It's the worst noise in the world: me analyzing the reasons for making a podcast about U2.
How has podcasting changed things? A lot of people ask me if I feel I should be more famous.
For magazines seeking to extend their reach into podcasting, half the battle is finding members of staff who don't sound like the kind of people you wouldn't care to be stuck in a lift with.
I record a podcast, 'Shondaland Revealed,' every week while we are shooting.
I think podcasting is here to stay.
Radio 3 shows such as 'Between the Ears' also make the kind of podcasts that draw the most from your noise-cancelling headphones. The programme commissions ideas that make adventurous use of sound.
My company, Cinema Gypsy, produced a podcast, 'Bronzeville,' in conjunction with Larenz Tate and his brothers that we're developing into a television show. It deals with a very tight-knit African-American community in Chicago in 1947 and people who run a numbers wheel.
Podcasts, and the way they are distributed, are extremely simple technologically. Indeed, 'RSS,' the feed protocol that connects podcast apps to the audio files that they need, stands for 'Really Simple Syndication.'
I think the podcast is a way to keep working out, essentially. You can keep being creative on your own schedule, without having to book a gig. It's been a great way to connect to people, especially realizing there is an audience listening. They generally gravitate to my sensibility. I love it.
I love podcasts! I wish I had my own, although I think there are already too many podcasts, so I don't know how I would create a new one.
Well 'The Pod F. Tompkast,' as much as I love the result of it, was a really labor intensive show. There's a lot of writing, there's a lot of scheduling, there's a lot of recording - it's not a show that we can necessarily do in one day because there are so many moving parts to it.
Every day I do one or two podcasts that 92 percent of people never will hear. I'm constantly producing, constantly making jokes for Twitter. There's a lot of pressure there. On the flip side, I think having to produce like that makes you a better comedian.
I'm a big podcast guy, I have my own podcast called 'Wide Open.'
I saw podcast sites with all these fancy graphics. People don't care about that. They sign up for what I do.
Radio people can't entirely shake off radio habits when they start doing podcasts. They sometimes bring with them things we don't need, like producers and explanatory voiceovers.
Every podcast network has a different culture as far as I can tell. How they run things at Nerdist is totally different than how they run things at Earwolf is totally different than All Things Comedy or Maximum Fun or Feral Audio. And it's different if it's independent.
I love the fact that I can make a podcast in my house and tens of thousands of people will hear it. I also like that it's gotten rid of a lot of gatekeepers.
There are absolutely no limits with podcasting because you can do anything you want.
People are realizing that podcasting is special.
My job, originally, was to write blog posts for their 'HubSpot' blog. They have a business model built on content. Then I was writing e-books for them, and after I came back from L.A., they had this new plan to launch a podcast.
The thing about a good podcast is you have to have a good host. If you don't have a compelling host then you have nothing.
Podcasting is not really that different from streaming music, which we've done for quite a long time. Having a traditional podcast that people subscribe to - the hype is ahead of the quality. Podcasting is essentially a download, and you run into copyright issues. What you're left with currently is podcast talk radio.
I'm a podcast guy!
My mates Dominic Boyer and Cymene Howe have put together thirty one episodes of a really really nice podcast at Rice as part of the Center for Energy and Environmental Research in the Humanities and Social Sciences. The 'Cultures of Energy Podcast' is so good!
