"Good Tape": Unveiling the Untold Stories of the Podcast Industry
Good Tape, a new biannual print magazine, is trying to revolutionize the discourse surrounding the podcast industry. Founded by Dane Cardiel, VP of creator partnerships at Gumball, and journalist Alana Hope Levinson, Good Tape aims to fill the gap in dedicated cultural writing about audio storytelling. With a focus on lesser-known creators and independent modes of production, the magazine plans to combine journalism and cultural criticism to shed light on the untold stories within the podcasting realm. As the first issue is scheduled for release in the fall, the founders shared their insights on the magazine's vision and the importance of print as a medium.
Cardiel explained that many creators feel underrepresented in mainstream media coverage of the podcast industry. Moreover, there is a dearth of dedicated resources for writers to cover the cultural aspects of the audio industry.
“So with this as the backdrop, after attending On Air Fest in LA last year, I felt the urge to explore a magazine concept and rather quickly came up with the name Good Tape — which I really love,” he said. “I didn’t feel like I had any option but to see this through.” Thus, Good Tape was born with the mission to offer a platform for cultural writing that analyzes influences, sounds, and the experiences of podcast creators.
Levinson noted the challenges faced by mainstream media outlets that have struggled to sustain their business models.
“The business model of mainstream media companies has failed, and it means that there are way less places for writers to write,” she said. “Editors at existing outlets with shrinking budgets don’t want to take chances on anything that doesn’t produce viral numbers — even if it’s important or interesting culturally.” Additionally, the rise of influencer-generated content, which garners more views but lacks the ethical concerns of journalistic work, further intensifies the competition for cultural journalism. Good Tape aims to build a sustainable publication that can withstand these challenges and provide meaningful content beyond viral numbers.
“Readers are missing stories that profile the craft, artistry, and livelihoods of audio makers behind our favorite shows,” said Cardiel. “We tend to pull focus on the A-list talent involved while disregarding the writers, editors, producers, engineers, and composers that make these projects sing. Podcasting has such a profound impact in people’s lives — and it’s not always positive. I’d love to give a platform to these stories we aren’t seeing represented in mainstream media.”
While digital media dominates the contemporary landscape, Good Tape believes that print offers a distinct and immersive experience for readers.
“Our digital consumption habits have left younger generations fatigued and overwhelmed,” Cardiel explained. “As our lives are increasingly mediated by digital interactions, there’s something restoring about engaging with physical media and analog technologies. And truthfully, print is a differentiator for us. We don’t think Good Tape could break through as a newsletter or podcast — and with either form, our interest wouldn’t be sustained in the same way.”
The founders also emphasize the uniqueness of Good Tape as a limited edition object that readers can covet. By printing the magazine on traditional newsprint, they can explore ideas in compelling and fresh ways while keeping costs low.
Cardiel and Levinson have their work cut out for them in looking to expand consumption outside of business podcasts. A recent survey conducted by Acast reveals that business podcasts generate the strongest return on ad spend and returns on assets (ROA). 38 percent of interviewees named these podcasts as such (having the largest ROA), which even dwarfs TV and film’s numbers (16 percent).
“When specifically measuring return on ad spend, a high performance in the Business category isn’t really surprising because we know those audiences tend to be more affluent,” said Gabriella Gregoris, group business director of national performance at Acast.
Other platforms, such as Spotify, are also attempting to amplify and diversify their podcast content. This is happening on the heels of Spotify's podcast division undergoing significant changes, including several high profile creators and staff members leaving the platform. However, the company continues to invest in podcast creators and its in-house podcasting tools. A recent job listing suggests that Spotify hired a new copy lead to guide the messaging and voice behind Spotify for Podcasters.
Podcasts seem to be taking on a new life in this era of the media, and people are eager to create and capitalize on the opportunity. It will be interesting to observe how podcasting will interact with the journalism industry as a whole, and what the landscape will look like in a decade’s time. Until then, these new initiatives hold a lot of promise for creators and consumers alike.
