Month: August 2022

As a startup with a limited budget (and limited funding as investors hold onto their dollars a little tighter with a potential looming recession), “you’re only taking so many bets,” said Joe Spector, founder and CEO of Dutch.

SEO is a channel the startup experimented with in the past, ramping up paid search and key term efforts after seeing initial success in its first year of business, Spector said.

“We’re making a bigger investment in SEO because now we clearly see that it’s leading to results and conversions,” he said, adding that the change has led to higher website traffic and customer retention.

Historically, the one-year-old, California-based startup frequently spent up to $750,000 on advertising and marketing on channels like Facebook, Instagram, Google display and Google AdWords, according to a spokesperson for the brand. But by March of this year, that figure was slashed by 90%, allocating a bigger portion of spend to paid search. Around that same time, per Spector, Dutch went from spending an estimated $25,000 a month on SEO to $75,000 per month now.

There are plans to increase that investment in SEO, according to Spector. He added that while the budget has decreased, the optimized efforts and beefed-up SEO strategy led to higher website traffic and increased customer retention. He did not provide specific figures.

That’s not to say that paid search and SEO is the end all, be all of Dutch’s marketing strategy. Given its limited budget, Facebook was narrowed from a brand awareness channel to a way to retarget customers, per the CEO.

Brands are increasingly nervous about their media investments ahead of a potential recession, said Shalanna Clark, head of marketing at Code3 digital marketing agency. She said while not many Code3 clients have sought to slash budgets, there have been conversations around maintaining budgets or testing other channels that may become cheaper with a recession.

“It does pay off, but it is a slow build,” Clark said of the brand’s SEO investment, adding that SEO is often an investment that takes a while to see results. Still, media channel diversification is key in the long run, per Clark. “If you have some sort of test budget, even if it’s small, there is an opportunity to gain some share,” she said. 

With at least a year in business, Dutch has found its footing and where it fits in the marketplace. That being said, they’re looking to invest in brand awareness next year with experimental channels, according to Spector. 

“Brand is a tax that you have to invest in all the time. That’s something we’re gonna revisit now that we’ve starved ourselves a little bit,” he said. “We’re ready to eat a little bit on the brand side.”

“Our strategy centers around increasing audience buy-in through repetition and the same relatability that drew us to Corporate Natalie from the start,” said Adam Ballard, vp of marketing at Paycom. Spots were developed to target HR and C-suite decision makers, with the goal of reaching them through companies’ employees.

With Corporate Natalie (a.k.a. Natalie Mariee), employees will see someone they find relatable in the ads, which will hopefully increase their curiosity about Paycom’s technology. “Our overall goal is to create demand from consumers (C-Suite and HR) to ask for a better way to manage day-to-day HR tasks,” Ballard said.

Aside from connected TV, the spots will also appear on platforms such as Facebook, Twitter, Instagram, LinkedIn, YouTube, Pinterest and TikTok. The brand tapped Corporate Natalie because she understood firsthand the frustrations of outdated tech, tedious processes and HR mistakes. “We saw an opportunity to bring Natalie alongside our other in-market campaigns that focus on the unnecessary complexities that come from having the wrong HR tools,” said Ballard. “Natalie brings to life the pain an employee experiences when they are forced to use the wrong tools for the HR and payroll needs.” 

“For the Corporate Natalie campaign, the mix is about 50% digital, with the vast majority of that investment being social media,” said Ballard. However, it is unclear how much of Paycom’s advertising budget is allocated to this campaign, as Ballard would not share overall budget specifics.

According to Pathmatics data, Paycom spent over $5.3 million so far this year on advertising efforts. Ballard also said that this campaign runs in parallel to the brand’s other national campaigns: Unnecessary Action Hero (starring actor Shemar Moore) and Wrong Tool (featuring investor Barbara Corcoran). Ballard declined to comment on how Paycom’s budget was split on social platforms.

Corporate Natalie’s videos represent situations relevant to all employees, and she has over 18 million followers on TikTok. The relatability she brings to Paycom’s ads makes her the perfect person to explore how its technology is right for employees and their employers alike, Ballard said. “The medium of TikTok allows us to get to the point of what Paycom does immediately for employees using our app, allowing relatable humor to drive it home,” he said. 

Paycom joins a long list of brands that have partnered with TikTok stars for ad campaigns. Recently, TikTok personality Addison Rae collaborated with Google and Samsung on a ’90s-inspired, nostalgia-filled campaign. TikTok is the sixth most-used social platform in the world, and it has the highest engagement rate compared to other social media apps. On TikTok, marketers can expect engagement rates to reach as high as 5.3% for accounts with 100,000 or more followers, according to Startup Bonsai, which is at least 4% higher than the engagement rates on Instagram and Twitter.

“Paycom is using an omnichannel approach and breaking barriers between TikTok and TV to stand out and target a new, younger audience,” said Lily Rotter, senior director of demand generation at Skai, an omnichannel marketing platform. “The ‘TikTok style’ has become viral, and Paycom is testing the assumption that the style will be effective regardless of the media.”

It turns out that more publishers are getting a large portion of their revenue from events than they were six months ago: This past winter, only 9% of respondents to Digiday’s survey said events drive a large chunk of their revenue. That number jumped to 18% this summer. Meanwhile, the percentage of publishers who said none of their revenue comes from events fell from 37% to 29% over the same period. And a significant number of publishers — 38%, to be exact — are getting at least a small portion of their revenue from events.

Digiday’s survey also found that the likelihood that publishers’ events revenue will grow even more in the coming months is high: 40% of respondents said building their events business will be a large focus in the next six months, up significantly from 29% in the winter. At the same time, the percentage of publishers who said they won’t focus at all on building their events business in the next six months fell from nearly a third six months ago to less than a quarter this summer.

It turns out this shift comes with good reason: Digiday’s survey found that people are back out at events. Six months ago, only 14% of publisher pros said they had attended an in-person business conference or event in the past month. This summer, that number jumped to 36%. And it’s safe to say that this increase is part of a significant trend, considering that in spring 2021 a mere 3% of respondents to Digiday’s survey said they had attended such an event in the past month.

Meanwhile, the percentage of publisher pros who said they haven’t attended an in-person conference or business event plummeted over the same period. In spring 2021, a whopping 87% of respondents to Digiday’s survey said they hadn’t been to such an event in the past year. This summer, only about a quarter of respondents said the same.

And as an economic downturn approaches, publishers banking on events is likely a good business move, Digiday’s survey found. In spring 2021, only 7% of respondents said they were willing to attend an in-person business conference or event in the next month. That number was up to 42% six months ago and increased even further to 64% this summer. If this trend continues, publishers that invest in their events business could open themselves up to a potentially lucrative revenue stream at a critical time.

Since its filing on Monday in federal court in Idaho, the lawsuit has left ad-tech insiders wondering why Kochava was singled out when it’s just one of many data brokers that track location data. Some speculate the regulatory agency wants to make an example out of Kochava without getting overly burdened by suing much larger companies in the ad-tech space. Experts see the lawsuit against a smaller player like Kochava as a warning sign to the broader data broker industry while others say the FTC’s case will be legally challenging and face a high bar. Regardless of the outcome, the legal battle also raises new questions about the future of location-based data — and the appetite advertisers have for it.

Although the FTC has investigated various aspects of the online ad industry — it issued a 2014 report calling on more transparency and accountability for data brokers — the agency has traditionally focused more on giants like internet and telecom companies. The most famous example of FTC enforcement related to data privacy was its landmark settlement with Facebook 2019 following an investigation into how the British firm Cambridge Analytica collected user data. (The FTC declined Digiday’s interview request about its Kochava lawsuit.)

“That’s the most significant part of this: We’re moving down the supply chain,” said Zach Edwards, an independent researcher. “It’s no longer just the Cambridge Analyticas. We’re going a foot deep instead of an inch deep.”

The new complaint comes a week before the FTC will hold its first public hearing as part of the information-gathering process to inform potential new rules regulating “commercial surveillance.” It also comes as Congress considers new federal regulations under the proposed American Data Privacy And Protection Act, which would give the FTC expanded regulatory powers.

“One thing is size, but it’s also their role,” said Jessica Lee, chair of the law firm Loeb & Loeb’s privacy, security and data innovations practice when asked about why the FTC would target Kochava. “If you really want to try to effect change — particularly in this case where the issue is the data feeds that are made available — it might make more sense to come after a company that’s in the supply chain, and that’s really where Kochava is.”

A different kind of case and a rare countersuit

Former FTC officials told Digiday that the agency is taking a different approach from how it’s sought to regulate data privacy with giants such as internet and telecom companies. Instead of trying to prove Kochava has been deceptive — a key tenet in the 2019 case involving Facebook and Cambridge Analytica — the allegations focus on “unfair” practices with user data. Some lawyers say gives the case more legal standing but others note the FTC needs to prove how Kochava’s practices could harm consumers.

Other times the FTC sued companies over privacy include 2021 settlements with the period-tracking app Flo and the ad platform OpenX. Despite the FTC’s recent track record of privacy-related settlements, Kochava has chosen to preemptively fight back. Earlier this month, it filed a countersuit against the FTC claiming the agency has wrongly threatened the company and mischaracterized its business.

In a written statement, Kochava Collective General Manager Brian Cox said the FTC’s lawsuit “shows the unfortunate reality that the FTC has a fundamental misunderstanding of Kochava’s data marketplace business and other data businesses.” He said Kochava recently rolled out new ways to block geolocation data from sensitive locations, adding that the agency’s desired settlement “had no clear terms or resolutions and redefined the problem into a moving target.”

Kochava—which buys precise geolocation data from various third-party vendors—uses the data in two main ways. Along with helping brands measure ad performance based on footfall traffic, it also sells data to other ad-tech companies that then provide targeted data based on location. The company says it vets data brokers it works with, but the FTC claims the data isn’t anonymized and could put consumers at risk of being identified by their devices and other personal information. Even if there are not yet new laws to regulate location-tracking, legal experts say a settlement could have potential repercussions and that similar violations in the future could open the door for further FTC enforcement.

“Real progress to improve data privacy for consumers will not be reached through flamboyant press releases and frivolous litigation,” according to Cox’s statement emailed to Digiday. “It’s disappointing that the agency continues to circumvent the lawmaking process and perpetuate misinformation surrounding data privacy.”

Ruben Schreurs, chief product officer at the media management firm Ebiquity, said the FTC is in some ways creating a “no-fly zone” around the use of sensitive data. Kochava isn’t the largest player, but he thinks a legal win would potentially give the agency “some meat” to showcase before it begins to revamp its data privacy rules in the coming months.

The lawsuit also sheds more light on the location-tracking industry and could help “blow open” a broader discussion about what companies should be allowed to track, according to Joseph Turow, a longtime privacy researcher and professor of media systems and industries at the University of Pennsylvania. However, he said it doesn’t fully address what the agency wants companies to change or how the government should regulate data beyond sensitive topics.

“It really is a question of whether this is an acceptable aspect of society,” Turow said. “And I think the FTC has to confront that.”

The uphill battle

Some former FTC officials who spoke with Digiday have doubts about whether the case could win in court. Megan Gray, a former FTC attorney focused on enforcing privacy who is now CEO of GrayMatters Law and Policy, said she thinks the agency will lose the case based on its merits.

“How this case is understood — which is the agency suing a data broker for selling geo-location data without a sensitive locations filter and without delineating permissible purposes for its customers — that’s new,” she said. “That is on the bleeding edge forefront for privacy perspectives, and a company can genuinely say ‘we didn’t know.’”

Although Gray thinks the FTC’s own case has weaknesses, she said it “rarely makes sense” to file suit against the FTC, especially since the financial penalties are often small and the terms aren’t “particularly onerous.”

Regardless of what happens with Kochava, others suggest companies that sell or share precise geolocation data could also potentially face similar actions. Concerns around abortion-related data since the U.S. Supreme Court overturned Roe v. Wade have also made data privacy a heightened priority across other parts of the Biden administration.

Allison Lefrak — who spent nearly a decade as an attorney at the FTC focused on privacy and identity protection — noted a part of the FTC’s complaint that suggests Kochava should have created a blacklist for locations related to the types of data addressed in the lawsuit. Now senior vice president of public policy and ads privacy at Pixalate, Lefrak said recent actions suggest the agency is indicating an increased interest in going after the “commercial surveillance” industry.

“If I were an ad-tech data broker, I’d get on this blacklist recommendation,” Lefrak said.

The future of TV, defined

A year ago, we published a glossary of key terms that people in the TV, streaming and digital video industry use and, often, misuse. A year later, many of those terms continue to be used and, unfortunately, misused. So we are republishing the guide — with a few new additions for 2022 — that seek to head off any future confusion in conversations about the Future of TV.

CTV

What it stands for: Connected TV

What it refers to: TV screens that are connected to the internet. This can be either a smart TV with its own built-in operating system or a regular, “dumb” TV hooked up to an internet-connected device like an Apple TV box, Roku streaming stick or Chromecast dongle. The point is that CTV concerns the TV as a device through which people stream services like Netflix and Disney+ — it is not synonymous with streaming.

How to use it: To refer to the TV screen as an internet-connected device or to refer to the audiences, programming or ads that are accessed through an internet-connected TV screen. Consider CTV to be the TV industry’s analogue to the mobile industry’s smartphone.

Example sentence: I don’t want to watch “House of Dragons” on my laptop, so I’ll stream it through HBO Max’s CTV app.

OTT

What it stands for: Over the top

What it refers to: The method of distributing TV shows outside of — or, over the top of — a cable box or satellite dish. At least that was the original definition. This acronym was introduced to describe TV networks making their programming available on their websites and other digital properties. Eventually, that included Hulu, which was one of the pioneering streaming services and likely a major reason why OTT has become synonymous with streaming and conflated with CTV. 

How to use it: Don’t. Repeat: Do not use this acronym. Please. OTT was fine for a time, but that time has passed. As mentioned above, OTT has become synonymous with streaming, so let’s just say streaming instead. That way our friends and family members will know what the hell we’re talking about.

Example sentence: Remember when we used to say OTT? I’m so glad we all just say streaming now.

FAST

What it stands for: Free, ad-supported streaming TV

What it refers to: Streaming properties that resemble linear TV by carrying channels that air 24/7 based on a set programming schedule, are available for free and feature ads that interrupt the programming.

How to use it: To refer to the subsection of the ad-supported streaming market that mimics pre-DVR broadcast TV. The term FAST can be applied to the services themselves or to individual 24/7 channels that the services carry. 

Example sentence: I don’t feel like figuring out what to watch. Just put on a FAST cooking channel so we can start eating.

AVOD

What it stands for: Ad-supported video on demand

What it refers to: Video programming, such as TV shows and movies, that can be accessed at any time, are available either for free or a fee and carry ads that play before, during and/or after the program. AVOD’s distinguishing aspect is that programming is available on demand rather than requiring people to tune in at a given time.

How to use it: With care. Before the rise of FAST services, AVOD was effectively synonymous with ad-supported streaming. Then FAST services came along and split the ad-supported streaming market into two sides — similar to how traditional TV has linear channels and programming available on demand.

But the line between AVOD and FAST is blurring.

A lot of FAST services, such as ViacomCBS’s Pluto TV, have added programming that is available on-demand and carries ads. Meanwhile, originally AVOD services like Amazon’s IMDb TV and Roku’s The Roku Channel have added FAST channels alongside their on-demand programming libraries. In short, only use AVOD when referring to a subsection of the ad-supported streaming market in order to differentiate from the FAST subsection. If the distinction is unnecessary, opt for the umbrella term “ad-supported streaming.”

Example sentence: I’m only interested in buying AVOD inventory because I figure those viewers are more likely to be paying attention when my ad airs.

TV

What it stands for: Television

What it refers to: 1) The large screen(s) in people’s homes through which they watch video programming, ranging from live sports to sitcoms to movies to clips of cats. 2) The video programming that people watch on screens, including, but not limited to, the large screen(s) in their homes. 

How to use it: To reflect the convergence between traditional TV and streaming. If a piece of programming can be watched on a TV screen, then it’s TV. Someone who watches a piece of programming or an ad on TV is a TV viewer. An ad that plays on a TV screen is a TV ad.

Admittedly, expanding TV beyond the traditional definition is going to take some time, especially with TikTok having a CTV app so that short-form video can also be considered TV. But if last year’s upfront negotiations are any indication, that broader meaning is gaining traction, especially with digital video platforms like YouTube rivaling Netflix’s TV watch time.

Example sentence: I’m gonna go watch TV now.

Currency

What it refers to: The measurement metric(s) used as the basis for transactions between ad buyers and sellers. Historically, this has referred to Nielsen’s Gross Ratings Point metric that gauges how many people may have seen a brand’s ad on TV, but it can also apply to other types of measurement. For example, since Google sells search ads on a cost-per-click basis, clicks are the currency for search advertising.

How to use it: To refer to measurements strictly when a measurement is the metric dictating how much money is to be exchanged between advertisers and media companies or tech platforms.

Example sentence: I don’t care how many people saw my ad. I care how many people purchased my product after seeing my ad, so let’s use sales lift as the currency for this campaign.

Short-form video

What it refers to: Videos that are 10 minutes or shorter in length and published on vertical video platforms like TikTok, Instagram Reels and YouTube Shorts — for the most part. If that sounds incorrect, that’s understandable. So let’s spend a lot of time talking about the category of videos that are supposed to be concise.

For years, “short-form” referred to videos that were shorter than half-hour TV episodes and typically meant 10-minute-or-less YouTube videos. Then YouTube creators started making 10- to 20-minute-long videos, which begat the term “mid-form video.” Then Snapchat created a market for sub-10-minute-long vertical videos, and TikTok shrunk the market even more with sub-60-second-long vertical videos.

Because nothing can ever be so straightforward, TikTok and Instagram have been blurring the definition of short-form video by extending TikTok video lengths to 10 minutes and Reels to 15 minutes. But rather than saying, “Screw it. It’s all video” and sacrificing any shorthand for delineating among different video formats, let’s stick with the historical 10-minute marker and add the vertical format as a filter

How to use it: With context. If it isn’t already clear, “short-form” is a relative term. A TV or streaming show producer may consider any YouTube video to be short-form, whereas a TikTok creator may consider any YouTube video to be long-form. So rather than use the term “short-form video” on its own, it’s good to cite an example at the same time.

Example sentence: Our short-form video strategy right now is cutting clips from our TV shows and YouTube videos and reformatting them vertically to post to TikTok.

Long-form video

What it refers to: Videos that are more than a minute long and published on horizontal video platforms like YouTube, Facebook and streaming services. Basically any video that doesn’t qualify as short-form video.

As mentioned above, for years long-form video implicitly meant TV-length or longer videos. But then platforms like Vine, Snapchat and TikTok have pulled at the other end of the video spectrum to make 10-minute-long videos feel relatively long. And some TikTok creators even consider plus-60-second-long videos to be long-form. That line of delineation is reinforced by YouTube’s TikTok clone Shorts capping video lengths at 60 seconds, implying that YouTube considers 60 seconds to be the threshold between short-form and not-short-form, which we’ll call long-form (at least for now).

How to use it: With context. Same with short-form video, which is not the same as long-form video.

Example sentence: My long-form video strategy is stitching together a bunch of my TikToks into one video and zooming in to fill the screen horizontally so they look like an episodic TV or YouTube show.

What we’ve heard

“The one thing that was never dealt with in the last [Writers Guild of America] negotiation, because nobody wanted to shut down the business, was they never dealt with the residuals issue. That scares me a little bit. That’ll be [an issue] in 2023.”

— Entertainment executive

Traditional TV’s overexposure issue

Streaming services catch a lot of flak for showing people the same ad over and over again. But traditional TV also has a problem with overexposing audiences to ads.

According to measurement firm Samba TV’s “The State of Viewership” report, the vast majority of ads that aired on traditional TV in the first quarter of 2022 only reached roughly half of U.S. households.

Bonus content around specific shows 

QCode, known for its scripted fiction podcasts, moved into the unscripted podcast space earlier this month, with five shows added to its network. The company now has over 25 shows, with 30 more in development, said QCode chief strategy officer Steve Wilson. A few more will go live in the next couple of weeks, he said.

QCode is no. 14 in Apple Podcast’s “Top Subscriber Channel” chart, which launched earlier this month. Wilson declined to share the number of QCode+ subscribers.

QCode is experimenting with subscriptions around specific, unscripted chat shows, Wilson said. While all of QCode’s scripted fiction shows are available under a channel subscription on Apple Podcasts, the company plans to introduce individual show-level subscriptions “tailored to the benefits of that specific audience and what they’re looking for and getting more from those always-on shows,” Wilson said. 

“Different kinds of content is what we think will really win in subscriptions to give fans more,” he added.

For example, QCode’s recently-added show “Tooth and Claw” about real wild animal attacks has the “Griz Club” for $9.99 a month, which provides subscribers with bonus episodes, access to a server on the group-chatting platform Discord and early access to merch — a subscription model with additional benefits that could be replicated for other QCode shows.

“We’re candidly still figuring out exactly what the benefits, pricing and timing of subscriptions will be but we think they can be really bespoke to each show,” Wilson said. “Then we can have a blended model between advertising and subscriptions to really support these projects.”

Similarly to QCode, true crime media company Tenderfoot is offering bonus content to its Tenderfoot+ “on a show by show basis, and really trying to think about what works for this particular show,” said Tracy Kaplan, head of operations & partnerships at Tenderfoot. Both QCode+ and Tenderfoot+ have their subscriptions on Apple Podcasts. QCode+ costs $3.99 a month or $28.99, while Tenderfoot+ costs $4.99 a month or $49.99 a year.

Four shows were added to Tenderfoot+ this month, including the company’s first weekly true crime show. Over 200 episodes are available on Tenderfoot+, Kaplan said. She declined to share the number of Tenderfoot+ subscribers.

Wondery+, the top subscriber channel in Apple Podcast’s chart, is experimenting with early access to content, windowing and exclusivity “to further incentivize the habitual listeners” to pay for content, Neel Ketkar, head of product management at Wondery, said in an email. This summer, the Amazon-owned podcast studio released full seasons of popular weekly serialized shows exclusively to subscribers, including “Business Wars: Diet Wars,” “American History Tellers: The Manson Family Murders” and “American Scandal: The Midnight Crew.”

Additional benefits to come with NPR’s podcast bundle

Most of NPR’s individual podcast show subscriptions give readers sponsorship-free listening. But when NPR goes live with its podcast bundle membership program in November, NPR will “start to roll in additional features, some bonus content,” said Joel Sucherman, vp of new platform partnerships.

This may range from an “audio reader mail bag” where a host answers subscriber questions,  extended interviews, early access to live events or discounts at the NPR shop, he said. The NPR podcast subscriptions for “Planet Money” and “The Limits with Jay Williams” have already tested out some of these features, he said.

The bundle is planned to soft launch at 34 local stations, before expanding across the U.S. in the first half of 2023, Sucherman said. The bundle will include NPR podcasts that offer individual subscriptions and make them available to those who sign up for a local station membership. Once the bundle becomes available, NPR will cancel the single podcast subscriptions and prorate a refund for the remaining time left on the existing subscription. Existing subscribers will get upgraded to the bundle, which will have over a dozen shows, and pricing will change from its current $2.99 a month to a $8 a month or $96 a year tax-deductible donation, an NPR spokesperson said.

The largest source of NPR’s podcast show subscriptions — which are available on Spotify, Apple and NPR’s own platform — come from Apple, Sucherman said, though he declined to share exact subscription figures.

More monetization options for Acast+ 

Acast+, an independent podcast subscription platform, expanded its podcast monetization capabilities last month with the option for podcasters to ask for one-time payments. Podcasters can set a one-time price for a certain number of episodes or bonus content, rather than ask for recurring payments. The option is meant for podcasters who produce a seasonal show, who want to test their audiences’ appetite for paid content or who may not be able to handle the workload of offering bonus episodes at a regular cadence, said Stacey Goers, who was promoted to director of product at Acast this week. Bonus content on Acast+ often ranges from outtakes, Q&As or audio from listeners, she said.

Another “benefit” Acast is adding to its subscription platform is an integration with Meta coming this fall, Goers said. Paying podcast listeners will get access to private Facebook groups, where they can communicate with each other and podcasters.

Podcasters will also be able to test charging more for different podcast subscription tiers that provide access to additional benefits like the Facebook groups, Goers said. Goers did not share how many podcasts hosted on Acast’s platform offer a subscription before publishing time. She said the product is still relatively “nascent,” and that there are “hundreds of podcasts” on Acast+.

Revenue as a ‘complement‘

All of the execs interviewed for this story said podcast subscription revenue was a complement to advertising revenue, not a replacement.

“A subscription really serves superfans. I’m not expecting that it ever would replace our ad efforts,” Tenderfoot’s Kaplan said. Acast’s Goers said podcast subscriptions are “just a separate revenue stream. It gives you that separate degree of security.”

NPR has seen “modest success” from its individual subscriptions, Sucherman said. “This was never about a get-rich-quick scheme. It’s always been a multiyear program that aligns public radio around success and NPR podcasts with a way of bringing in new support from the listeners who love our shows,” he said.