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The NPR Podcast App… does not exist

NPR is great. I like NPR. The people who don’t like NPR  have either never listened, are wrapped up in political agendas and hegemony, are twelve, or have taste that would conflict with what I consider to be good.

Now I worked in public radio where I not only produced NPR-type shows, but regularly poached Terry Gross’s guests from its home station, WHYY in Philadelphia. I was immersed in the sometimes blindly liberal, but uniquely insightful broadcasts. In fact, that was where I was introduced to the logistic aspects of RSS feeds and podcast uploads.

NPR, in many ways, spearheaded the podcast movement as a means of selective distribution and hyper-targeting before any other national outfit. I was able to access the entire This American Life archive via podcast. I would’ve never heard episode 15 were it not for NPR’s willingness to embrace the medium.

As it stands, the top five podcasts on Stitcher radio are all NPR programs–they hold at least three of the top five spots in iTunes on any given day. Suffice it say, they’re on their game as far as programming is concerned. So here’s my question:

So why hasn’t NPR taken a crack at the podcatcher game?

It seems, at the very least, offering a delivery system (a podcast app) that could house third party funding or offer remnant inventory to ad networks would be ideal for the sometimes “strapped” media outlet.

Because this…

npr podcast app

…just isn’t going to cut anymore.

Maybe this is a matter of core capabilities. Maybe NPR is merely catering to its strengths–quality programming. Why build an app when your strong suit is broadcasting, and why pay someone to build something that entrepreneurs, like Instacast, will build for you?

But anyone can create an app these days. Just hire some developers fresh out a college, and pay them for the build. Then  call it a day. It doesn’t even have to work well. Just sayin’.

Snap Judgement Podcast – Episode 501 – A.I.

Every cool kid has a gimmick. That’s the starter pistol for episode 501 of the Snap Judgement Podcast. Like the Moth, TAL, The State We’re In, and in some ways Radio Lab, Snap Judgement takes personal stories from individuals and examines their broader application. It’s familiar territory. I’m comfortable there.  Episode 501, “A.I”, felt like home.

snap judgement

“In my hand is the first artificial brain.” That was host, Glynn Washington’s proclamation in the first segment. He recounts a story from his childhood, when  he told his friends that his dad worked in a secret underground lab developing the first artificial brain.  He considered that his “gimmick.”

The second segment was called “The Robot Boy.” It’s the story of Lyndon Baty, a Texas kid battling a kidney condition. Because of his compromised immune system, he has to go to school virtually, using a machine described as Skype on wheels.

The next segment was creepy, as third acts often are. It was about a website gatekeeper of sorts, who, much to his dismay, had to police the unsavory content flooding his site. Very icky subject matter. Could’ve skipped it and been fine.

Again, solid podcasting here. The music can be a bit distracting, and like all storytelling ventures, it can get a bit precious, but I’ll keep listening. It’s lovingly produced  and entertaining. Completely worth the bandwidth.

Posted in: NPR |

Podington Bear’s Chad Crouch

In 2007, musician Chad Crouch had a goal: create 156 songs in one year and reveal them thrice weekly on his podcast. He had no idea his little experiment would garner the attention of tastemakers like NPR’s Morning Edition and Seemingly overnight, his music filled the empty space in dozens of ads and radio projects.podington_bear

Podington Bear: Music For Misc. has been going strong ever since. Though Crouch revealed his true identity (for that first year he was simply known as “Podington Bear”) soon after he hit the 156 mark, the persona and the music that landed him licensing deals with Google, Microsoft, MTV, This American Life, and Chevrolet, continue to demand significance. As does his Portland-based record outfit, HUSH, the label behind the Decemberists.

His brand of electronica remains as subtle and gloriously small as it was back in 2007, but has somehow matured with Crouch, finding new depth every week. Recently, we talked about the origins of his ongoing experiment, his role in podcasting, and his open-source production library, Sound of Picture.

Interview with Podington Bear’s Chad Crouch

Has music always been a big part of your life?

No.  I never felt like I was exactly comfortable in my skin as a performer. Nor have I felt in any way gifted musically.  My dad played a few instruments over the years, sporadically, but I wouldn’t say making music or learning to play an instrument was a big part of my childhood.  Piano lessons only lasted a few months, and I didn’t continue trumpet after 6th grade band class.  I was pretty lousy.

Why the pseudonym that first year?

I wanted to experiment with podcasting, share my electronic music, and not have it attached to me or my record label.

You’ve been podcasting for almost 7 years now; was three songs a week a challenge in the beginning or business as usual?

It was a challenge and I didn’t keep to my original schedule. It took me 16 months to get to my goal of 156 songs, instead of a year.  Likewise, the most recent podcast episode is now a year and a half old, so it goes without saying I took my time with it, and take breaks.

Your fervor for all things open source came along at a time when music proprietorship was a contentious issue. Has that always been something you felt strongly about, or was it more a reaction to the state of the record industry at the time?

I wanted to explore it because it seemed like the business model of a record label was eroding, and I wanted to investigate it personally.

I’ve had great results with Creative Commons BYNC —though it’s not always clear cut to end-users what constitutes ‘commercial use’ — as well as the “freemium” model of giving away one version of the music, while selling another.  Having said this, I realize my experience isn’t necessarily transferrable to other traditional rock band with vocals enterprise schemes.

Tell me a little about HUSH records and the spontaneity that spawned it?

Well, it was just a hobby that turned into a business that seems to be turning into a hobby again.  A cottage industry.  It all started with a CD burner in 1995 that I paid $550 dollars for.  (It burned a CD in half the time it took to actually listen to it, and we thought it was amazing.) .  So the first dozen releases were largely home recorded and manufactured:  We crafted xeroxed art elements with collage and color copy elements.  Looking back I’m surprised how many CDs we actually sold in those days.

Over the years HUSH released over 100 albums.  In the past year I’ve put HUSH into hibernation in terms of new releases, as I’ve been distracted with other work, and puzzled over exactly how to proceed with the label.

Did the success of HUSH alums like the Decemberists impact the way you approached music, personally and professionally?

Yes,  the reason I have been able to eek out a strange career in the music business is due in large part to their success.  (I have managed their online shop since the beginning.)

In addition to that and HUSH, over the past four years I have also managed Laura Veirs’ record label, Raven Marching Band.  So my involvement in different facets of the industry keeps me somewhat insulated from the rigors of running a small label alone.

Far and away the best selling song in the HUSH catalog is “Wax & Wire” by Loch Lomond which is featured in a viral video (below) seen almost 30 million times.  It’s success is a tribute to the synergy between a great song and a great video acting as a lubricant.

Your songs are simultaneously accessible and obscure, but despite their genre ambiguity, they always feel thematic and distinctly Podington? What’s your writing/creating process?

My process, historically, has been 95% “in the box”, meaning I record almost solely in a closed loop: keybard-computer-headphones.  If it sounds like I’m playing an acoustic instrument, odds are it’s me playing a keyboard with convincing samples.  So it’s electronic music, but I think you’re right; there’s some genre ambiguity because it doesn’t always sound like what most people think of as electronic.

As far as what is distinct about my compositions, I’d say as a rule of thumb they are melodic, fairly simple and usually major key; they feature a bright–some might say childlike–sonic palette (bells and chimes are common); they have a tight bass and drum groove–I’m a big believer in the power of bass lines–grounding the song, and loosely performed composition elements or solos rising above.

What are you working on this week?

I’m on a big campaign to integrate Bandcamp into the HUSH shop and my music license site  I launched that site earlier this year and I’m delighted by the performance of it, given I’ve put very little effort put into publicizing it.  In the past seven months I have sold well over 200 licenses. played a big role in introducing my music to a lot of people in this timeframe (with over one million downloads) and is a site I can steer license inquiries to.  I’m excited about the potential to reach even more people, but I feel like I need to dial it in a little more.  Bandcamp will help as a familiar multi-format, high quality download gateway and embedded player. Uploading my music to free music has illustrated that tapping into sites with heavy traffic can have great results.

So while HUSH shop business is waning, Sound of Picture is taking up slack.


You can follow the podcast at Podington Bear: Music For Misc and cherry pick Podington Bear songs at Sound of Picture.