Phoebe Judge and Lauren Spohrer launched “Criminal” in 2014, with producer Eric Mennel. Judge and Spohrer had worked together on “The Story” with Dick Gordon, a public radio program that went off the … Read more
If, in recent weeks, you’ve walked up to a group at a party passionately debating whether Jay is telling the truth or overheard a headphone-wearing passenger on the train mutter something about a body in Leakin Park or interrupted a … Read more
When Hillary Frank first started producing “The Longest Shortest Time” podcast in 2010, she was going through a rough time herself. A radio producer for more than a decade, she suffered health complications after her daughter was born … Read more
Storyboard is always looking for new approaches to storytelling that could be useful for journalists, so we were curious when a reader sent us a link to the How Are You Doing project, which invites people … Read more
Long-form, narrative radio—that’s the kind of radio many of us dreamed of doing when we started in the business, before so much of it, for reasons both economic and stylistic, became four and a half minute chunks of airtime filled with cribbed wire copy and bad phone tape.
Both the great radio and the mediocre get turned, often auto-magically, into mp3 files. Those files are then shoved up on a server somewhere for you to download to your PodBerry or whatever.
And this, they will tell you, is podcasting. Or maybe they'll be a little more truthful and call it "time-shifted" radio. I sometimes call it "recycled" radio.
Don't get me wrong. Recycling is good for the audio planet. It's great that you can stuff hours of potentially quality stuff onto a minuscule machine, encase it in a sweat-proof nano-sheath, and then listen to Diane Rehm while climbing Mount Kilimanjaro. (Remember, the p-o-d in podcasting stands for "Portable On Demand.")
But that's it? Seriously? That's all we are going to do with this amazing new medium for engaging unsuspecting audiences in unexpected ways?
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