Welcome Maggie Taylor!


Hi everyone! My name is Maggie Taylor and I am very excited to be joining PRX as the new Director of Marketing, and to be making my first foray into both the public media and nonprofit spaces.

I obtained my undergraduate degree in Public Relations from the University of Rhode Island. Since then, I have built a marketing background that’s heavy in tech and start-ups, in both the B2B and consumer spaces. I love working directly with consumers, and using PR, influencers, and social media tools to help grow brand awareness and adoption. I enjoy representing the voice of a brand, and the opportunity to facilitate new customer exposure. I’m also an avid reader and writer, and like to create engaging pieces of content and experiences. I love public radio and listening to podcasts; I remain in constant awe of their ability to create such intimate relationships between host and listener. It reminds me of a quote from the book “All the Light We Cannot See”: “Radio: it ties a million ears to a single mouth.”

On the personal side, I hail from the Seacoast area of NH, but had the pleasure of living out a West Coast adventure in San Francisco for two years, and returned last summer via a cross-country road trip. In my spare time I love traveling, food, reading, and spending time with my friends and family. I also have a penchant for song memorization and, consequently, karaoke.

I’m delighted to join this intimate and passionate team to help craft and spread the unique PRX story to a large, diverse audience. I’d love to personally connect with all of our readers and listeners, so please feel free to reach out and introduce yourself: maggie.taylor@prx.org.

Julie Shapiro Selected as New Radiotopia Executive Producer

Drumroll please… After a highly competitive search, Julie Shapiro has been selected as the Executive Producer for PRX’s Radiotopia.

Julie’s leadership, creativity and commitment to excellence will drive Radiotopia’s success as a leading podcast network at a moment of growth and opportunity for the industry as a whole.

Julie will help lead overall strategic planning for the network, establish and oversee production standards and best practices, develop and manage creative collaborations, and set and meet audience and revenue targets.

We are thrilled to welcome Julie as the newest member of our stellar team.

Check out the press release below for details.


Contact Kerri Hoffman, COO
Email kerri@prx.org
Website www.prx.org

Cambridge, Mass., September 1, 2015 — PRX is pleased to welcome Julie Shapiro in the new role of Radiotopia executive producer.

Radiotopia is at the epicenter of the newly expanding galaxy of podcasts. Since launching in February 2014, Radiotopia has accelerated to 8.5 million monthly downloads across a growing roster of 13 programs, including 99% Invisible, the celebrated show on design from Roman Mars, and Criminal – a new breakout hit from Lauren Spohrer and Phoebe Judge. In May 2015 the Knight Foundation awarded $1M to PRX to support the development and strengthening of Radiotopia.

Julie will bring editorial vision, creativity and leadership to Radiotopia’s expanding portfolio of top programs. She will work closely with PRX, Roman Mars and the Radiotopia producers to grow the shows, cultivate relationships with talented producers and partners, and build sustainability of the podcast medium.

Julie co-founded and was artistic director of the Third Coast International Audio Festival (TCIAF) for thirteen years. As the creative engine at TCIAF, Julie did everything from co-producing the biannual conference and Filmless festival, to co-curating and editing the Re:sound podcast, to leading strategic direction and public image of the organization.

In 2014, Julie left TCIAF to become the founding executive producer of the Australian Broadcast Corporation’s Creative Audio Unit (CAU), where she led a team in establishing two weekly, national shows and set the strategy and vision for the unit. She is a thought leader and a determined advocate of creative pursuits. Julie originally coined the term “Radiotopia” in a speech at the Third Coast Festival, describing it as a place where awesome stories live.

“Julie has championed the work of hundreds of independent producers and has demonstrated the passion and bold thinking we need to make Radiotopia thrive.” said Kerri Hoffman, Chief Operating Officer of PRX.

Julie is also known for her dedication to diversity and gender balance in public radio, and wrote the influential ”Women Hosted Podcasts” article which had a major impact on the public media industry.

Radiotopia co-founder, Roman Mars said, “Julie Shapiro will provide leadership and vision for both Radiotopia and for the emerging podcasting industry as a whole.”

About PRX
PRX is an award-winning nonprofit public media company, harnessing innovative technology to bring compelling stories to millions of people. PRX.org operates public radio’s largest distribution marketplace, offering tens of thousands of audio stories for broadcast and digital use, including This American Life, The Moth Radio Hour, Sound Opinions, State of the Re:Union, Reveal, and the Radiotopia podcast network. PRX Remix is PRX’s 24/7 channel featuring the best independent radio stories and new voices. PRX was created through a collaboration of the Station Resource Group and Atlantic Public Media, and receives support from public radio stations and producers, The Corporation for Public Broadcasting, the National Endowment for the Arts, the Ford Foundation, the John D. and Catherine T. MacArthur Foundation, the Wyncote Foundation, and Knight Foundation.

Lessons from Podcast Movement, or What I Learned at Summer Camp


What do a professional wrestler, a comedian and a design buff have in common? Successful podcasts.


Over 1000 would-be and experienced podcasters shared tips, ideas, and creative support in Forth Worth at the 2nd Podcast Movement Conference. If you weren’t there and felt like you should have been – you have experienced the first thing they did right: promotion.

The conference creators were able to create a lot of buzz leading up to the conference. They used bold words like “biggest ever”, “for the first time” and “lifetime achievement”. They hosted a podcast academy of awards complete with tears and “I’d like to thank the academy…” speeches. The opening day party featured a mechanical bull, live music and a goofy game of olympics. It was loud, the food was terrible and we had a great time.


What the conference organizers did very well

  • Energy – it was fun and exciting.
  • Bright future – there were almost no radio vs. podcast conversations.
  • Community – lots of sharing and support.
  • Diversity – the variety of participants felt like a bigger sector of the public.
  • Respect – they celebrated the veterans who contributed to the industry and were also wowed by the young go-getters.
  • Sharing – the most successful were not afraid to share real, actionable strategies and advice.

What public media does very well

  • Content – hands down our content is compelling and will have a long shelf life.
  • Storytelling – our shows take listeners on a journey.
  • Production techniques – our shows are artfully crafted with rich sound.
  • Scale – we have bigger reach. Less than 1% of podcasts have more than 50K downloads per episode.
  • Engagement – over time, our listener loyalty increases.


My Takeaway

We met a lot of podcasters that are aces at marketing and promotion. They are experimental and bold about monetization. They are savvy about one click payments and some are adopting a direct support model. Most listeners do not differentiate between public media podcasts and others, they just know shows they love.

The talent-drain is real. We are already seeing it. One speaker said openly that the future of podcasting is weighted toward “ex-NPR people and media/celebrities”. While monetization is critical, we should not be motivated only by this. It doesn’t serve the audience well. It is important for public radio to develop new and innovative shows that can sustain and maybe even subsidize traditional distribution models. And when we do, we should brag more.

Welcome Josh Swartz!

Hi! I’m Josh, the new PRX Remix curator. My radio background starts with…well, film.


I graduated from Middlebury College in Vermont in February 2015 with a degree in film and sociology. While at school, I produced documentaries on topics ranging from New York’s parole system to my professor’s pet fish. Out of the classroom, I found my way to the Narrative Journalism Fellowship and produced audio profiles of fellow students. Engaging in filmmaking and audio work simultaneously provided an opportunity for me to figure out what the hell I wanted to pursue after graduation. Since I’m here, it should come as no surprise that I fell in love with radio – both the process of making it and the power of listening to it.

After graduation I jumped from small-town Vermont to small-town Massachusetts. I was a student in the Spring 2015 radio-intensive Transom Story Workshop on Cape Cod, where I developed my radio chops and, importantly, first learned about PRX and PRX Remix. In June and July I trekked to the beautiful Adirondacks in New York to do some freelance work for North Country Public Radio. There’s a 24/7 Remix station up there, so I spent a lot of time listening while gazing at grazing cows.

Now, here I am, sitting in an armchair in public radio utopia a.k.a. the PRX offices of Harvard Square. It will be an adjustment back to city life after four and a half years of living in small towns in Vermont, Massachusetts, and New York, but this is exactly where I want to be.

In addition to being immersed in Remix radio waves and PRX life generally, I will also be launching a podcast soon! Sneak peek: it’s called Bandwagon and it involves Bernie Sanders.

More about me – I love road trips, eating pho, TV show binges, skiing, lying in grass, and naps (especially while lying in grass).

Give me a shout at josh.swartz@prx.org.


10 Ways Not To Start A Radio Story

Let's keep those listeners glued to their headphones.
Let’s keep those listeners glued to their headphones. (via Shutterstock)

I listen to radio almost nonstop for my job, and the more I listen, the more I notice trends. Producers can fall back on patterns that have worked and feel good.

We all know the ingredients of a good story: characters, conflict, hooks, turns, surprise, visual or sensory details, scenes, reflection… It’s easy to start listing these as checkboxes in our minds.

The problem is that once we operate according to checkboxes, we start making boring radio. We settle for an obvious descriptive detail, or check off the “surprising box” with a structure that isn’t surprising. Great intention can lead to lazy execution.

Here are 10 openers I’ve heard again and again from public radio producers and podcasters. They’re easy. They’re appealing. They’re overused.

1. The “Not Your Typical”

The concept behind the “Not Your Typical” beginning is that a character seems average—but there’s a twist. Often I’ll hear a reporter take some time to set a scene, then drop what’s supposed to be the big reveal—that this story is different.

Other times, a story might even open with a sentence like “Jane Doe is not your typical biker.” Even if this is the best concept to begin with, there must be a more compelling way to write or illustrate it.

More fundamentally, it’s not enough for a piece’s only “surprise” to be, say, that old people are doing something young people typically do. That kind of surprise wears off. It’s a reason to start reporting, but it alone won’t justify putting the piece together. A story needs another nugget, maybe an emotional one, to sing.

2. The “I’m Standing Next To”

“I’m standing next to the oldest building in the city. It’s been here for three hundred years…”

I get the sense that this just feels like a solid way to use natural sound. But you can put that ambi under literally any words you want. Better to use the little time you have to set up an interesting observation or metaphor.

There are infinite other ways to begin, so why not come up with some truly fantastic sentences?

3. The Physical Description

Including visual detail for the sake of checking of the “visual box” isn’t useful. When used well, an image can and should knock you over, change the way you see something, unsettle you or pull you in so that it’s impossible to move on with your day until you learn everything you can about it.

Unless the physical traits of a main character are extremely unusual or central to the story, hold off—and even then, resist if you can. Most of the time this isn’t the most interesting way to begin.

4. The Directions

“To get to Joe’s house, you drive five miles west of town until you hit a dirt road winding toward the base of the mountain, then…”

An extraordinary number of stories begin with the reporter giving directions, in some cases for no ostensible purpose. Even when directions do reveal something valuable, visualizing geography requires a lot of imagination on the listeners’ part. It’s too much work to require before you’ve convinced them the story is worth listening to.

Often, I zone out.

5. The Warm And Sunny

Isn’t weather what we talk about with strangers when we can’t think of anything interesting to say? Yes, radio thrives on sensory scenes. But producers need to write them vividly and with precision and purpose. If you want to stun listeners with the top of your story, don’t start with a weather report.

6. The “Okay! So…”

Starting with an off-the-cuff “Okay! So…” is huge right now. It’s colloquial, it’s personal, and it signals we’re jumping into action.

Brilliant producers use this line on brilliant shows, and it works.

But the Okay So has become such a go-to that to me, it’s starting to feel inauthentic, even cliché. When I hear it, I can feel a little manipulated, and I start focusing on the production instead of the story. Unless there’s a really compelling reason to begin with these words—and often there is!—avoid this one.

By refusing to rely on a trick, you’ll force yourself to write something new and strong.

7. The Long Intro

If you listen to PRX Remix, you know that I’m moving toward short intros—or often no host intro at all. I’m all for diving right in and letting a little mystery linger.

8. The Non-Narrated My Name Is

This one’s simple. Except in rare circumstances, start with strong tape, not a self-ID.

9. The Very Important Information

There are lots of issues I care about, but rarely will a story’s importance alone keep me listening.

Don’t start with a fact-vegetable and then assume that I’ll stay with you because I know vegetables are good for me. Start your story with an amuse bouche—a tiny appetizer that bursts with flavor when I pop it in my mouth and leaves me drooling for the main course.

And then I’ll probably eat my vegetables—er, listen to the facts.

10. Anything that isn’t stunning

A first sentence should transfix your listener. It’s competing with music, television, and all of the internet, so find the hook. Pick the detail you can’t stop thinking about and move it to the top. Challenge yourself to find new ways to write about things—which often means pushing yourself to push beyond the first few drafts—or to go deep right away.

So when I’m working, I repeat to myself:

Don’t start the way you think you have to.

When in doubt, write it better.

When uninspired, think Nancy Updike and her talk Die, Mediocrity, Die. (She has tips for what you should do, not just what you shouldn’t.)

When it’s worth it, break the rules. Even mine.

Welcome Gina James!


If someone were to draw a picture of me when I was a little girl: I’d be standing in the middle of a tomato garden with seeds and juice dripping off my chin.

If someone were to draw a picture of me last year: I’d be on stage, at a Moth StorySLAM, baring my soul to complete strangers.

If someone were to draw a picture of me last month: I’d be in a hot & sweaty muscle confusion class, Eye of the Tiger blasting in the background.

If someone were to draw a picture of me last week: I’d be sitting on a porch swing next to a 95 year old farmer in West Virginia, recording his life story.

If someone were to draw a picture of me today: I’d be literally jumping up & down with excitement – I’m an official part of the PRX Crew as the newest Manager of Development and Operations!!!

My name is Gina James. After studying Cultural Anthropology + Business Administration at BU, I’ve journeyed through various industries (education, travel, hospitality, tech) … to finally land where my heart has always been: public radio.

For the last 12 months I have focused mostly on the craft of gathering oral history. It was this past year when I had an ‘aha’ moment of a lifetime. I love listening to stories via audio because unlike other forms of media, you must rely on your heart to truly assess the content. You are able to experience an individual’s true voice instead of the masks that can be created through literary tricks.

Radio is Real.

I can’t wait to bring more of it to every pocket of our world.

Meet The Sarahs: A New Audio Fiction Competition

It’s time audio fiction had its own red carpet

Introducing The Sarah Lawrence College International Audio Fiction Award

The Sarah Awards will celebrate and reward the best audio fiction works from around the world with $3,500 worth of prize money and an awards ceremony in New York in Spring 2016.

Get the guidelines, then get creative!

The early bird submission timeline is Nov. 23 – Dec. 21, so you have plenty of time to dig in and put your best fiction forward.

The Sarahs also includes:

BONUS: Winners of The Sarahs and the Very, Very, Short, Short Stories Contest will be featured on PRX Remix — PRX’s 24/7 stream of the best independently created audio stories — airing online, SiriusXM 123, and broadcast stations around the country.

Producer Spotlight: Megan Tan of Millennial

Each month we’ll be highlighting a different PRX producer to find out what they’re working on and hear about the challenges they face as indies as well as the stuff that gets them stoked.

This month, our intern Alexandra Morrow interviewed producer Megan Tan about her radio show Millennial. We were really excited to find out more about Megan, how she got started, and what’s next for the show.

Photo credit: Ben Severance.
Megan Tan working. Photo credit: Ben Severance.

For those who haven’t listened, what is Millennial about?

It’s about life post-graduation through the eyes of one person (me) in an Alex Blumberg / Start Up kind of way. It’s a narrative driven, first-person perspective podcast about maneuvering your 20s, after graduating college, and all the things that nobody teaches you.

Why audio?

I want to become a radio producer and really this project was just so that I could create a portfolio piece so I could show people, “Hey look I want to be a radio producer and look I’m making radio!” Using audio was really just so that I could get practice and hone a craft that I felt really insecure about.

I notice you said because you “want to become a radio producer.” Do you not consider yourself a radio producer, now?

When I talk to people they say, “You already are a radio producer! You are making radio!” But I feel like I’m half a radio producer and half I-have-no-idea-what-I’m-doing. I’m making it all by myself. I still have tons to learn. I feel like a very immature kind of radio producer, if that makes any sense. I’ll be making the 6th episode of Millennial soon and this podcast is literally the first time I have ever produced anything (audio wise). I used to do videos, so I do have some knowledge about story structure and working with audio, but before this I never worked solely with audio.

For a first try you’re doing a pretty incredible job.

It wasn’t until recently that I started re-listening to my old work (like the first episodes of Millennial). After I published them I would shed it off like it was bad skin. I would think, “oh God I’m glad that’s over, moving forward!” I couldn’t re-listen to it for a long time. It’s hard listening all the flaws, all the things you can do better.

Do you still feel like there are things about your work or about Millennial that are always nagging you. You said you feel that there are always things you can do better?

Oh sure, I mean I don’t know anything about sound production. I don’t know anything about sound engineering. I am constantly on Transom. I am constantly on AIR, and on YouTube. I’m constantly taking notes. I always have one of my best friends who isn’t in radio listen to an episode before I publish it – just to tell me if the levels are good. I’ll call up an old friend from college who used to be my roommate and I’ll say, “Hey can I just borrow 20 minutes of your time and can you please tell me if there are parts of this that are too soft, or too loud?”

How has Millennial changed the way you think about your future?

I think a lot of the things that I was really scared of when I started this are so much more tangible than they have ever been, which is remarkable. I write down a lot of goals. I write down lots of lists and things that I want. For a while I had a list and I took a picture of it with my iPhone and had it as my background. A lot of things I had written just felt unachievable. One of those things was making a podcast. But now because I’ve created Millennial, a lot of the things that I wanted I’ve gotten lot closer to.

Is that list changing?

Oh yeah. There will always be lots of lists. The list is definitely changing. You always want to be reaching for things you perceive as impossible. But what I’m learning is to really be patient. I remember talking to an old friend of mine and she said, “Megan you do this thing where you envision yourself jumping between cliffs. You’re jumping between two cliffs and when you’re in mid-air you raise the bar of that cliff. So you’re naturally going to fall, because you increase your expectations as your going towards them.” So instead of doing that I feel like I’ve purposefully thought about longevity and steady efforts.

That’s something I didn’t think of when I graduated college. When I graduated college and when I was making the very first episodes of Millennial I wanted everything now. I felt like I was already failing because I didn’t have a job in my field. And now… this is a very long answer.

No this is great!

…welcome to life as a millennial!

Hey, I’m a millennial too. I have one more year until I graduate.

That’s so exciting. I guess… I just feel like I’ve been able to take a breath. I’ve been able to make some pivotal decisions in terms of how I want to carve out my life for the future. I’ve worked at a restaurant for almost a year now, but I’m also making something that I really love, and I feel like that’s worth it because later that will turn into something.

When did you graduate?

I graduated last year, in 2014. But I’m older. A lot of people think I’m 22. But I’m 24. I took some time off from school to do a Radiolab internship at WNYC and I also went to a small liberal arts school in California for a year. But I didn’t like that so I went to a school in Kentucky to study photojournalism. Then I took a year off. So my route hasn’t really been the ‘ideal four years.’ I graduated high school when I was 17 so, it feels good to be done. It feels really good to be done.

Have you gotten any feedback from people listening to Millennial?

I get some really great emails from people. I recently received a donation, and you can always put a little message in it. The donation was from a mother, and she said, “I’m raising millennials, thank you for allowing me to understand what’s happening.”

I’ve also gotten emails with feedback from people saying “thank you for being so honest. I always thought that I was alone in this.” Mostly I hear from people who are in our same shoes and are trying to figure out what to do after graduation.

When you were talking about your list you said, “there’s always something bigger and better that you’re adding to it.” Your dream is always evolving. You mentioned the bar and the cliff. Do you have any big goals for Millennial, or is that top secret information?

Yeah, I do have some big bars for Millennial. I don’t know if I’ll talk about them. When I’m making an episode I’m just hoping that each episode is better than the one before, or as good as the one before. That’s on the list all the time: to make this episode as good as it can be.

The tricky thing about this podcast is, I’m documenting my life and enough really crazy amazing things, or interesting things have to be happening in for it to be a good podcast. So I question the longevity of it, but I also think there’s a potential for it to boomerang in a different direction.

I would really love to work with the best podcasters out there and with a team of people who would help me, or for people to see the potential for the podcast and for me as a host. To be able to say, “We believe in you. Let’s work on this together. We have a lot of tools and resources. Let’s collaborate.” But that would be the dream; to miraculously be lifted out of my a closet in Maine and be taken to a really beautiful studio somewhere and for a huge crew to be working on Millennial with me. But I feel like I’m in mid-air right now and while that can be a goal of mine, I also know that just making really good work is something I still need to focus on.

Like, you don’t want to dream before the dream gets away from you?

Yeah. Also you I know how it’s all going to pan out. But I do know at this moment there are people that are listening. They want a sixth episode and I want to make a sixth episode, so I just need to focus on making that sixth episode. Like when you look at great podcasts…people work really hard for a really long time. It’s not until 5 years down the road that they get picked up. So I feel like I still need to put in my time with that. I still need to just continue to prove to myself that I can make good content and that should be my focus.

That’s a big chunk. Also balancing working a full time job with making the podcast. I was putting in 40 hours a week at the restaurant. To be able to sit down at my computer after a long day standing on your feet, is hard. So maybe I’ll be working with some of my favorite podcast heroes in the future. That would be the dream.

You said your dream is to work with your favorite podcast heroes. Who are your podcast heroes?

Millennial was inspired by Alex Blumberg’s StartUp Podcast. Just the way that he structured StartUp is really great. I mean, I fell in love with that podcast and I remember watching a Creative Lively where he did a presentation. He was teaching a 2-day class online and I watched the entire 2-days because I just wanted to learn. I remember him saying, “what you need to do, is you just need to create something, You need to just imitate people and practice.” And I remember going to Ben, my boyfriend, and saying, “Ben! Alex Blumberg is telling me I can just be like him! So I’m just going to try it out!” So Alex Blumberg is definitely one of my podcast heroes.

I really love all the people at RadioLab because I know them personally. Molly Webster is one of my people. Matt Kielty, Kelsey Padgett, Jad Abumrad, Alex Kapelman. These are just my favs. My good people. I really like Starlee Kine, I really like Chana Joffe Walt. I like Sean Cole. All the people at Gimlet are great. Everybody in ReplyAll… There are just so many. There are a lot of really great people out there. I really also like the Radio Community. It’s very nurturing and people are always willing to help. They know how hard it is.

Well, thank you so much for speaking with me. I know I’ve taken up a lot of your time and asked a lot of questions, but is there anything that I haven’t asked that you would like to say?

Hmm… I think it’s funny how when you get recognition via the internet, your life on a day to day basis is still the same. When Millennial first started getting a lot of press all of a sudden people I didn’t know were emailing me. But then I would go to the restaurant and no one would care, or no one would know who I was. That different dynamic was so funny. But it’s humbling because a lot has changed, but at the same time it feels like not a lot has changed.

Tips for Podcasters: Convert Your Website Visitors

Are you a podcaster or radio producer? Do you know where your fans are coming from?

Likely, thousands of people visit your website each month, and most will bounce away before listening and almost all before subscribing to your podcast. Scary right?

In these slides, PRX Chief Product Officer Matt MacDonald will show you methods and tools that you can use to convert that random web visitor into a fan.

The Memory Palace Joins Radiotopia. (June Is A Great Month.)

memory palace logo

In The Memory Palace, Nate DiMeo breathes new life into little-known corners of history with his finely crafted, minimalist storytelling. He’s been doing this since before most of you even knew what a podcast was.

Many of us here at PRX and Radiotopia are longtime fans of Nate’s show. Radio Diaries just featured their favorite Memory Palace episode.

So we are especially delighted to welcome The Memory Palace to Radiotopia! Today is the launch of the summer season, with “tales of love, heat, and outdoor adventure, the perfect soundtrack for road trips or the beach.” You can subscribe here.

First Song Exploder, and now The Memory Palace… Here in Radiotopia, we’re calling it the June of our dreams.

Now we are thirteen wonderful, varied, and compelling radio shows, banded together to take our craft even further.

99% Invisible
Theory of Everything
Love + Radio
Fugitive Waves
Radio Diaries
The Truth
The Heart
The Allusionist
Song Exploder
The Memory Palace


Premieres on Radiotopia on June 22nd with 10-episode season of summer-themed stories,
followed by 3-city live tour to Seattle, Portland, and Los Angeles

Cambridge, MA (June 22, 2015) – The Memory Palace, the popular, long-running podcast featuring bite-sized, gorgeously produced stories about little-known events and people from the corners of history, today becomes the latest series to join Radiotopia, the podcast network from PRX.

The longtime labor of love from Nate DiMeo, the award-winning public radio producer (Marketplace, NPR), Thurber Prize finalist, and television writer (Parks and Recreation, Astronaut Wives Club), The Memory Palace launches with its first-ever themed season – 10 episodes for the summertime—tales of love, heat, and outdoor adventure, the perfect soundtrack for road trips or the beach.

DiMeo will also take his brand of short, surprising stories from the past – sometimes heartbreaking, sometimes hysterical, often a bit of both – on the road, with a brand-new live performance of storytelling, music, and short films, before live audiences in Seattle (The Vera Project, 8/6), Portland (Mississippi Studios, 8/7) and Los Angeles (The Masonic Temple at Hollywood Forever Cemetery, 9/11).

The Memory Palace was an early entrant to the podcasting world, launching its first episode in 2008. The show has built a large following among fans of great storytelling, expert sound design, and little-known stories from history. The Memory Palace also appears as a segment on NPR’s Weekend Edition.

The addition of The Memory Palace to Radiotopia caps a string of high-profile acquisitions for Radiotopia, including Song Exploder and The Mortified Podcast. It also comes on the heels of a $1 million investment from the John S. and James L. Knight Foundation, enabling the network to continue its expansion with new programs that push the boundaries of storytelling. Radiotopia features five shows among the Top 50 most popular podcasts in the country, including flagship program 99% Invisible, The Memory Palace, Criminal, Song Exploder and The Mortified Podcast.

Radiotopia was launched in February 2014 by PRX, the award-winning public media company, and has quickly become the leader in today’s audio storytelling renaissance by helping independent podcast producers develop sustainable business models and find new ways to engage audiences.

“The Memory Palace’s quirky, fascinating, and well-crafted stories are a natural fit for Radiotopia,” said Jake Shapiro, CEO of PRX. “We are thrilled to bring Nate’s work to an even broader audience.”

Another inventive way The Memory Palace will use live events to connect modern listeners to the past is in an unprecedented gallery-based collaboration with The Metropolitan Museum of Art in the fall of 2015. DiMeo will unveil an episode commissioned by the Museum, accompanied by a live performance of the episode at the Met. Additional details will be announced at a later date.

“The Memory Palace uses artistic elements to bring history to life, giving it a place in people’s busy lives,” said DiMeo. “Our episodes are meant to be played on repeat, because they’re so short – like songs. With our new season, you might be surprised to discover your new summer jam is…a podcast.”

Radiotopia will soon announce the hiring of an executive producer to provide leadership and promote collaboration across and beyond the network. It will also establish a new pilot fund to identify and nurture diverse emerging producers and hosts. PRX has a track record of introducing innovative new programs such as The Moth Radio Hour, Snap Judgment and Michael Ian Black’s How to Be Amazing to millions of listeners across broadcast and digital platforms.

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About PRX
PRX is an award-winning nonprofit public media company, harnessing innovative technology to bring compelling stories to millions of people. PRX.org operates public radio’s largest distribution marketplace, offering tens of thousands of audio stories for broadcast and digital use, including This American Life, The Moth Radio Hour, Sound Opinions, State of the Re:Union, Snap Judgment, and How to Be Amazing with Michael Ian Black. PRX Remix is PRX’s 24/7 channel featuring the best independent radio stories and new voices. PRX was created through a collaboration of the Station Resource Group and Atlantic Public Media, and receives support from public radio stations and producers, The Corporation for Public Broadcasting, the National Endowment for the Arts, the Ford Foundation, the John D. and Catherine T. MacArthur Foundation, the Wyncote Foundation, and Knight Foundation.