Spotify sẽ làm thị trường podcast tiêu tan?

tìm cách độc quyền phân phối qua việc ép người dùng cài ứng dụng để nghe các nội dung hấp dẫn (qua việc mua luôn nhà sản xuất (công ty của Bill Simmons) hoặc có các thỏa thuận độc quyền (với Joe Rogan)) -> xóa bỏ đối thủ cạnh tranh mã mở RSS, rồi kiểm soát podcast nào có thể tiếp cận người nghe, cuối cùng là biến dữ liệu và quảng cáo nhắm đối tượng thành tiền.

-> sẽ ko còn independent voices and an independent press nữa, như các web tin tức trước đây giờ chỉ còn google và facebook...

First, Spotify is gaining power over podcast distribution by forcing customers to use its app to listen to must-have content, by either buying production directly or striking exclusive deals, as it did with Rogan. This is a tying or bundling strategy. Once Spotify has a gatekeeping power over distribution, it can eliminate the open standard rival RSS, and control which podcasts get access to listeners. The final stage is monetization through data collection and ad targeting. Once Spotify has gatekeeping power over distribution and a large ad targeting business, it will also be able to control who can monetize podcasts, because advertisers will increasingly just want to hit specific audience members, as opposed to advertise on specific shows.

...No advertiser will care if you’re a listener of Joe Rogan or Bill Simmons, only that you are a 34 year old male with a certain income reachable in thirty forty different audio slots, which can then all go in an auction. Or even if they do care, competitive ad networks who offer the service you want will probably die. Then, just as the New York Times content becomes far less important online because Google can just find you that New York Times reader through another publisher outlet or Google’s own properties, the actual podcast becomes commodified, because all that matters is the listener data combined with the ad slots, not the show against which those ad slots are sold. This is another complicated way of saying the people who do the work of making and distributing a show don’t get the benefit from the work they do.

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