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There’s been a lot written about Podcasting over the past few months, partly on the back of shows like Serial but also after projects like Radiotopia smashed their kickstarter goal. Podcast content is getting better, and listening is on the up. It’s been a steady growth, but one that only now seems to be making a mark. There might be a few reasons for that. The video above is about a development exercise at podcast start-up Gimlet Media and gives an insight into the opportunities the smartphone brings. The thing about podcasting that made it so great, also held it back a bit. Whilst various people put together the parts that made podcasts work, they made those tools Open Source. Whilst Apple made a good go (probably the best) the experience hasn’t changed much. What the video above shows is the suggestion that there could be a better way of listening, one that lets you be more social and dig deeper into content.
Originally podcasting was about pushing content out to computers in waves, with listeners stacking up podcasts on a computer until they got round to syncing up their iPods. This migrated onto phones, with content downloading overnight on home WiFi. In time this move again towards streaming, and this where things catch up with podcasting. As an on-demand medium it emerged ahead of Netflix, Amazon Prime and even YouTube. So, the ideas were there but the audience wasn’t ready to engage and the technology was a bit clunky. Now the audience have shown they want more controller, and the tech has caught up.
As Ira Glass suggests in this interview, things have finally fallen into place
No. In fact, if anything, podcasts are like world music or soccer — one of those things where everybody is like, “next year is gonna be the big year when all of America is playing soccer!” [laughs] Although I guess at this point, a lot of America is playing soccer. But for over a decade, people have been saying, “Everyone’s going to listen to podcasts!” — and no one ever did.
Finally, a lucky congruence of a bunch of new, really good podcasts, but also the fact that the technology has changed made for a lot of new people finally hearing podcasts. It used to be for you to listen to a podcast, you had to download it to your computer and then synch it to your phone — there are now all these ways where you basically get an app for your phone like Stitcher or the podcast app for iPhones. You push a button and say, “Oh, I want this one,” and then you have it on your phone and you can listen. It’s super-easy
Apps like Pocketcasts, and the new Acast are making steps to change that. By making podcasts accessible they’re reducing friction. By adding social sharing they can make the experience of listening more social. The latests version of TuneIn have sussed that, and soon the rest will catch up. We share photos of our lunch, tweet about TV shows, so why not press a button and share our listening? The lesson from Serial is that as many people heard about it from their social networks than the media.
The decrease in costs of mobile streaming, and the increase in coverage is another big step. Now everyone has the means to listen sat in their pockets, and as more car manufacturers add smart dashboards there’s even more reason to look at podcasting as a real rival for our attention. No longer are listeners chained to the home or office wifi.
So, as the tools get better, and as producers start to take it more seriously then the conditions for podcasting look much better. Of course, we’ve been here before. In 2005 Odeo tried to create a platform, but in a pre mobile world they were probably a bit ahead of the curve. Equally, early networks like podshow were probably a bit ahead of the game. Audiences have caught up now, and the market feels more ready for the content. Podcasts are making money, and more importantly podcasters can earn a real living from their art. It seems that the recent attention on podcasting could be another fad, but equally it could an indication that the planets aligned – the audience are more open to it and the tools have got better. The next step will be to make it relevant.
As I’ve already posted, I am fascinated by Serial. Not just the podcast itself, but the reaction to it. A few months ago I set up a google alert to keep a track of stories, posts and other news about it, and whilst the number returns is smaller than it was there’s still a couple of stories a week that add something new to the story. Clearly, other people are still as fascinated about it as I am. It also seems that new people are also still discovering the series as well, with new tweets popping up everyday as another listener disappears down the rabbit hole. There certainly is something about it. Back in February Ira Glass told a journalist they were still getting 500,000 downloads a day for the show, and in March Dana Chivvis from the show told Miranda Sawyer they’d passed 75 million downloads . Now, that sounds impressive but if we assume they’re counting each episode as single downloads, and we assume that everyone who downloads the first episode will then get hooked and get the rest, then you do end up with a more realistic figure of 6.2 million listeners. That said, 6 million listeners for something they expected would manage a few 100,000 is remarkable. But, not only did listeners go slightly mad Serial, so did the media. Journalists talked it Serial making podcasting mainstream, with the New York Times’ (now late) media reporter David Carr calling it the mediums first hit. If you look at the media hype, he’s probably right. The numbers were good, but the NPR podcast Invisibillia stormed past Serial in early 2015 with a bunch of new subscriptions. Of course, it’s these new listeners that are problem. ITunes uses new subscriptions and comments to create their charts, so if a stack of people are hitting subscribe on their iPhones then that will push a show up the chart. If what they makes them want to say something, or voice an opinion, then that too adds scores to the door and will push it up the chart. You’ll perhaps have seen the video that Ira Glass did promote Serial, now that will have helped. As will the first episode going as a special version of This American Life . This is a fantastic kick start, as no doubt the people who love the show would like Serial – not least because the team work to the rules Ira Glass put in place for This American Life. It sounds like the spin off it is. Same people, same rules, same level of journalism. But therein lies the problem. As Aaron Crocco points out on medium, not everyone gets that advantage. Most podcasters have to come the long way round of pushing out show after show, hoping the audience will grow. It’s not easy. But, if like Serial or Invisibillia you can launch on 260+ radio stations across the US and on of the worlds biggest podcasts then you have an advantage. Let’s assume you can use another show to promote you, hopefully you can persuade their listeners to subscribe. If you can, that could well give enough of a spike to get you into the iTunes chart – which in turn could then scoop up more subscriptions from the people who missed your promotion but spotted you when wondering what the heck to listen to! Bit by bit, you might build an audience. The problem is, are you adding new ears?
When Edison looked at Serial as part of their Infinite Dial survey at the start of 2015, they found that actually a fairly small number of people were aware of Serial – but the awareness rate amongst podcast listener was much higher. Not surprising, since research from 2014 by the same team said that podcast listeners were prolific. Not only did they spend more time with podcasts that any other audio form, they listener to a lot. So, when promoting something new you might be pushing at an open door – especially if Ira Glass is holding it open for you. It can help as well if, like Alex Blumberg, your former employer lets you tell your audience where you’re going, If you’re at all interested in podcasting, you should listen StartUp as it’s fascinating insight into the world – it’s also a well told story and uses many of the same approaches that worked in Serial, but they’ve also taken a great approach to the ads. Blumberg hopes that his new podcast business, Gimlet, can be the one that breaks through and becomes the Netflix of audio. Certainly, the timing seems right. There is renewed interest in podcasting. So, what made Serial special? Well, it benefitted from all of the above. A good start is important, but then plenty of movies and Tv shows have hired big stars only to see them flop. There has to be something worthwhile once you get there, and Serial did that. The Ira Glass school of radio has some great graduates. They know how to tell a good story, and the one they found was really good. There was much with which to engage, which journalists, academics and listeners all did. For them, it was all about the story, and the ethics. Yes, let’s not forget the ethics. Especially when the star witness who declined to appear in Serial went on the record. Of course, Serial could have had all of this and not gained traction. Serial was actually a combination of elements. They had a good start (what a Gimlet investor described in Start Up as an ‘unfair advantage’) and found a good story, which they crafted and crafted well. Timing was a factor here, because this is the age of the app – where apps like Stitcher are now appearing on the dashboards of luxury cars. This means that there are devices out there ready for content. Podcasting in the past was a faff, and the temptation was stick with what you know. Now you can read a tweet about a podcast on the bus and be listening to it a minute later. So, the question is will we see another Serial? Will season two be as big as season one? Well, they’ve got an audience hooked – so the first episode is already eagerly awaited. If they can find the right story it should do well. Other producers should see hope in the success, but let’s be realistic. Even in the most developed market only around 33% of the population has EVER listeners. That’s a good number, but in podcasting that may be less important, as there is evidence to suggest that the intimacy of podcasts means that audiences are more likely to engage with the advertising. Serial was good. It was well made. It had a great story and did a great job in getting people to talk about podcasting again. It raised the benchmark for podcasters, but we can only hope that those who follow will use their own skills, ideas and creativity to make their mark – rather than copy Serial.
These are all thoughts that I’ve been developing for a conference paper. Once it’s all ready, I’ll post it here together with some of the results of a survey I did last year amongst some Serial listeners.
For a long time TV has know a lot about the power of emotional connection. There have been whole shows built around it, putting everyday people front and centre and sharing their stories. Daytime TV is full of this kind of stuff. From Jeremy Kyle to DIY SOS, people who need help or just a thank you have been made the starts. But, I don’t think I’ve ever seen it on radio. Until now…
This is from the great Kyle and Jackie O in Sydney. These guys are big stars there, and were poached from their old station a few years back with much noise. They’ve been constantly pushing the show forward since then. There are cameras in the studio, and they film a lot. They have big guests, big personalities and lots of attitude.
There are several things I like about this piece. Firstly, this a driveway piece of radio. The kind of story that demands your attention. From the story itself to the way Jackie tells it, it’s attention grabbing. We then get the woman on-air and the narrative comes to an emotional and well planned climax. This takes skill and planning, so well done to the team for pulling that off. By taking on ideas that have worked on TV the station are really taking the game to the other places that compete for our time and our attention. This is good for radio. It’s should be an obvious thing to do, especially as radio is such an emotional medium.
The other thing about this is the visualisation. This is something that is new in radio, and whilst not everyone agree – it is part of the our future. This is a great example of it done well and where it adds value. Here is something the audience will want to see and share – it’s been shared over 260,000 times on Facebook already. The act of going online to view is itself an act of connection. Connection that suggests a great sense of engagement with the brand. Engaged listeners are loyal. It’s also a great introduction to the brand for anyone who wasn’t already aware or listening. Visualisation is a complex thing. Some videos are cheap and throwaway, and that’s fine because they are there as a tease or a hook. This is more nuanced. It’s the denouement of a radio story. It’s a big feature and something where you don’t want bad camera work, or bad editing to get in the way. By sneaking a camera into the car, and then getting the sound editing right this is something that looks and sounds good. Again, not an easy task but one that really smells of quality, and that’s important.
Increasingly this is what radio stations will need to do. Hire great personalities, and let them be themselves on-air. Invest in great ideas. Build reasons for the audience to listen, and these might be emotional. And finally, remember the visual elements. Build on them and invest in them. That doesn’t mean you do radio differently, but you reconsider what a radio station institutionally.
I’ve just been making the final edits to a conference paper on visualising radio. I think it’s one of those cases where the 15 minutes allocated is not enough. At one point I had over 20 minutes worth of material, that I’ve cut, re-cut and re-edited down.
There are so many things to talk about. The key things I’ve picked up and wanted to talk about
This is not about changing radio (it’s about augmentation)
It’s not just happening in the UK
Some of it looks like TV
Most of it doesn’t look like TV
Some of it is there to drive in audiences
Some of it is there to make the radio experience better
Most of it is quite basic
Some of it have high people and technology costs
Most of it is cheap
We can draw links to Spreadable media and developments in 2nd screens
But the main thing is that the fundamental nature of radio is unchanged
Visualisation does 2 key things to radio programmes: It enhances the programmes by allowing listeners to become viewers and see pictures or videos. These images are not necessary to make sense of the radio show but they help. Visualisation also extends output by adding content that isn’t heard on the radio.This might allow programmes to send listeners online to experience content outside the broadcast slot. Both of these forms can build close links with the audience and therefore build loyalty.