Yet another small media outlet is coming to Boston — this one owned by the legendary Graham family, the former owners of The Washington Post.
City Cast is hiring a lead producer to oversee a team of three who’ll produce a daily podcast and newsletter in Boston, joining projects that are already up and running in Chicago, Denver, Houston, Salt Lake City and Pittsburgh. The project is expanding to six other cities as well. The journalist behind it is David Plotz, formerly the editor-in-chief of Slate (also owned by Graham Holdings) and former chief executive of Atlas Obscura, who announced his idea for a network of local podcasts in October 2020:
It will combine essential local news with smart, delightful perspective about your community. It will be the passionate, curious, connecting voice of your city and mine — framing and explaining the news and helping make us more informed and more empathetic — and better citizens in small but meaningful ways. [Plotz’s boldface.]
I spent a little time with the Denver and Chicago City Casts this morning, and my first impression was that they are more substantive than Axios Local or certainly 6AM City, which I wrote about recently for GBH News. (And let’s not forget about the specialty state political newsletters from Politico, State House News Service and CommonWealth Magazine.) That said, I’m not sure who the audience for City Cast Boston will be.
In his announcement, Plotz lamented that “where local news is sparse or feeble, communities suffer.” Well, Boston is certainly no news desert, and it’s hard to see how a small podcast is going to do anything about the suburbs, exurbs and satellite cities, where news coverage is truly lacking.
I suspect that City Cast’s target audience are young tech workers, many from out of town, who haven’t yet developed the news habit — in other words, the same people who’ve been targeted by Axios Local and 6AM City.
And maybe it’s time for the city’s major homegrown media outlets — The Boston Globe, of course, but also WBUR Radio, GBH News, CommonWealth and others — to think about why outside media organizations assume those readers are there for the taking.
The Boston Globe’s paid digital circulation keeps growing. According to an email that editor Brian McGrory sent to the staff Friday afternoon and that was passed on by a trusted source, the paper is now at 235,000. I won’t quote the whole thing, but here’s the relevant part:
In the past two months, what David Epstein would call the meteorological winter, we’ve added more than 8,500 new digital subscribers, bringing our total to about 235,000. It’s easy to take this massive achievement for granted, but you need to know, there’s not another major metro paper in the US that’s near this. And we’re retaining our existing subscribers better than any forecast. We’ve also had some of our biggest traffic days since the early pandemic in the past month.
Much of this is a tribute to the good work the Globe is doing. But some of it has to be a consequence of the high cost of a print subscription — a cost that will soon be rising even more. This showed up in my inbox several days ago:
Is the @bostonglobe trying to drive down print circulation to the point at which it can close the Taunton plant and outsource what's left of the print run? This makes you wonder. pic.twitter.com/S6uikXdCdo
I do wonder what the Globe sees as the future of its print edition. As recently as December, the paper reported that 55% of its revenue continues to come from print. I have to assume they have no intention of getting rid of it. But as I tweeted, I’m curious as to whether there’s a deliberate strategy to shrink the print run and move more readers over to digital.
Sen. Amy Klobuchar meets a fan in Iowa. Photo (cc) 2019 by Gage Skidmore.
For years now, news executives have been complaining bitterly that Google and Facebook repurpose their journalism without paying for it. Now it looks like they might have an opportunity to do something about it.
Earlier this week a Senate subcommittee chaired by Sen. Amy Klobuchar, D-Minn., heard testimony about the Journalism Competition and Preservation Act (JCPA), sponsored by her and Sen. John Kennedy, R-La. The bill would allow representatives of the news business to bargain collectively over a compensation package with Google and Facebook without running afoul of antitrust laws. If they fall short, an arbitrator would impose a settlement.
“These big tech companies are not friends to journalism,” said Klobuchar, according to an account of the hearing by Gretchen Peck of the trade magazine Editor & Publisher. “They are raking in ad dollars while taking news content, feeding it to their users, and refusing to offer fair compensation.”
There’s no question that the local news ecosystem has fallen apart, and that technology has a lot to do with it. (So do the pernicious effects of corporate and hedge-fund ownership, which has imposed cost-cutting that goes far beyond what’s necessary to run a sustainable business.) But is the JCPA the best way to go about it?
The tech giants themselves have been claiming for years that they provide value to news organizations by sending traffic their way. True, except that the revenues brought in by digital advertising have plummeted over the past two decades. A lawsuit brought by newspaper publishers argues that the reason is Google’s illegal monopoly over digital advertising, cemented by a secret deal with Facebook not to compete.
Though Google and Facebook deny any wrongdoing, the lawsuit strikes me as a more promising strategy than the JCPA, which raises some serious questions about who would benefit. A similar law in Australia has mainly served to further enrich Rupert Murdoch.
Writing at Nieman Lab, Joshua Benton argues, among other things, that simply taxing the technology companies and using the money to fund tax subsidies for local news would be a better solution. Benton cites one provision of the Build Back Better legislation — a payroll tax deduction for hiring and retaining journalists.
In fact, though, the payroll provision is just one of three tax credits included in the Local Journalism Sustainability Act; the others would reward subscribers and advertisers. I have some reservations about using tax credits in a way that would indiscriminately reward hedge-fund owners along with independent operators. But I do think it’s worth a try.
Even though local news needs a lot of help, probably in the form of some public assistance, it strikes me that the Klobuchar-Kennedy proposal is the least attractive of the options now on the table.
Then-New York Gov. Andrew Cuomo. Photo (cc) 2014 by Diana Robinson.
Tatiana Siegel reports in Rolling Stone that Jeff Zucker and Allison Gollust may have been advising Andrew Cuomo at the same time that Chris Cuomo was driving his own career into a ditch by doing more or less the same thing. She indirectly quotes a source familiar with the workings of an investigation into Chris Cuomo’s behavior:
The source says the investigation suggests Zucker and Gollust were advising the governor at the beginning of the Covid pandemic in ways not dissimilar to what led to Chris Cuomo’s dismissal. As Andrew sparred on a daily basis with then-President Trump over Covid messaging, the couple provided the governor with talking points on how to respond to the president’s criticisms of the New York crisis. They also booked the governor to appear on the network exclusively, which became a ratings boon for CNN, with Chris Cuomo doing the interviewing. Cuomo and Gollust’s conduct, too, would appear to mark an ethical breach for executives acting on behalf of an impartial news outlet.
The source does not appear to be claiming that Zucker and Gollust were advising Andrew Cuomo on how to handle the sexual-harassment allegations that eventually led to his resignation as governor; that came later. Still, the behavior described by the source is wildly inappropriate. Much more to come, no doubt.
Jeff Zucker. Photo (cc) 2013 by Fortune Live Media.
Something doesn’t make sense about Jeff Zucker’s sudden departure from CNN. He and his paramour, CNN executive vice president Allison Gollust, are consenting adults, and they’re both divorced.
There was an aha! moment Wednesday when we learned that Gollust had previously worked as Andrew Cuomo’s communications director. But that turned out to be a brief stint a decade ago. Maybe leadership concluded that Zucker had put them in an untenable position with regard to Chris Cuomo’s legal case against CNN. Or maybe Chris has something else up his sleeve. I suspect we’re going to find out more.
Meanwhile, let’s look at the record. Zucker is widely seen as a successful chief executive of CNN, well-liked by the troops. But what exactly were his accomplishments? He rode a Trump-driven rise in the ratings, the same as everyone else; ratings have collapsed since the end of the Trump presidency. Zucker accomplished little journalistically, especially in prime time, which has devolved into three hours of liberal talk shows that are not as good as those on MSNBC. Anderson Cooper, a significant asset, is badly misused.
More than anything, though, Zucker is the man who morphed Donald Trump from a failed real-estate developer into a media star, first through “The Apprentice” and then by giving him hours and hours of free air time during the 2016 presidential campaign. It’s all Trump all the time for Zucker, whether he’s for him or against him. And that’s the oxygen upon which Trump thrives.
What’s next for CNN? Its digital-streaming service, CNN+, debuts soon, and unless you think the public has been drooling with anticipation at the prospect of paying for CNN Lite, it has all the hallmarks of a disaster in the making.
My advice is to try reporting the news — especially during the key 8-to-11 p.m. time slot. Sadly, I’m sure that will go unheeded.
No sooner had Neil Young announced he was pulling his music off Spotify because of vaccine falsehoods on Joe Rogan’s podcast than we began to learn about other dicey content on the service.
Will Dunn had a list at The New Statesman. Among them: Steven Crowder, who’s been accused of racism and homophobia; Hearts of Oak, which has featured anti-Muslim interviews; and Taake, a Norwegian black metal band whose front man appeared on stage in Germany with a swastika on his chest.
“This is the great problem of the platform economy,” Dunn wrote. “In traditional broadcasting the platform publishes a small amount of material to a large audience, taking responsibility for its quality. In the platform economy, a vast amount of material is published — there are almost three million podcasts on Spotify — and the market for attention decides who wins.”
Well, no. In fact, Dunn’s article illustrates a significant misunderstanding that has permeated the furor over Spotify. And it underscores the sad reality that podcasting, like the open web in general, is being eclipsed by business interests focused on dollars rather than democratic discourse.
Most material on Spotify and competing services can be considered third-party content, no different from what’s posted on Facebook and Twitter. Podcasts are distributed to all the major platforms. You’ll find Crowder and Hearts of Oak at Apple Podcasts, for instance, and Taake is available on Apple Music. I may not like what they say, but they’re free to say it.
Starting last April, though, Spotify and Apple announced they were going to start signing celebrity podcasters to exclusive deals. Rogan reportedly got $100 million and is immensely popular — certainly more popular these days than Young and the other musicians who’ve joined him, including (so far) Joni Mitchell and Nils Lofgren.
In other words, Spotify now embraces two entirely different business models. On the one hand, it’s a neutral platform for most podcasters as well as independent musicians who upload their music to the service. On the other, it’s a broadcaster, as fully responsible for Rogan’s content as Fox News is for Tucker Carlson. That’s just as true for Spotify’s less controversial fare, such as “Renegades,” an exclusive podcast featuring Bruce Springsteen and Barack Obama.
The difference has significant implications for free speech. It would be absurd for Young to demand that Spotify remove every bit of third-party content he finds offensive as the price for keeping “Like a Hurricane” in rotation. But it’s perfectly reasonable for Young to decide he doesn’t want to be associated with a company that pays and actively promotes a host who’s indulging in dangerous vaccine nonsense.
Even so, Young et al. have been accused in some quarters of failing to respect Rogan’s free-speech rights. For instance, Zaid Jilani, writing at City Journal, sneered at “Young’s transformation from countercultural champion of freedom of speech to corporate censorship advocate and defender of the public-health bureaucracy.” That’s an absurd argument because it suggests that Young shouldn’t exercise his own free-speech rights. He’s free to stay on Spotify or leave, and he’s chosen to leave.
“I support free speech. I have never been in favor of censorship,” Young said in a statement on his website. “Private companies have the right to choose what they profit from, just as I can choose not to have my music support a platform that disseminates harmful information.”
That’s a refreshingly tolerant attitude toward free speech given the frightening wave of repression taking place in the broader culture — from the banning of LGBTQ books and “Maus,” a graphic novel about the Holocaust, to legislation being debated among New Hampshire lawmakers to prohibit the teaching of critical race theory, and to empower snitches who are eager to turn in teachers.
Then again, Young has also made it clear that he’d come back if Spotify got rid of Rogan’s program. Do Young and Mitchell, years past their heyday, really exercise that kind of clout? I think the answer to that is maybe. They’re still popular, especially with older listeners. Some other musicians with a profile higher than Lofgren’s may join them, though few own the rights to their recordings. (Bob Dylan and Springsteen are among the artists who’ve sold their catalogs recently.)
But the real economic challenge Young and his compatriots pose is to the idea of Spotify as the infinite jukebox. If you are a paying customer, you expect to be able to find anything you want, no matter how obscure. I wouldn’t pay for a service without Neil Young. (Yes, I am old.) And though I’m not a Joni Mitchell fan, I recently listened to five of her classic albums — on Spotify.
Besides, a sudden wave of negative publicity can bring a company under scrutiny in ways it had previously escaped. As I’ve been discussing the issue over the past few days on Twitter and Facebook, I’ve learned that Apple Music pays musicians double what Spotify pays. It’s still inadequate, and some smaller services like Tidal do better. But for a mainstream service with access to just about everything you’d ever want to listen to, Apple might be a superior choice. And that’s where I’m moving.
It remains to be seen how much harm the Rogan episode will do to Spotify. He and the company have both issued statements promising to improve their behavior, but there are no signs that they’re going to back down. And though there was some excitement last week over Spotify’s slide in the stock market, it was actually up 13.5% on Monday. (I’m finishing this early Tuesday afternoon, and the price is more or less flat.)
The original sin was Spotify and Apple’s move last year to try to turn podcasting into a walled garden for their economic benefit. Before that, podcasting was wide open. Whether a show was entirely a volunteer effort or supported by advertising, you could listen to it on any platform. Now, like the video-streaming services, you are forced to choose platforms based on which one has your favorite programs.
Spotify is now reaping what it has sown. Rogan has survived, at least for now. In the days ahead, we’ll learn what matters more to company executives — offering a one-stop platform for all the music and podcasts you want to listen to, or leaning on the drawing power of a few stars.
The answer, needless to say, will come down to which approach brings in more money.
In a wide-ranging conversation with Ellen and Dan, Crossley shares her views on the thinning out of local news outlets and offers sage advice for next-generation journalists. Callie and Dan were regulars on “Beat the Press,” the award-winning GBH-TV show that featured media commentary, which ended its 22-year run in 2021. In 2019, both of them received the Yankee Quill Award from the New England Society of Newspaper Editors.
In Quick Takes on developments in local news, Dan laments the rise of robot journalism, and Ellen reports on an effort by publisher Lee Enterprises to fight off a takeover bid by the hedge fund Alden Global Capital.
