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Saving New Sounds: Podcast Preservation and Historiography

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Saving New Sounds: Podcast Preservation and Historiography Saving New Sounds Saving New Sounds Podcast Preservation and Historiography Jeremy Wade Morris and Eric Hoyt, editors University of Michigan Press • Ann Arbor Copyright © 2021 by Jeremy Wade Morris and Eric Hoyt Some rights reserved This work is licensed under a Creative Commons Attribution- NonCommercial 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photographs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use. To view a copy of this license, visit http://creativecommons.org/ licenses/by- nc/4.0/ For questions or permissions, please contact [email protected] Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid- free paper First published July 2021 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication data has been applied for. DOI: https://doi.org/10.3998/mpub.11435021 ISBN: 978- 0- 472- 05447- 3 (Paper : alk paper) ISBN: 978- 0- 472- 90124- 1 (OA ebook) Contents Acknowledgments vii Introduction: The Inseparability of Research and Preservation Frameworks for Podcasting History 1 Eric Hoyt and JErEmy WadE morris Revisiting Podcasting’s Histories 1. Podcast Archaeology: Researching Proto- Podcasts and Early Born- Digital Audio Formats 29 andrEW J. BottomlEy 2. The Perils of Ladycasting: Podcasting, Gender, and Alternative Production Cultures 51 JEnnifEr Hyland Wang 3. Reality in Sound: Problem Solved? 71 micHElE HilmEs 4. “I’m Trying to Be the Rap Oprah”: Combat Jack and the History of the Loud Speakers Network 82 saraH florini and Briana BarnEr 5. Howling into a Megaphone: Archiving the History of Podcast Advertising 92 JJ BErscH vi Contents Analyzing Podcasting’s Now 6. Podcasting the Donald Sterling Scandal: The Prismatic Perspective of the PodcastRE Database 109 JacoB mErtEns 7. Listening to the Aftermath of Crime: True Crime Podcasts 124 amanda KEElEr 8. A RE- Emphasis on Context: Preserving and Analyzing Podcast Metadata 135 susan noH 9. Drifting Voices: Studying Emotion and Pitch in Podcasting with Digital Tools 154 JacoB mErtEns, Eric Hoyt, and JErEmy WadE morris Imagining Podcasting’s Future 10. The Scholarly Podcast: Form and Function in Audio Academia 181 macK Hagood 11. The Feed Is the Thing: How RSS Defined PodcastRE and Why Podcasts May Need to Move On 195 samuEl HansEn 12. The Spotification of Podcasting 208 JErEmy WadE morris 13. Preserve This Podcast: A Podcaster- Led Preservation Strategy 224 dana gErBEr-­MargiE, mary Kidd, molly scHWartz, and saraH nguyỄn 14. Saving Podcasting’s Contexts: Archive Collecting Strategies and Media Historiography 237 Eric Hoyt Audio Dispatches 257 Index 259 Digital materials related to this title can be found on the Fulcrum platform via the following citable URL: https://doi.org/10.3998/mpub.11435021 Acknowledgments Is this thing on? Part microphone check, part technical support query; the question seems a fitting way to start this collection, which is not just the book you hold in your hands (or the PDF you see on your screen) but also a vibrant, growing, and slightly temperamental database that indexes millions of podcasts. We grab the mic then to say thanks to the many individuals and institutions who had a hand in helping this project go from mic check to showtime. The publication of this book, as well our work in building and sus- taining the PodcastRE archive, was made possible thanks to a UW2020 Discovery Initiative grant. Support for this research was provided by the University of Wisconsin– Madison Office of the Vice Chancellor for Research and Graduate Education with funding from the Wisconsin Alumni Research Foundation. Additionally, further research and the development of PodcastRE’s data analytics tools were supported through a Digital Humanities Advancement Grant from the National Endowment for the Humanities. We would like to thank these institutions for their generous support and for believing in us and our work. Within our home institution, there are many people we need to thank for their expertise, creativity, kindness, and contributions to the underlying database from which this collection stems. PodcastRE would not exist without the engineering brilliance of Peter Sengstock, who manages the large- scale technical needs of this highly demanding proj- ect with grace and patience. Similarly, Samuel Hansen’s incomparable efforts in coding, scripting, and problem solving almost the entire back- end infrastructure deserve more recognition than this paragraph allows. Our thanks also go to UW Libraries’ digital team— Lee Konrad, Peter Gorman, Cameron Cook, and Scott Prater— for their guidance and con- tributions to the AV Data Core. viii Acknowledgments We are fortunate to work in UW–Madison’s Department of Commu- nication Arts with an extraordinary group of colleagues and students. We would like to thank the Media and Cultural Studies and Film faculty— Jonathan Gray, Michele Hilmes, Derek Johnson, Lori Kido Lopez, Jason Lopez, David Bordwell, Kelley Conway, Erik Gunneson, Lea Jacobs, Ben Singer, Jeff Smith, Darshana Mini, and Aaron Greer—for the intellectual community that makes this work possible (and fun). We especially want to call attention to the graduate students, past and present, who have contributed immeasurably to the PodcastRE project and this book: JJ Bersch, Andrew Bottomley, Dewitt King, Jackie Land, Nick Laureano, Jacob Mertens, Lesley Stevenson, Tom Welch, and Susan Noh (with a special nod for her impressive design and implementation of the Podcas- tRE visualization and analytics tools). Beyond Madison, we are grateful to belong to a vibrant community of scholars working at the intersections of media studies, sound stud- ies, and the digital humanities. Many of these scholars generously con- tributed chapters and their voices to this book. We would especially like to thank the organizers and participants of the 2018 GLASS (Great Lakes Association of Sound Studies) conferences, including Neil Verma, Jacob Smith, Marit MacArthur, Mara Mills, Robert Ochshorn, and Mack Hagood. Thanks also to Josh Shepperd and the Radio Preservation Task Force, Sarah Florini, Dana Gerber- Margie, Craig Eley, Wendy Hagenma- ier, Elana Levine, Troy Reeves, Reginold Royston, Shawn Vancour, Lia Wolock, and others who have contributed ideas, advice, and podcast rec- ommendations as the database has grown in scope and scale. Our advi- sory board— Jonathan Sterne, Tanya Clement, and Adam Sachs—also provided much- needed support during the funding stages of the project. In bringing this book to completion, it was a pleasure to work with the University of Michigan Press, a publisher that shares our commitments to open access and digital preservation. Thank you to Mary Francis, Sara Cohen, Flannery Wise, Mary Hashman, and Anna Pohlod for guiding us through the process and Pilar Wyman for the great index. The final stages of the editing process occurred as we sheltered in place during a global pandemic— something we never imagined we would be living through. We could not have done it without the love, laughs, and care of our families. Jeremy would like to thank Leanne for a lifetime of listening (to pod- casts, music, each other, etc.). To Lucas, Rachel, and Justine, thanks for making podcasts with me and for all the noise you bring to my life. Acknowledgments ix Eric thanks Emily, Rumi, Liam, and Esme for their love, inspiration, and creativity. Thank you for showing me how to be mindful and pres- ent, through the good and the bad. You are my best teachers. Is this thing on? Let’s find out. Introduction The Inseparability of Research and Preservation Frameworks for Podcasting History Eric Hoyt and JErEmy WadE morris In March 2014, podcaster and comedian Adam Carolla initiated a crowd- funding campaign designed to “save” podcasting. A company called Per- sonal Audio LLC was suing Carolla for infringing on a patent— a “system for disseminating media content in serialized episodes” (Nazer 2018)— that it claimed gave the company exclusive rights over the very practice of distributing audio via a podcast. Carolla’s campaign called on podcast listeners and podcast creators to band together to offset the legal fees it would cost to pursue the case, a case that would save podcasting by ensuring it remained a practice anyone could do rather than become a licensable technology exclusive to one company. In the end, Carolla raised close to half a million dollars from over twelve thousand support- ers, and his cause was featured in dozens of podcasts and hundreds of other media outlets. The Electronic Frontier Foundation (EFF)—a non- profit digital rights group that promotes internet civil liberties—also began challenging the patent through the patent office, in support of Carolla and other podcasters. Although Carolla was the highest-profile podcaster at the center of the infringement suit, with many other pod- casters out there and millions of avid listeners who regularly download and use podcasts, the threat that Personal Audio might go after a much wider swath of podcast producers was enough to galvanize a disparate community of listeners, users, media producers, and tech activists. 2 saving nEW sounds Through the EFF’s work, the overly broad claims related to the patent were invalidated in 2018 (Nazer 2018). Yet the dispute highlights how fragile new media formats can be and how vulnerable new industries are when the protocols, norms, and conventions of production, circulation, and consumption have yet to settle (Gitelman 2006). As we write this in 2020, podcasting has moved past the existen- tial threat of a patent troll.
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