89: The Great British something something Off
Welcome to Issue Eighty-Nine, published September 27, 2016.
Panoply opens a London office. The Slate Group’s audio arm announced yesterday that it was expanding into the good ol’ United Kingdom. Specifically, the company is opening a new production office in London that will “facilitate closer collaboration with UK-based audio talent.” Ryan Dilley, a BBC veteran, has been hired to lead the new operation.
Here’s the most straightforward way to think about this: Panoply intends to do in the UK whatever it does here, including original and partner programming, the cultivation of a UK-based network of talent, and the recruitment/aggregation of local podcasts into its network.
This move also puts Panoply in a good position to do two things: (1) grow a bigger advertising presence that would allow them to monetize UK listeners on their existing American shows — up until this point, it’s basically money that’s been left on the table — and (2) challenge UK-native digital audio companies that have spent the past few years making in-roads into the more lucrative US market, like Audioboom and Acast.
Andy Bowers, Panoply’s Chief Content Officer (and my old boss, by the way), told me that UK ad sales isn’t the primary motivation for this expansion. “This is about talent,” he wrote, adding that they have already been engaged with targeted UK-only ad sales using their new Megaphone platform. I was also told to expect Panoply’s first slate of UK programming to roll out early next year.
Speaking of which, I should consider opening up a Euro-Hot Pod bureau. You should consider supporting Hot Pod, so I can get started on doing just that :P.
Keep an eye on this: Nielsen is working on a Software Development Kit (SDK) that will, among other things, cater to the measurement of podcasts, according to a report by Radio Ink. They’ve been experimenting the kits with ESPN, and the company is “working towards having a syndicated service out there in the marketplace sometime in 2017.”
An SDK-approach is one of a few ways to deal with the industry’s measurement gap. But Nielsen will face similar political problems of adoption that plague companies like Podtrac — although it is, certainly, a neutral third party. For what it’s worth, I’ve heard skepticism over an SDK-approach from a number of execs in the space, so we’ll see where this goes.
Midroll’s Live Intent. The end of October will see the inaugural NowHearThis festival in Southern California, which will mark into Midroll’s first foray into a Lollapalooza-style multi-partner live programming. NowHearThis is set to feature shows from both within the Midroll ecosystem — that is, its Earwolf network and its universe of third party ad sales clients — and without, boasting shows like Radiotopia’s Criminal and NPR’s How I Built This on the lineup. (Quick aside: I’m told that most of these external partners are paid an upfront fee for participation. No revenue shares are involved.)
Midroll is not the first podcast company to organize such an event. Indeed, this past weekend saw the LA Podcast Festival, and the Vulture Festival this past May also included a solid block of live podcast tapings. But NowHearThis is notable in how it reflects Midroll’s expanding ambitions in diversifying its revenue base. When the company announced Lex Friedman as its new Chief Revenue Officer earlier this month, an explicit mention of a deeper focus on live events in the press release caught my eye.
“We don’t expect that, in the near term, live events will be as big as ads or subscription,” Friedman said when we spoke over the phone yesterday. “But it’s another way for us to diversify, and it’s the closest thing we have to kick off a network effect.” Friedman tells me that a festival like NowHearThis not only brings in ticket sales and sponsorship revenue, but the live tapings create additional material that can be served in Howl, the company’s premium subscription play. (Speaking of sponsorship: Casper and Mack Weldon, both veteran podcast buyers, are sponsoring the festival, with live show ad-integrations that will go beyond on-stage host-reads. More sponsors are expected to be announced soon.)
Midroll intends to produce more live shows of individual Earwolf podcasts in 2017, and Friedman hopes to collaborate with his third-party ad sales clients on live events as well. It’s an ambitious vision, one that I assume is backed by a long EW Scripps runway.
“We’re building a media empire, Nick,” he said, before bursting into terrifying laughter.
There’s been a misunderstanding, asserted Art19 co-founder Sean Carr when we spoke over the phone last week. He tells me that too many people have been conflating dynamic ad insertion technology with an automatic flood of programmatic radio-style prerecorded ads. One doesn’t necessarily leads to the other, he argues, pointing out that much of the current production conventions — the very same ones that contribute to the medium’s identity of “intimacy” — doesn’t actually have to change. “Most host-read ads are recorded separately from the conversation anyway, and edited in after the fact” he added.
For the record, I have come to agree with Carr’s position. (That view has been fleshed out across previous Hot Pods.) But I’d say that the anxiety that drives this conflation remains very real, and given that Carr felt the need to reach out on this suggests it remains top-of-mind among many emotionally invested the space. There is now, after all, very little that would structurally prevent the inflow of eardrum-assaulting radio-style ads — a state of affairs that could well spoil the medium’s identity for listeners trying it out for the first time.
“That anxiety will probably go away with better data,” Carr replied. I’m inclined to agree with this as well, though there will always be a gap between where we are right now and a place where we’re have that abundance of appropriate, agreed-upon data. Not for nothing, but transition periods almost always suck — whether we acknowledge that or not.
Anyway, Carr also tells me that his team is working on some research that he hopes will increase advertiser confidence. Watch out for them.
Some notes on the border between publishers and podcasts. Last week saw news that Actuality, the audio collaboration between Quartz and APM’s Marketplace, is coming to a close. The stories-about-business show first launched last summer and ran for two seasons. According to a joint blog post, the podcast was cancelled due to a lack of interest. “We’d rather hit pause now and move on to other experiments,” wrote Quartz editor-in-chief Kevin Delaney and Marketplace VP/Executive Producer Deborah Clark. The podcast averaged 100,000 monthly downloads across its last three months.
“Our initial expectations were to experiment in an important digital medium where Quartz didn’t have much experience. After two seasons, we learned a great deal about what works and what doesn’t in podcasting,” Delaney told me over email last week. He added: “I doubt this will be the last podcast product that Quartz develops.”
APM, for their part, will continue their efforts in these cross-platform partnerships. “Though not all our new podcasts at either Marketplace or APM overall will be in partnership with others, I think many will,” Clark told me. “Our guiding principle is how do we serve our audience better and sometimes that’s best done with other strong partners.”
Examples include: Codebreaker, its collaboration with Business Insider which will drop its second season later this fall, and Historically Black, which is a collaboration between the Washington Post and APM Reports (the organization’s documentary unit).
As one media company shelves its audio ambitions (for now), another finds its runway.
Bloomberg Media, the business news behemoth, has found some joy in its on-demand audio operations over its past year of experimentations. Michael Shane, a Bloomberg operative who was recently promoted to the position of Global Head of Digital Innovation, told me last week that the company’s young podcast arm is now a seven figure business.
Bloomberg’s on-demand audio offerings are chiefly made up of subject-specific shows built around key reporters in the newsroom. Examples include, but are not limited to: Odd Lots(finance, featuring Joe Weisenthal and Tracy Alloway), Material World (retail broadly speaking, featuring Jenny Kaplan and Lindsey Rupp), and Game Plan (the workplace, featuring Rebecca Greenfield and Francesca Levy). The company is adding a tech podcast to its network next month, and is on the hunt for a San Francisco-based producer to handle duties on that show. (It’s worth noting that, shockingly, the team has only been composed of four producers up to this point. “It’s a lean team,” Shane said. “Which is great, because we like to do things profitably around here.”)
Shane’s team is also investigating potential collaborations with the company’s long-running 24-hour broadcast radio division. The most prominent example of this is Bloomberg Surveillance, a typically 3-hour broadcast program that is being repackaged as highlights to serve podcast listeners. “It would be crazy of us to build a digital audio strategy that didn’t involve Bloomberg Radio,” Shane said. He also noted that Surveillance currently hits six figure audiences per episode, and that the show’s ad inventory has been sold out through 2017, with Bank of America as the sponsor.
When I asked about CPMs, Shane informs me that company sells at premium rates across all platforms — and that audio, certainly, is no exception. He also did pontificate, briefly, on the industry’s expectations of fallings CPMs as the basic ad formats get commoditized over the long run. “I spend a lot of time wondering, ‘What’s next?’ ‘What can Bloomberg offer [advertisers] around digital audio that’s more than an ad read?’” Shane said.
“I heard someone say once that the business model for podcasts is to be beloved,” he continued. “As long as we can keep being audience-first and not squander that goodwill, this can be a great business for us over the long term.”
A Sneak Peek at RadioPublic. Jake Shapiro and the RadioPublic team have been keeping busy. After the crew of PRX alums announced their new venture earlier this summer, they’ve been hard at work on the listening app that will mark their first foray into product market. Shapiro was kind enough to invite me to take a look at a very basic prototype of the app. Some notes from our conversation:
The team intends to preserve and advance the medium’s open nature; which is to say, it will eschew a YouTube or Spotify-style closed ecosystem. “We just don’t think that’s the right way to do things,” Shapiro said, adding that the app’s experience will be built on top of open RSS feeds while being focused on serving listeners with a much better user experience than what exists now. That user experience is driven by a goal of “helping listeners make a more informed choice,” as Shapiro puts it.
While those ideas were understandable in the abstract, I had trouble visualizing the significance of the product even with the prototype in front of me. Shapiro provided an analogy to Flipboard, the social magazine app that, in many ways, serves as a user-friendly portal through which mobile users could manage their experience navigating the unruly web while respecting its open quality.
When I asked Shapiro about publisher outreach, he told me that, while the app is being built to provide value autonomously from any required publisher participation, the rise of dynamic ad insertion technology across an emerging class of hosting platforms necessitates some “technical handshakes” in order for both parties to properly benefit from the experience. Publishers are encouraged to get in touch.
Meanwhile on the West Coast, the small team known as Tiny Garage Labs — founded by Planet Money alum Steve Henn along with former longtime Netflix operatives Steve McLendon and John Ciancutti — has been kicking up some noise as well. Last Thursday, Henn published a semi-manifesto and call-for-collaborators on Medium, and the team also scored a chunky Nieman Lab mini-profile that fleshes out their general product direction with 60dB, Tiny Garage Labs’ first market offering.
Here’s my read in a nutshell: it would be a mistake, in my opinion, to lump 60dB in with either your basic podcatcher play or a “Netflix for Audio”-minded play like Midroll’s Howl (in this case, it is prudent to not read too much into the team’s Netflix lineage). Rather, given Tiny Garage Lab’s outsized focus on short-form audio — a perspective that views individual segments as the atomic unit of content, as opposed to the episodic paradigm — 60dB would best be categorized against something like the Amazon Echo’s Flash Briefing experiments; which is to say, it is a wholly new, and entirely separate, product category.
ESPN Audio’s 30 for 30 team. Senior producer Jody Avirgan has announced the team that will take on the brand’s well-loved 30 for 30 adaptation into audio. They are: Rose Eveleth, of Flash Forward; Julia Henderson, formerly of WNYC’s Studio 360; Andrew Mambo, formerly of WNYC’s great Radio Rookies project; Katie McAuliffe, formerly of WNPR and a former ESPN music assistant; and Marcus Anderson, formerly of who comes in without a radio background (which is fantastic, IMHO).
Another quick ESPN-related tidbit, for those interested: according to an Awful Announcing blog post, “FiveThirtyEight podcasts across the board were downloaded over 7.8 million times in August alone, a 422 percent increase from February.”
WNYC has had a busy week: it rolled out The United States of Anxiety, their second collaboration with The Nation (the first being the excellent There Goes the Neighborhood). The station also welcomed the second season of 2 Dope Queens. I’m told season one drew “millions of listens.”
Wondery CEO Hernan Lopez writes in to let me know that the network expects to hit 8 million downloads by the end of the month. The network is currently spread across 14 shows, with two original shows. They are hosted on the Art19 platform.
Speaking of PRX, the company announced a new initiative last week called “Project Catapult,” where it will work with five chosen stations over a 20-week program to develop a sustainable local podcast strategy. (Current)
Have you checked out Audible’s Channels recently? The lineup now features what appears to be several new additions. Note, also, how the presentation flattens different content types, from original shows to comedy to article readouts. (Audible)
Speaking of article readouts, iTunes apparently is getting ready to promote a similar type of articles-read-aloud content. This is probably a nothingburger in terms of the larger questions of what this means for the podcast industry, a good chunk of which are crossing their fingers for access to their listening data, but hey, if you’re into Apple Kremlinology, this is a data point just for you. (TechCrunch)
An adapted version of the Politico Playbook, the political news website’s flagship newsletter, is now being distributed in audio form over the Amazon Echo’s Alexa platform. The audio version adopts the “90 second flash briefing” model, and drops daily starting yesterday. (Washingtonian)
- Two reads for the public radio-oriented: “Great journalism alone won’t guarantee public radio’s survival” (Current) and “This American Fight” (Fast Company)
From Emile Klein, artist and friend of the show:
A huddled mass of NY’s Tinder-boys and the world at large just witnessed the rebirth of Andrea’s miracle machine, Why Oh Why. In an act of good sportspersonship, the Uffizi threw out Botticelli’s Venus. Andrea’s stone soup comes in equal parts love pangs, smarts, and unnerving humor. What’s true? These stupid emotions.
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