The office is on hectic Willoughby Street, rather than on Pineapple Street, in Brooklyn Heights, with its town houses and river views. The name is aspirational: if the company prospers, its founders joke, they might get to own houses on Pineapple Street one day. It pays its bills in part by producing content for such corporate clients as Morgan Stanley and Nike. Bellassai distinguishes himself from other funny podcasters with an abrasive delivery and a habit of drinking throughout the recording. Afterward, Pineapple employees sometimes find stray empties in the studio. Conversational shows are intended to sound informal, though this belies the care taken in making them.
Pineapple often discards hours of tape, recorded before a new host finds her or his stride, and an hour-long episode can require dozens of hours of editing. Nevertheless, talk shows are relatively easy and inexpensive to produce compared with reported narratives, which the company also aspires to make. Taberski cited a rumor that Simmons was being controlled by his housekeeper, Teresa Reveles, and another that Simmons was undergoing a gender transition. Neither theory held up, Taberski decided, so he kept digging.
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The team revised the final episode half a dozen times before settling on a version in which Taberski concludes that Simmons did, after all, deserve to be left alone. Perhaps you do. We learned Teresa remembers me. We know that Teresa recycles, because she was clearly taking out the recycling. In hindsight, such fears were perhaps sixteen years premature. In commercial terms, however, the show was an undeniable success: it has been downloaded thirteen million times, and Amazon is developing it as a television series.
Until the podcast boom, nobody entered the field of narrative audio thinking that it might be a route to fortune or fame. Public radio, in which many narrative podcasters got their start, is not for profit, and aims at producing programming in the service of a better, and better-informed, society.
Now a thrilling sense of possibility exists among the kinds of people who once might have tried magazine freelancing or blogging: that someone with talent can make a living, or even become rich, by podcasting. Joe Rogan, whose show routinely tops the iTunes charts, has made millions of dollars from it.
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The show, which has completed two seasons, focusses on abuses of power, and is animated, and dignified, by its adherence to a public-radio sense of mission. Remarkably, Flowers has been prosecuted six times for the crimes, because of a series of hung juries and mistrials. Podcasting has offered advertisers a new means of reaching demographically targeted consumers. Many podcasts feature extended endorsements, read by the host, that often include a discount code for a product or service.
For listeners accustomed to a separation between advertising and editorial, the blurring of lines can be disconcerting or embarrassing, such as when podcast hosts like Joe Rogan and Tim Ferriss expound on how much they enjoy wearing Me Undies. For advertisers that have spent heavily on podcasts, like the omnipresent Casper and Blue Apron, the effectiveness of such campaigns can be measured in increased sales.
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Podcast advertising remains a relatively new science. A commercial marketplace puts pressure on podcasters to create content that can attract millions of listeners, which does not necessarily make for the strongest, or most subtle, content. New ways of monetizing podcasts are being explored, including a paid-subscription model; apps such as Stitcher Premium offer ad-free listening and bonus episodes. It has disseminated numerous producers and hosts into podcasting, most notably Alex Blumberg, the C. The auditory techniques and the verbal tics of Glass and his team the long pauses, the squirrelly delivery, the uptalk?
The approach can still be illuminating.
But Glassian flourishes can be distracting. In the podcasting era, reporters increase their credibility by peeling away the veneer of polished authority. McLemore dilates on his obsession with climate change and on his contempt for the small-mindedness of his home town. Through such exchanges, his loneliness and despair are excruciatingly rendered. You know, Mr. Putin, please, show some fucking mercy.
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It is also a sympathetic depiction of the poor inhabitants of Woodstock and their milieu of trailer parks and pick-up labor. The emotional power of the series has a lot to do with the distinctiveness of the audio. Novelists, too, have generally refrained from making this case to aggrieved parties whose lives they have plundered for inspiration. At Pineapple, it is a point of pride that almost all its podcasts have been hosted by people of color, or women, or gay men, or by members of otherwise marginalized populations.
Each show has built the kind of young and urbane audience that is unlikely to tune in to NPR over brunch. Both were popular performers in drag bars. McElveen, who came from a small town, had felt rejected by her parents, who were both preachers; Gibson, a New Orleans native, had a supportive circle of friends and family.
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Mock, who last year launched a celebrity-interview podcast that was produced by Pineapple, sat on a banquette in loose patterned pants and a tank top, one foot tucked under her. But what makes them super-visible also makes them vulnerable. Weiss-Berman added that she and Linsky had just been in Los Angeles, meeting with television and film producers. In Hollywood, there is considerable interest in podcasting as a relatively inexpensive means of developing an idea.
Whereas it can cost five million dollars to make a TV pilot, an eight- or ten-episode podcast series can be made for five hundred thousand dollars. So far, only a few podcast-to-screen projects have been brought to fruition, and the results have been mixed.
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Increasingly, Hollywood producers are seeking to acquire the rights to podcasts, or to invest in them from the outset. But over the last fifteen years we have seen that blow open.
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