shows and eventually got a job as a producer on KPCC’s The Frame.

Even though I finally got a full-time job, I didn’t stop making podcasts. After clocking out at The Frame I was creating a podcast called The Hiss. The show is about people holding onto memories that they want to forget. I then took a producer job with The Dinner Party Download and I continued to work on my passion projects outside of work. This time, it was a podcast called The Competition with Elyssa Dudley and Cameron Kell. The first season followed the most prestigious piano competition in the world from beginning to end, and it was inspired by my love for reality TV competition shows such as Top Chef and RuPaul’s Drag Race (anyone ready for All-Stars 3?)

I haven’t had many free weekends because of my various side hustles, but I’m sure that’s the case with a lot of producers in this field. I’m young and I got the energy to sleep 4 hours a day. So why not put that energy to good use, right?[/conr]

[conl]Hot Pod: What does a career mean to you, at this point?[/conl]

[conr]Kim: At first, it meant health benefits and enough money to move out of my parent’s house. Now it’s a way for me to practice my craft every day and get better at what I do.[/conr]

[conl]Hot Pod: When you started out, what did you think wanted to do?[/conl]

[conr]Kim: This is so embarrassing, but I wanted to be the next Ira Glass. Admit it! You’ve had that goal, too![/conr]

[storybreak]

Bites:

  • Two-Up Production’s Limetown will return in early 2018, almost two full years after wrapping its first season. (Apple Podcasts) The team has had quite an adventure in the intervening period, including a novelization in process, a TV adaptation potentially on the cards, and a three-act podcast musical starring Jonathan Groff and Jessie Shelton.
  • 30 for 30 Podcasts will return for its second season later this month, thereby executing a shockingly short turnover time between seasons (under four months). Turns out that those early speculations appeared to be true: For this coming five-episode bundle, ESPN relied on outside partners to produce three of them. Those partners: NFL Films, Long Haul Productions, and Pineapple Street. This structure makes the podcast series more closely mirror its parent film operation. (Press release)
  • Cardiff Garcia, the editor of the Financial Times’ flagship financial and economics blog Alphaville, is moving to NPR’s Planet Money, where he’s attached to a “new project to be revealed soon.” Garcia, of whom I’m a fan, starts work next Monday. Also: Planet Money spinoff? (Talking Biz News)
  • Just a periodic reminder that Podcasts in Color is an invaluable resource. (Twitter)
  • Al Jazeera has launched its own podcast network, called Jetty. One thing to watch: the network will apparently be experimenting with Facebook Watch as a potential audience driving channel. Mark that up as another test on social podcast discovery — even if we’re talking about digital video on a social platform, which seems to be all the rage these days. (Nieman Lab)
  • Steal the Stars, MacMillan Publishing’s first foray into the audio drama category with its Tor Labs division, wrapped its first season last week. (Website)
  • “Podcast patent troll’s fight might finally be over.” This story, geez. (Engadget)

Can sports turn the local podcast business into a green monster?

Welcome to Hot Pod, a newsletter about podcasts. This is issue 137, published October 24, 2017.

WBUR wades into the daily podcast grind…with sports. So, one of the structural advantages of on-demand audio — and of the internet more broadly, with the way it collapses physical space — is how it allows publishers to identify, carve out, and super-serve distinct identity sets, which is a fancy way of saying how the medium excels at activating niches. (This is, of course, an exceptionally sharp blade that cuts in both directions.)

And so it’s to the credit of WBUR, one of Boston’s two public media institutions, that it moved to seize on both this natural advantage of the medium and the emerging genre of the daily podcast to serve a constituency well within their jurisdiction: the Boston sports fan, its own very specific species of human with its own dynamics, traditions, and diaspora.

Season Ticket, as the podcast is called, is off to a reasonable start. In its first two weeks, the show received approximately 200,000 downloads across its first 10 dispatches (a 20,000-per-episode average), which is a workable floor for what is essentially a show that’s not meant for everybody. I’m tempted to use the word “niche” here, but I’ve been told the word comes with the unfair connotation of smallness, which is, of course, an inaccurate notion. A book about Star Wars is “niche,” but Star Wars fans are legion.

Two things to watch with Season Ticket. The first is how much, and how fast, it will grow. Recall that the station’s first major podcast achievement, Modern Love, garnered 1.4 million downloads in its first month, and after four months the podcast was averaging 300,000 downloads a week. The second is how Season Ticket will find its place within the Boston sports fan media diet. This is, after all, a media consumer long super-served by New England’s sprawling network of sports media institutions, talk radio and otherwise, and WBUR’s task will be to tap into a completely new set of previously unserved fans — a younger generation, perhaps, or a diaspora in need — or test the limits of the hypothesis that the Boston sports fan’s hunger for coverage could very well be infinite.

Whatever WBUR finds out, they can definitely add another feather to their cap of respectable partnerships, which the station’s podcasting operations, led by the formidable Jessica Alpert, appears to be turning into a core program strategy. Season Ticket comes out of a collaboration with The Boston Globe — it’s hosted by Chris Gasper, a sports columnist for the paper — and a quick overview of WBUR’s listings on the Apple podcast directory show that Season Ticket is one of three such projects now out in the open. The other two are the aforementioned Modern Love, with The New York Times, and the upcoming Edge of Fame, with The Washington Post. More, I’m told, are on the way.

With this partnership-driven orientation, WBUR finds itself in the position where it could give Panoply — whose content strategy was once premised on such collaborations with media companies — a run for its money. But the challenge, as always, will be whether the station is able to draw talent to Boston as it grows its podcast team commensurate with demand…and, more importantly, whether it can retain them. It’s probably worth recalling, at this point, that Modern Love was originated by Lisa Tobin, who left WBUR last summer to be the executive producer of audio at The New York Times. Talent acquisition and retention is a problem for all in the industry, but one imagines it’s doubly so for any non-New York, non-Los Angeles shop at this point in time — even if Boston is a sub-four-hour train ride north from the self-declared Podcast Capital of the World. That’s a toughie.

Non sequitur, but this line of inquiry also pleasantly evokes the whole Amazon HQ2 dance, of which Boston is a participant. Man, what a weird thing to watch.

Cults! So, I’m keeping an eye on Heaven’s Gate, the 10-part documentary about the cult infamous for perpetrating the largest mass suicide ever to take place in the United States back in the nineties. The podcast, which launched last week, seems pretty spicy, and it happens to double as the sophomore effort for the creative team behind Missing Richard Simmons, the duo of Pineapple Street and Midroll. It’s worth pointing out, as I did with my Vulture writeup, that Midroll is more creatively involved this time around, with the company originating the show’s concept. (That wasn’t the case with Simmons. Dan Taberski, via First Look Media, had that honor. Taberski is listed in the Heaven’s Gate credits, though.)

But of course, the focus here is on Pineapple Street, who leads production. (Ann Heppermann, the cofounder of the Sarah Awards who is now on the company’s payroll, helms the rig.) The primary question here is whether Pineapple can go two-for-two with a hit feature. Which, I imagine, will help us attend to some other interesting questions: Was Missing Richard Simmons a fluke? Can Pineapple reliably stretch beyond its go-to move of extracting value from the star power of larger brands and celebrities, which appears to be its primary strategic angle? Aside from Missing Richard Simmons, the company’s portfolio is made up of shows built around The New York Times’ Jenna Wortham and Wesley Morris, Lena Dunham, Janet Mock, Aminatou Sow, Matt Bellassai, Preet Bharara, and, obviously, Hillary Clinton. (Though, I suppose, you could argue that Missing Richard Simmons’ appeal was principally built on the draw of the titular celebrity, which cast a Godot-like shadow over the proceedings. In which case, there’s an argument to be made about Pineapple’s principal occupation being the interlocution of celebrity. It’s not a particularly strong argument, but it’s workable.)

Aaaanyway. You want to talk benchmarks? Let’s talk benchmarks. Figuring out a true number to beat is a little tough. Looking back at my notes, the clearest baseline for Missing Richard Simmons given was: “On March 28, a little over a month after the show first debuted, First Look Media told me that the podcast had been downloaded on average more than 1 million times a week since its release.” I guess that’ll have to serve our touchpoint for the first month.

The New York Times’ The Daily hits a milestone, outlines its future. Last week, the news industry analyst Ken Doctor pumped out two pieces on The Daily, one for Nieman Lab and one for TheStreet, and they give us a good snapshot of where the Times’ audio team currently sits and where it wants to go.

To begin with, Doctor reports that the morning news podcast has officially surpassed the 100 million download mark. As of the article’s pub date, October 17, The Daily had delivered 186 editions, which means the show has a 530,000~ download per episode average. Add to that two other key data points from Doctor’s piece in The Street — that The Daily was estimated to have hit 3.8 million unique visitors in August, and that the company is able to command ad rates comparable to pivot-inspiring levels of digital video — and you have an editorial product that stretches widely and draws deep dividends, both right now and in the days to come.

Doctor’s reporting also gives us a sense of NYT Audio’s immediate next steps: further expanding its headcount (now 16 full-time employees strong, seven of which hold production duties on The Daily according to Barbaro’s recent Longform interview), slapping on a digital engineering development arm to the team (!), stretching out The Daily to six editions per week, and rolling out more “extensions” of the program (presumably in the vein of The New Washington). He also notes two more things that I think are especially worth tracking: firstly, that the team is working on a “big narrative project” (isn’t everybody, though?), and secondly, that “within the next several weeks, Times readers will be able to access The Daily directly from their apps and browsers without using a separate podcast app.” This is incredibly significant, in that it illustrates a team meaningfully working to bypass the cumber of dedicated podcast apps to deliver its product to consumers. And it just so happens that, in doing so, the company will be able to keep those audiences within the universe of its primary mobile app, which puts them in a better position to spread the value generated by the podcast around the other aspects of the business. Further, it doesn’t take much to imagine the various audience and listening behavior analytics tools that will be layered on that built-in player, which will better aid the Times in carrying out the primary business goals of the podcast: to convert new subscribers, to retain existing subscribers, and to gather even more intelligence that will help them to do both those things.

I’m noodling on two more thoughts:

  • This quote provided by Sam Dolnick, the paper’s assistant editor and one of the long-running champions for the audio division, stands out to me: “This is the birth of a franchise for us that can live on and on in many different mediums for a long time.” A bold statement, though it does support any such suspicion that, when it comes to organizing NYT Audio, you have The Daily on one side, and everything that’s not The Daily on the other. Recall that the audio team still ships other non-Daily-related podcasts: Still Processing (with Pineapple Street), Modern Love (with WBUR), Popcast, and The Book Review — none of which were mentioned in either piece by Doctor. Which raises the question: What are the futures of these shows? And what is the future of non-Daily podcast programming? Will that aforementioned “big narrative project” be rolled out under The Daily banner, or not? Question marks!
  • I was chatting with a public-radio station operative at ONA a few weeks ago, who shared a sentiment that I’ve taken the liberty to brand on the back of my skull. To liberally paraphrase: Getting your first hit is one thing, what happens after is a whole other bag of bananas.

Three notes on measurement.

  • I have a mea culpa for you. Contrary to what I noted in last week’s issue, the Apple in-episode analytics was never pegged to the iOS 11 release, with the upgrade always being slated for a vague “later in the year” target date. That’s a note-taking fumble on my part, and I regret the error. The deployment timeline makes sense, even if I airballed: For there to be workable and reliable in-episode listening analytics, iOS 11 adoption needs to achieve critical mass, and that often takes some time following iOS rollouts. Again, my bad.
  • Keep a lookout: I’ve been getting sporadic reports from some publishers and independents that are experiencing rocky metrics readjustments well before this anticipated Apple change. The destabilizing shifts are thought to be tied to two other measurement changes, specifically: (1) Libsyn’s stats overhaul to become more compliant to IAB reporting standards, which took place in mid-September, and (2) Stitcher’s implementation of several changes — including a stats adjustment to fit IAB compliance, along with the presentation of “Front Page Impressions” as a separate metric — that kicked in earlier this month. For at least some publishers, the combination of the two have resulted in serious drops in performance data, though I have also heard of some upward revisions. I wasn’t able to pin down a specific change range that I’d be comfortable printing just yet, though. I’ll be keeping an eye on this.
  • I suspect we’re in the midst of a situation in which various podcast platforms are moving to adopt the IAB standard, but are doing so at different rates. While this will ultimately lead to a more cohesive and accountable ecosystem in the long run, the uneven adoptions have immediately cultivated some serious dysfunctions and pitfalls for individual publishers — particularly those that are interested in switching vendors. A publisher recently opined to me about the drastic performance data readjustments it experienced after migrating from Audioboom to Megaphone earlier this year, which fundamentally threw off its revenue projections. That’s bad enough, but the publisher felt that its ordeal was further exacerbated by a lack of vendor transparency. “I have a bunch of theories as to what happened, but the fact that podcast platforms are so cagey about their measurement standards drives me insane, and it impacts the work we do,” that publisher told me. Audioboom tells me that the platform adheres to the first version of IAB standards that was published last year — which is distinct from the newer edition that was circulated last month for public comment — but also notes that podcasts that move away from Audioboom’s platform will no longer have access to additional listenership facilitated through the company’s app. Nevertheless, the larger issue remains: For some, it’s still hard to tell what’s what, and that’s a big problem.

I imagine it would be prudent to anticipate more turbulence to come.

Career Spotlight. I love running this feature, mostly because it’s often a miracle that even a fraction of anything ever happens the way you hope it would. This week, I traded emails with Robin Amer, a Chicago-based journalist, editor, and audio documentarian who is in the midst of leading the development of a long-form investigative podcast, The City, that she sold to the USA Today Network over the summer. Amer’s on the up-and-up, and it’s great to catch her at this point in time.

[storybreak]

[conl]Hot Pod: What’s going on right now?[/conl]

[conr]Robin Amer: I’m working to launch my podcast, The City, in 2018. It’s a long-form, investigative show that explores how our cities actually work — I’ve described it as being like The Wire, only true. By that I mean that every season will go deep into one city and one story. And every story will have a gritty sense of place, a memorable, multi-racial ensemble cast, and will be as revealing about the power struggles of all cities as it is about the particulars of the city where it’s set. Season 1 is set in Chicago, where I live. I can’t say much about the story right now except that when I started reporting it I thought, holy moly, this really is like The Wire, only true.

Because I’m the show’s executive producer as well as its the host, I’ve spent the last few months building the foundation for the show on business side as well as on the editorial side: building a whisper room studio in our offices in Chicago; hiring a team of journalists; working with my company’s product and sales teams to design our website and secure sponsorships; that kind of thing. I’m hoping to have most of my reporting and production team in place in the next few weeks, at which point we’ll dive back into the reporting for Season 1.[/conr]

[conl]Hot Pod: How did you get to this point?[/conl]

[conr]Amer: In a narrow sense, I won the WNYC Podcast Accelerator competition in 2015, piloted the show with WNYC Studios last year, then sold the pilot to the USA Today Network in May. USATN was interested in the show because the company wants to be a player in the premium podcast space, and because my vision for the show — to go to a different city every season — fits perfectly with its overall editorial strategy. The company owns 109 local news outlets, and we’re already soliciting pitches from journalists in the network for stories for Season 2.

In a broader sense, I’ve been working up to this project for more than 15 years. I feel in love with public radio-style storytelling à la This American Life when I was in high school, then talked my way into an internship at NPR when I was 18. My senior thesis at Brown was an hour-long radio documentary that aired on several public radio stations in New England and that I premiered as a live performance in front of about 200 people.

That doesn’t mean it’s been a straight trajectory. I moved to Chicago in 2007 to work for Vocalo and then for WBEZ, and truly thought I’d be there forever, because it had always been my dream to work there, and because I loved Chicago, and Chicago was sort of a one-horse town when it came to opportunities in radio. But at a certain point I started to stagnate, and I wasn’t able to do the kind of work I wanted to do most, so I took a risk that not everyone understood, and left my stable job in journalism to go back to journalism school at Medill.

It seemed a little crazy at the time, even to me. But it was totally the right move. I got a full scholarship, and then a fellowship with Medill Watchdog, where I trained with Pulitzer Prize-winner Rick Tulsky on how to be an investigative reporter. That opened a lot of doors for me. After I graduated, I freelanced for a year, which included a stint at the interactive audio walking tour company Detour, before I was hired to be the deputy editor at the alt-weekly Chicago Reader. Then I won the WNYC competition just a few weeks after I started at the Reader. (It was kind of a heady time!)[/conr]

[conl]Hot Pod: What does a career mean to you at this point?[/conl]

[conr]Amer: The most important thing to me is the work, in whatever form it takes, and to keep making it. I think it’s really important to be adaptable and nimble, given both the incredible opportunities in media right now and the incredible instability in the media job market. It’s so boom and bust, feast and famine, that you have to figure out what really drives you, so that you can use that to guide you through various opportunities and challenges.

So for me, I’ve figured out that as a journalist and storyteller I’m incredibly inspired by place. Typically I come across some place that is strange or confusing or surprising or upsetting, and I want to figure out, in a very literal sense, what happened here? How did this place come to be the way it is? And what are the consequences of this place being the way it is for the people who live here?

But I’m very open to and excited by the idea of exploring these kinds of stories across a variety of media and in a variety of contexts. I look at someone like Alex Kotlowitz as a model here. He writes long-form magazine articles and books, produces radio stories, and is involved with making feature films like The Interrupters. But his work always has the unifying themes of poverty, race, and inequality (and often education and/or childhood), so regardless of the “container” it’s in, you can tell it’s his. I’m also newly inspired by Ira Glass right now, because he somehow manages to be deeply involved in the journalism coming out of TAL, Serial, S-Town, etc., while also managing and growing what is essentially a business empire.[/conr]

[conl]Hot Pod: When you started out, what did you think you wanted to do?[/conl]

[conr]Amer: In one sense, I thought I wanted to do more or less what I’m doing now: make long-form audio stories. When I was younger I was in love with old-school, sound-rich European features by people like Peter Leonard Braun and Kaye Mortley, people whose work I had been introduced to by the Third Coast International Audio Festival. But it took me a while to articulate the kind of subject matter I was drawn to, and to realize that what I was doing was journalism, and that the ethics and tools and practices of journalism were an important component of my work. Fifteen years ago I would have self-identified as a radio producer or a radio documentary maker. Now I tend to self-identify as an investigative reporter. More recently it’s been a shock to see myself as somewhat entrepreneurial. I didn’t see that part coming.[/conr]

[storybreak]

Bites:

  • Radiotopia has kicked off its annual fundraiser. The campaign runs from October 23 to November 10, and its explicit goal is to increase its donor base to 20,000. (Campaign page)
  • ESPN has cancelled Barstool Van Talk, which the company had adapted for its ESPN2 channel from Barstool’s Pardon My Take podcast. Apparently, they got what they thought they were getting, but realized it wasn’t something they actually wanted, I guess? (Variety)
  • The Dinner Party Download has parted ways with American Public Media. The show was first launched as a podcast 10 years ago, and spent the last six being syndicated as a public radio weekend show. It will run its last broadcast on December 1. A sad development, but not to worry: details about the podcast future of hosts Brendan Francis Newnam and Rico Gagliano are “forthcoming.” Phew. (Announcement)
  • With a $100,000 grant from the Knight Foundation, the Charlotte, N.C. public radio station WFAE has “announced a plan to better connect with its audiences and develop fresh content using NPR One.” The station has hired Joni Deutsch, previously at West Virginia Public Broadcasting, as the on-demand producer to implement these efforts. It’s possible this might end up being the model of how most public radio stations will interface with the NPR One platform being positioned as “the (potential) future of public radio,” but who knows with these things really. (Press release)
  • Speaking of NPR One, the platform makes an appearance in this stellar article about news personalization by Adrienne LaFrance. (The Atlantic)
  • The CBC’s true crime podcast, Someone Knows Something, returns for a third season on November 7. It has reportedly garnered 32 million downloads across its first two seasons, which is made up of 27 dispatches. (Press release) As an aside, a cry for help.
  • The podcast adaptation of the L.A Times’ Dirty John helped drive 21,000 additional signups to the paper’s Essential California newsletter. (Digiday)
  • LeVar Burton is now legally cleared to use his catchphrase from Reading Rainbow for his podcast with Midroll. You don’t have to take my word for it — you can find the background for this weird but entertaining story here.

[photocredit]Photo of Fenway Park by John Sonderman used under a Creative Commons license.[/photocredit]

The future of podcasting is strong, but the present needs to catch up

Welcome to Hot Pod, a newsletter about podcasts. This is issue 111, published March 14, 2017.

Infinite Dial 2017. The latest Edison Research report capturing the size of podcast listening audience is in, and growth continues to look pretty solid. However, just how we should feel about that growth appears to be a debated question among some pockets of the community — there were, to be sure, many observers who were expecting a greater acceleration in listeners following a year of solid media exposure to the medium, and they didn’t quite see that this year.

Before jumping into the numbers, some background: the Infinite Dial report comes from Edison Research in partnership with Triton Digital, and it examines consumer adoption of digital media with particular emphasis on audio. It’s also the most reputable independent study that has researched the state of podcast listenership since the medium’s inception, with data going back to 2006. The study is survey-driven, offering a complementary data source for an industry largely defined by a black box platform and which possibly looks to further fracture across several other black boxes as it moves into the future. Which is all to say, the study presents us with the closest, most trustworthy read of the actual market we’re dealing with.

You can check out the whole report on the Edison Research website, but here are my top-line takeaways:

(1) Steady, unsexy growth?

The share of Americans who report being monthly podcast listeners (the key metric in my mind) is now 24 percent (67 million), up from 21 percent (57 million) the year before. That’s a 14 percent (or 3 percentage point) growth year-over-year. The story is more dramatic if you take a longer view: Over the past two years, monthly podcast listening has grown by 40 percent.

However, the monthly podcast listening growth between 2017 and 2016 (3 percentage points) is a little less compared to the period immediately preceding it (4 percentage points off a smaller base), which has become a source of consternation among some in the podcast community. More than a few people have written me noting the disparity between the hype that we’ve been experiencing — about how 2016 was supposed to be “the year of podcasts” — and the steady, seemingly unsexy growth we’re seeing here.

I think the concern is fair, but I also think it comes from staring a little too closely. Two quick reality checks:

— We’re talking 10 million new Americans actively listening to a medium that (a) is still propped up by a barely evolved technological infrastructure, (b) has only seen a few instances of significant capital investment, and (c) still sees its industry power very much underorganized. That last thing was reflected, somewhat, in something that Tom Webster, Edison Research’s VP of strategy and marketing, said during the Infinite Dial webinar last week: “As I’ve maintained for a number of years now, there’s not really been a concerted industry to define and sell podcasting and talk about what it really means to the general public.”

— We’re also talking about solid, continuous growth following years of marginal gains (and a dip in 2013) in terms of active podcast listeners, and what are essentially years of non-movement in terms of podcast awareness. Between 2010 and 2013, podcast awareness hovered between 45 and 46 percent of Americans.

Which isn’t to say that continuous growth is inevitable in Podcastland, of course. Far from it. The industry has a crap ton of work to do, and the bulk of it should revolve around this next topic.

(2) The problem of programming

Eric Nuzum, Audible’s SVP of original content — who often seeks to dissociate his work with the term “podcasting,” but we’ll sidestep that for now — sent me a few thoughts he had about the report over the weekend, and this point stood out to me in particular:

[One thing] I find significant, that no one is discussing — and is podcasting’s massive opportunity — is the disconnect between occasional users and regular users. To me, the fact that 40 percent of U.S. adults have tried podcasting, yet only half of them listen regularly, that’s astounding. Show me any other medium that has that gap. None. When people sample and don’t habituate, it speaks to interest that isn’t being met by the content that’s available today. There either isn’t enough variety of things for people to listen to — or there isn’t enough of what they like to meet their appetite. With 350,000 podcasts, that seems like a strange thing to say, but the simple truth is that potential listeners aren’t sticking with it — and there are only two potential reasons: not enough good stuff — or they simply can’t find it. Solving this could go as far as doubling the audience for podcasting.

In all, I see this year’s report as clear evidence that there is a lot of headroom left to go, but I think it’s time to stop blaming awareness as a core problem.

For reference, here are the data points that Nuzum was responding to:

  • 40 percent of Americans [112 million] report having ever tried listening to a podcast, up from 36 percent the year before.
  • Again, 24 percent of Americans report sticking around to becoming monthly podcast listeners.

Between the two potential reasons that Nuzum laid out to account for this disparity — programming and discovery — it does appear to me that the latter seems to get the bulk of the attention as the principal problem that the space needs to solve in order to realize this potential. The phrase “discovery is broken” certainly functions as the value proposition for a lot of innovation and strategic movement in the space: the initial entrances of Spotify and Google Play Music, the creation of apps like RadioPublic, the proliferation of various independent podcast curation newsletters floating in the ether, etc. (The phrase also serves as a go-to complaint from many publishers, but let’s ignore that for now.)

Frankly — and maybe it’s no act of bravery on my part now to express this when someone else has gone and said it — but I’ve never put much stock in the discovery thesis. It’s always occurred to me that discovery functions in the podcasting space along the same dynamics as the rest of the Internet: There is simply so much stuff out there that the problem isn’t the discovering an experience in and of itself — it’s discovering a worthwhile or meaningful experience within a universe of deeply suboptimal experiences. (Which isn’t unlike the experience of being alive.)

Thus, to speak personally for a second, my discovery of the things that I tend to stick with, both on the Internet and in podcasts, come from the same three broad avenues: (a) the thing earns its place in my attention sphere by bubbling up across my existing circuits, (b) I personally go out and dig for a specific thing through various search pathways, and (c) somebody personally recommended that thing to me. And all of those processes of discovery are driven, anchored, and defined by the nature of those things and whether they are actually things that I would sort into my life based on my consumptive predispositions. (Sorry for the many uses of the word “thing.”) Which is to say: No matter how much you try to fix discovery processes, the act of discovery necessarily breaks down when the things that people want don’t exist.

The problem of programming, then, should necessarily supersede the problem of discovery among any and all media entities that fundamentally struggle with the boundaries of their potential.

We see this idea express itself in another data point, and observation, raised during the Infinite Dial webinar last week. The presentation had highlighted the fact that podcast consumption among the oldest demographic (55-plus) is pretty low — making up only 12 percent of the American monthly podcast listening population, up from 11 percent last year — which is a finding that, as Edison Research’s Tom Webster pointed out during the presentation, is a little strange given the talk radio format’s general popularity among that age demographic. “Now, certainly, one growth area for podcasting is to continue developing content and to market to older Americans,” Webster said.

(That said, I suppose there’s a limitation to the depth of that theory, particularly when we examine an entity like, say, NPR, which is working hard to indoctrinate a generation of younger audiences into its listening universe while simultaneously functioning as a formidable power in podcasting.)

But that’s not to dispute Webster’s argument here, because its core idea is true, crucial, and worth fighting for at every turn. We need to be developing more types of programming for more types of people, shows that are of and for: more women, more people of color, more older people, more different kinds of communities, more nationalities, and so on.

All right, let’s move on.

(3) Depth of listening

This year’s report further underscores the idea that if you like podcasts, you probably really, really like podcasts. The key data points:

  • Podcast consumers listen to an average of five podcasts per week. And to break that out further: More than half of all podcast consumers listen to three or more podcasts per week, and over a fifth of podcast listeners listen to six or more per week.
  • The average number of podcasts that listeners subscribe to: 6.
  • Perhaps the most notable finding: 85 percent of podcast listeners say they tend to consume the majority or the entirety of the episode.

As Izzi Smith, NPR’s senior director of promotion and audience development, pointed out to me over Twitter, these are self-reported numbers and should therefore be taken with a grain of salt.

The move here, then, would be to compare that against the internal analytics findings of various podcast publishers who have the means of measuring the behaviors of their own listeners — and of course, mentally accounting for potential differences between the specific quirks of those publishers’ audiences and the more general aggregate behaviors of all audiences combined.

Of course, doing that comprehensively would take more time than I have right now, so I’ll leave you with two cases:

  • HowStuffWorks chief content officer Jason Hoch tells me that the Infinite Dial numbers were consistent with data pulled from a streaming partner. “We see ~50% do ‘half’ and 35-40% do all of an episode,” he tweeted.
  • Nick DePrey, NPR’s analytics manager, tells me that “NPR One data shows 65 percent of listeners hear more than half the audio and 46 percent hear the whole thing, but that’s only half the story. These broad averages conceal the most important factor: Length is everything in determining completion rates.” He went on to discuss the specific findings, which you can find on the Twitter thread.

Miscellaneous takeaways

  • Active podcast listeners still skew male.
  • The home is still the most common place for podcast listening.
  • It’s still early days for in-car podcast listening.

That’s all I got for now. The future looks strong, though it looks as if the present still needs to catch up. Again, you can find the whole Infinite Dial 2017 report on the Edison Research website — there is a ton of good stuff I didn’t touch here, so go check it out. The research team is scheduled to publish a report that digs even deeper into the podcast data sometime in May, so watch out for that.

Quick note on Missing Richard Simmons. The smash-hit, massively popular, [insert maximal adjective here] podcast is wrapping up its six-episode run next Wednesday, and soon, we’ll find out whether we’ll actually hear from the titular subject himself. But I was also curious about the show’s windowing arrangement with Stitcher, in which episodes were released a week early on Stitcher Premium, and whether it would still apply to the final episode, which I imagine would significantly deflate the momentum leading up to the big reveal.

Midroll, which owns Stitcher, tells me that the final episode will indeed be released early on Stitcher Premium, but instead of publishing tomorrow, the episode will come out next Monday — two days before everybody else gets it.

Cool. I’ll be listening. Also, it occurs to me that, among other accolades, Missing Richard Simmons stands out as being a podcast that has achieved considerable success — it has sat at the top of the iTunes charts for several weeks now (caveats on the significance of iTunes podcast chart placement applies) — without any promotional placement from iTunes itself. I can’t quite recall another example of a podcast for which this has been the case, and that’s super interesting, to say the least.

Two platforms, two pieces of news. So the first was the development I was referring to in the preamble of last week’s newsletter, and the second threw me for a loop.

(1) Google Play Music rolls out its own original podcast. City Soundtracks features biographical interviews with musicians about the elements — in particular, places — that shaped their aesthetic lives. The podcast is hosted, appropriately, by Song Exploder’s Hrishikesh Hirway, and Google Play Music contracted Pineapple Street Media to handle production. The show’s distribution isn’t exclusively limited to the Google Play Music app; it can also be found just about everywhere else, including iTunes. It is not, however, available on Spotify. The first three episodes were released last Wednesday, when the show was first officially announced.

(2) More windowing: WNYC will release the new season of 2 Dope Queens two weeks earlier on Spotify. This development comes on top of a more general partnership that’ll see more shows from WNYC Studios made available on the platform. Here’s the relevant portion of the press release:

Spotify and WNYC Studios, the premiere podcast and audio producer, today announced a partnership to showcase many of WNYC Studios’ top podcasts on the platform. The partnership includes a special two-week exclusive on Season 3 of WNYC Studios’ hit podcast 2 Dope Queens, premiering on March 21,  before it becomes available on other platforms.  All podcasts will be available to both free and premium users.

I’m still mulling over just what, exactly, these two developments tell us about the growing dynamic between the rise of various platforms and how content will flow through the podcast ecosystem in the near future, but I will admit that this move from Spotify — that is, carving out a windowing arrangement with a non-music oriented show — seemed a little confusing to me. I had originally interpreted the programming strategy for both Spotify and Google Play Music as instances in which these platforms were integrating shows that would vibe with their music-oriented user base. To me, that’s the focused, albeit more narrow, play. But this arrangement with 2 Dope Questions opens up that strategy a little bit, and gives the entire enterprise a little less definition than before. Will it pay off? Obviously, that’s the question everyone and their second cousin is asking.

Quick note from SXSW: ESPN’s 30 for 30 podcast. The Jody Avirgan-led team produced a panel on Sunday about the upcoming audio iteration of ESPN’s (and Bill Simmons’) beloved sports documentary brand. A couple of details for those, like myself, keeping a close eye on the project: The podcast will be released in short batches, with the first five-episode season dropping sometime in June and another five-episode season dropping later in the fall. Episodes are within the classic 30-40 minute range, and the podcast will follow the film’s anthology format in that no two episodes cover the same story. The panel revealed two out of the five subjects from the podcast’s upcoming first season: One will tackle the first all-women relay trek to the North Pole that took place in 1997, and another will examine the curious case of Dan & Dave, the 1992 Reebok advertising campaign rolled out in the runup to the 1992 Olympics that focused on two decathletes. Rose Eveleth is leading the former story, while Andrew Mambo leads the latter.

And here’s a second mention of Hrishikesh Hirway in today’s newsletter: He’s handling the theme music. (Hirway has worked on the theme music for FiveThirtyEight’s podcast.) Ryan Ross Smith is scoring the individual episodes.

I’m super excited about this — the panel played two short clips from those episodes, and they sound really, really good. That’s a hopeful sign, as the team has a lot to push through. Beyond the basic requirements of producing a good show, the team has to balance between meeting the brand expectations while ensuring the episodes have standalone value for non-30 for 30 fans, weaving together stories that are appealing to both the sports literate and non-sports literate, and finding ways to push certain conventions of the audio documentary format without entirely losing the core audio documentary consumer.

Still tracking that West Virginia Public Broadcasting story…and it looks like the station is anticipating having to lay off 15 full-time staffers — more than 20 percent of its workforce — in preparation for cuts to its state funding as proposed by West Virginia Governor Jim Justice, as Current reports. WVPB GM Scott Finn told the West Virginia House Finance Committee last Wednesday that, should the state funding cuts go through, it places West Virginia at risk of being the first state in the country to lose public broadcasting, according to West Virginia Metro News.

Gov. Justice’s proposition to eliminate state support for West Virginia Public Broadcasting was ostensibly to close a $500 million budget gap. Cutting WVPB from the budget would save a mere $4.5 million, and some have hinted at an alternative motivation for Justice to strike the state-supported journalism operation from the budget.

For those hoping to keep a close eye on the situation, WVPB has assembled a Facebook Page with updates and call-to-actions. (Hat tip to Joni Deutsch.)

One more thing. Just wanted to quickly shout-out The New York Times’ latest audio project, The EP. The podcast was produced in partnership with The New York Times Magazine for the latter’s second annual Music issue, which came out earlier this week, and the show is fascinating on a bunch of different levels: Its structure mimics the feel of a digital music album, each episode is bite-sized, each features a very tiny snippet of conversation with a critic about a specific song that nonetheless feels like the perfect capsule from a much longer discussion, and if you look down the feed’s release date column, you can see evidence of some sneaky CMS hijinks to create the track sequence.

And most importantly: The podcast is really, really good. It’s one of those projects that’s so good, so smart, and so…new that it makes me very, very angry. It’s gorgeous. Go listen to it. The EP was produced by the internal NYT audio team, which is led by Samantha Henig and Lisa Tobin.

Bites:

  • Essence magazine has its own podcast now, called Yes, Girl! The show debuted on March 9, and it appears that DGital Media is responsible for production. (Essence)
  • Sleep with Me, the sleeper-hit — heh, sorry — avant garde podcast by San Francisco-based Drew Ackerman designed to, well, amusingly help listeners drift off to bed, has been snagged up by the Feral Audio podcast network. (Press release)
  • BuzzFeed’s See Something Say Something, a show about being Muslim in America, is back with its second season. (BuzzFeed)
  • This is interesting: Detroit-based producer Zak Rosen has an independent project up that tells the story of a couple deciding whether or not to have children. Teaser’s up, the first ep drops Friday. (iTunes)
  • “Why the podcast boom has yet to hit Mexico — and why it needs to.” (Current)
  • I hear podcasting was a category on Jeopardy last night. Answers (questions?) included Keepin’ It 1600, Alec Baldwin, and Reply All.

[photocredit]Obligatory photo of a microphone by TVZ Design used under a Creative Commons license.[/photocredit]

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.

Hot Pod: Is podcasting about food the new dancing about architecture?

Welcome to Hot Pod, a newsletter about podcasts. This is issue ninety-two, published October 18, 2016.

Gimlet ends Sampler. The company announced the end of its podcast about podcasts at the top of its last episode, which was published late Monday evening. In the preshow note, Gimlet CEO Alex Blumberg explained that the move was to “basically clear the deck” to give room to a new project that will be built around Sampler host Brittany Luse. It is unclear what this new show will be about or when it will be ready for launch, but listeners were told to remain subscribed to the Sampler feed for further information that will be released at a later date.

This move comes about a week and a half after the Mystery Show rumpus, and I suppose it’s also worth noting that the StartUp episode released that week, which focused on Gimlet and its current stresses related to growth, brought up the fact that some of its shows — Sampler included — had essentially plateaued in audience growth. However, one should also keep in mind that podcast consumption tends to slow down during the summertime, and that may well be what we’re seeing. Whether Sampler’s audience numbers directly influenced the decision to end its run or not (I doubt we’ll know for sure), it nonetheless comes at an interesting time between the company’s brush with controversy and the recent NPR pickup of WAMU’s The Big Listen, also a podcast about podcasts, which began publishing its latest season earlier this month.

Luse joined Gimlet in September 2014 largely off the strength of her independently produced podcast For Colored Nerds, which has continued publishing to this day. This is, technically speaking, the first time Gimlet has winded down a show.

Science Friday is launching a new show. The long-running public radio program that serves weekly scoops of delicious science news is birthing a spinoff: Undiscovered, which I’m being told is about the “left turns and lucky breaks that make science really happen.” I’m guessing it’s sort of like How I Built This, but for science! The new show will be hosted by veteran science producers Annie Minoff and Elah Feder, and it’s scheduled to roll out sometime early 2017.

By the way, Science Friday just celebrated its 25th year of operations with a gala at the Intrepid Sea, Air, and Space Museum in New York this past Saturday. Congrats, folks!

Community-driven discovery. “People get really hyped when they find me,” said Danielle Sykes, the creator of Podcasts in Color, an individually driven digital project that’s working hard to build out an online space for people of color who produce and consume podcasts. I had asked Sykes, who goes by Berry, if she felt like the podcast ecosystem had been adequately accommodating of different voices and communities — that is, for demographics other than “the white guys with mics” stereotype the space has become saddled with.

“There’s room for improvement,” she said, by way of explaining why people get excited when encountering Podcasts in Color. “But I believe it’s coming.”

And it may well come from efforts like hers. Berry’s work with Podcasts in Color is remarkable for a number of reasons — its push to diversify podcasting’s identity, its intent to push more podcasts made by people of color into the mainstream, its scrappiness. But her most interesting contribution, I think, is how she’s laying down a framework for a community-driven approach to podcast discovery, which has almost universally been described as broken and whose articulated solutions tend to revolve around technological approaches: a better platform, a better app, a better curation system built on top of existing distributors, and so on. (Another approach that has popped up in recent weeks: greater critical embrace, as embodied by the Third Coast Festival’s recent call for inclusion among fall arts previews.)

Podcasts in Color functions on two mechanics. First, Berry cultivates and maintains an active community of interested participants over a collection of social media accounts, though the bulk of the interactions appear on Twitter, where she makes rigorous use of hashtags (like #PodIn and #PodsInColor) under the nom de plume Mystery Berry. Over Twitter, Berry maintains a near-continuous stream of engaged and enthusiastic interactions, pulling people into public conversation and constantly surfacing new shows and episodes. While the effect can sometimes be overwhelming, it’s nonetheless effective: I have personally found more than a few shows off Berry’s conversational blast radius that I’ve come to appreciate, and it always strikes me how I probably wouldn’t have been able to learn about those shows anywhere else.

The second mechanic lies in an attempt to document the universe of podcasts created by people of color, which Berry does by maintaining a directory of such shows that lives on the Podcasts in Color website. She tells me that new submissions to the directory are added daily, and the product is a comprehensive, if somewhat unwieldy, database whose existence should strip away the logic from arguments asserting that it’s hard to find podcasters of color.

“I’m trying to create the podcast world that I see in my head,” Berry told me, adding that her general distance from the coasts — she lives in Denver, where she works part-time at a travel company — informs her work. “I see everything from a ‘middle America’ perspective, so I love to think of ways someone living in Denver could connect and find podcasts easily.”

Podcasts in Color remains relatively small in reach. By Berry’s count, Podcasts in Color currently reaches over 4,500 followers across its social media accounts, and the directory sports only about a thousand visitors a week. But while its numbers may be fledgling, Berry’s work is rising to meet a need that continues to persist in the space. And besides, speaking as a person who started a newsletter out of nothing, everybody starts out small.

Find the Podcasts in Color community on Twitter, and the directory on its website.

This American Life’s new tool. This American Life publicly rolled out its new audio clipping and sharing tool, called Shortcut, last week. Nieman Lab has a great writeup of the tool discussing its origins at last September’s This American Life audio hackathon (which I covered at the time) and contextualizing it within the broader spectrum of similar audio sharing efforts like WNYC’s Audiograms initiative and the Clammr app.

It’s worth noting that Shortcut will be open-sourced; the team plans to release the code soon. Stephanie Foo, Shortcut’s project lead (and This American Life staff producer) told me that she encourages people to use the tool in a variety of ways. “I like to see this idea be taken and shared,” she said. Foo added that she invites companies like Apple and Stitcher — distribution platforms that generate tons of valuable user behavior data — to take notice and consider ways to facilitate sharing experiences for listeners.

She also mentioned that her team is looking create a “database of interest” of people and team who want to start using the tool on their own. “We want to see how much effort we need to put into hand-holding,” she said. Such teams should send a note to web@thislife.org.

Whetting appetites through your earballs. “I think food podcasts in general have a ton of room for growth,” said Dan Pashman, who hosts WNYC Studio’s The Sporkful, when we traded emails recently.

I had written to ask a few questions about his show and, more generally, about the scope of opportunities for food podcasts. Pashman pointed out that millennials (née snake people) spend over $90 billion per year on food, using that number to illustrate the scale of potential interest among the prime podcast-consuming demographic. That kinda makes sense, though I figure that number is probably always meant to be big given the fact that we all kind of have to eat to live (unless you’re one of those Soylent people). But I suppose the very existence of those varied approaches and subsequent rebuttals to the subject further underscores Pashman’s point about food being such vibrant point of concern, interest, and thought in human life.

“As a general matter, I’d say food media roughly breaks down into three categories: tips/hacks/recipes, news/journalism, and storytelling,” Pashman said. “I think the second and third categories are as well suited to audio as any other medium, perhaps better suited. As for the first category, there are some food podcasts that do tips and recipes very well, but I do wonder how that content will fare long term. People seem to want their cooking tips in shorter formats each year…Listening to a podcast isn’t the most efficient way to learn how to sear a steak or eat durian.”

And it would seem that all three categories are more or less well served by the crop of food podcasts currently on the market, from The Sporkful and APM’s The Splendid Table to Gastropod and Food52’s Burnt Toast to Gravy and all those lovely works by the Kitchen Sisters. (Let’s not even talk about the subgenre of food podcasts that specifically focuses on drink. That’s a doozy.)

But I’ve always had a sense that there is a fundamental difference between “food media” and media about food, which sport very different kinds of market opportunities. Almost all food podcasts, I think, cleanly fall within that second bucket, leaning deep into narrative-first designs that don’t really draw all much from the viscerality that the idea and experience of food often promote. Maybe it’s just me, but I’ve generally viewed “food media” to be the kind driven by that viscerality; I think about the gauzy closeups in cooking shows, the gorgeous glossy photos in print magazines, and all of those other borderline pornographic editorial units that tap into that lizard-brain feeling of want — which I think is somewhat structurally in opposition to what we traditionally think about when we think about storytelling narrative, and as a function of that is a genre that tends to favor visual approaches. The platonic ideal for this media species is probably something like BuzzFeed’s Tasty social food video empire circa summer 2016, and I guess I’m having a hard time finding audio projects that attempts to execute purely on those mechanics. To some extent, I wonder if that’s even possible — but if it is, and if there emerge strong attempts to capitalize on those same mechanics, I do believe there’s a really interesting business in here somewhere, or at least a technique that can greatly increase the hook of existing food podcasts.

“I do think you can tap into that want without visuals,” Pashman said, when I spiralled off on this ramble. “In some ways, perhaps, it’s even more visceral because as people listen, they picture their own personal platonic ideal of a food.”

Hmm.

Tangentially relevant but interesting nonetheless: Found out that the Food Network hauled in $891.6 million in revenues last year, though a 2014 Quartz article observed the channel’s programming trend to have shifted its focus away from food and more towards competitions.

A series on food and race. Pashman, by the way, is currently publishing a Sporkful special series on race and food called Who Is This Restaurant For? “The basic premise is that every time you walk into a restaurant, you’re bombarded with signals that tell you what kind of place it is and whether it’s for you,” Pashman explained. “We’re hoping that by exploring these signals from the perspective of both restaurateurs and customers, we can reveal something about the judgments we all make, our perceptions of race and culture, and how the world looks to different people.”

This miniseries marks Pashman’s second project in the past year that examines the intersection of food and race, following his set of reports called Other People’s Food that originally came out back in March. (It was republished earlier this month as a lead up to the new series. Which is an interesting marketing initiative, if you ask me.)

I asked Pashman, who is white, about his growing focus on this topic. “If you’re living in America right now, how can you not be interested in exploring questions of race, culture, and identity?” he replied. “I was optimistic that food could offer an entry point, some kind of common experience where a meaningful conversation could begin.”

I’m told WNYC Studios doesn’t share audience numbers (a shame!), but Pashman says the series has gotten a “huge response.”

“In a certain way, podcasts are to public radio as public radio was to commercial radio,” said Studio 360’s Kurt Andersen on a recent episode of Recode Media, sketching out the parallel between public radio’s oppositional nature to its incumbents back in its day and podcasting’s own stylistic rubbing up against public radio today. “It’s all part of the great circle of life,” he trailed off.

Check out the superfun interview — this specific section begins at the 27:30 mark.

Bites:

  • Zach Brand, NPR’s VP of digital media and services, is moving to The Guardian, where he replaces Aron Pilhofer as chief digital officer. (The Guardian)
  • I’m not personally clear about the cultural significance of the Webby Awards, but it’s taking entries for podcasts and digital audio, so do keep tabs on that if it’s interesting to ya. (The Webby Awards)
  • Acast announced last week that it is granting its clients access to music library Epidemic Sound and the Hindenburg Journalist Pro editing software. It’s probably a move to sweeten the deal for podcast publishers and producers considering the Swedish podcast company as a potential ad sales provider, though those perks do feel like add-ons as opposed to core demands. (RAIN News)
  • Missed this last week, but really worth your attention: BackStory with the American History Guys, a popular Charlottesville-based radio show, is restructuring to become digital-first. As part of this shift, it will no longer offer an hour-long version for broadcast starting February 3, 2017, opting for primary distribution through a weekly podcast publishing format. The show had previously found distribution over 173 stations across 31 states and Washington, D.C., according to their website. Check out the Current writeup for more details.
  • Podcast upstart Paragon Collective dropped a trailer for its upcoming horror fiction series Darkest Night. What’s interesting here: The show’s first season is being sponsored by AMC Network’s new horror streaming service, Shudder.
  • “Is your podcast being held hostage by iTunes?” asks Forbes contributor Sarah Rhea Warner. (Forbes) Pair this with a recent take by a Goldman Sachs analyst: “It’s Time for Apple to Go Big in Content and Launch ‘Apple Prime'” (StreetInsider.com)
  • Two Amazon Echo related reads: “How 3 publishers are staffing for Amazon Echo” (Digiday) and “Yelling at Amazon Echo” (The New Yorker)

This 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.