Patrick Marley

Rennie Svirnovskiy

Reena Flores

Sean Carter

Emma Talkoff

Martine Powers

Businessman Michael B. Moore is running a surprising congressional campaign: He’s trying to win as a Democrat in South Carolina’s 1st Congressional District, a seat that is considered solidly Republican in this election cycle. While he won his primary race, <a href="https://www.washingtonpost.com/politics/2024/07/09/gerrymandering-black-voters-supreme-court/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(0, 0, 0);">it’s unlikely he’ll win the general election because of a recent Supreme Court decision on gerrymandering</a>.Host Martine Powers speaks with voting issues reporter Patrick Marley about Moore’s race, and what it can tell us about the impact of a conservative Supreme Court on American democracy.Today’s show was produced by Rennie Svirnovskiy. It was edited by Reena Flores and mixed by Sean Carter.Subscribe to The Washington Post <a href="https://subscribe.washingtonpost.com/acquisition/?s_l=OFFSITE_PODCAST&amp;p=s_v&amp;s_dt=yearly&amp;utm%5B%E2%80%A6%5De-podcast&amp;utm_medium=acq-nat&amp;utm_campaign=podcast-subs" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">here</a>.

How a Supreme Court decision reshaped a House race.

Running for Congress in a gerrymandered district

https://podcast.posttv.com/vitac-transcripts/13511927-a4bd-4b6e-b820-7c471bc7cc2f_66da13fdae3ef622c9dd8504-transcript.txt

Maggie Penman

Ted Muldoon

Peter Bresnan

Sabby Robinson

Ariel Plotnick

Lucy Naland

Elahe Izadi

Elana Gordon

Monica Campbell

Lucy Perkins

Unparalleled reporting. Expert insight. Clear analysis. Everything you’ve come to expect from the newsroom of The Post -- for your ears.

Post Reports: Sound. Informed.

What Michael B. Moore’s congressional race tells us about gerrymandering, and how a Supreme Court decision affects the future of American democracy.

Cat Zakrzewski

Vice President Kamala Harris has been supported by prominent technology executives since the beginning of her political career. She has maintained many of her Big Tech connections while also pushing tighter privacy policies,but she has left her stance on breaking up powerful tech companies largely undefined. This is at odds with the Biden administration’s commitment&nbsp; to antitrust enforcement, bringing lawsuits against companies like Google and Apple.&nbsp;Host Martine Powers speaks with Cat Zakrzewski, a national technology policy reporter for The Post, <a href="https://www.washingtonpost.com/technology/2024/09/03/harris-campaign-silicon-valley-tech-policy/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">about how Harris is navigating her close ties to Silicon Valley</a>, and what her approach to Big Tech may be if she becomes president.Today’s show was produced by Sabby Robinson, with help from Peter Bresnan. It was mixed by Sean Carter. It was edited by Monica Campbell and Ariel Plotnick. Thanks to Cristiano Lima-Strong for his reporting.&nbsp;Subscribe to The Washington Post <a href="https://subscribe.washingtonpost.com/acquisition/?s_l=OFFSITE_PODCAST&amp;p=s_v&amp;s_dt=yearly&amp;utm%5B%E2%80%A6%5De-podcast&amp;utm_medium=acq-nat&amp;utm_campaign=podcast-subs" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">here</a>.

Harris has long-standing ties to many key technology executives. If she wins in November that could mean a shift in the government’s approach to Big Tech.

https://podcast.posttv.com/vitac-transcripts/15f9faba-4da5-4389-b01f-94a941fa3548_66d8d3d0ae3ef622c9dd8485-transcript.txt

Silicon Valley has long backed Kamala Harris’s rise. Now, technology lobbyists hope the presidential nominee will return the industry to its Obama-era halcyon days. Today, what Harris’s connection to Big Tech could mean if she wins the presidency.

Big Tech had Harris’s back. Will she return the favor?

Amanda Morris

sam bair

Emily Codik

Caitlin Gilbert

Jacqueline Alemany

At the Pathways to Independence program in Kearny, N.J., disabled workers sort clothing hangers and unload boxes through work contracted with outside companies. One of those workers is 33-year-old Jaime Muniz, who has been there for 11 years and whose paycheck recently averaged about $1.28 per hour.&nbsp;“My payment is not going well,” <a href="https://www.washingtonpost.com/wellness/2024/08/30/subminimum-wage-disabled-workers/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">Muniz told The Post’s disabilities reporter Amanda Morris</a>. “And it's making our lives harder, a lot harder.”Yet paying workers with disabilities far below minimum wage is completely legal. Muniz is one of tens of thousands of workers with intellectual and developmental disabilities who are paid subminimum wages at facilities across the country. The labor program, sanctioned by federal law, is <a href="https://www.washingtonpost.com/wellness/interactive/2024/disability-subminimum-wages-contract-labor/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">supposed to prepare workers</a> for higher-paying jobs in the community, and while many families support them, Morris and her colleagues Caitlin Gilbert and Jacqueline Alemany found in a months-long investigation that they often lack oversight and accountability.&nbsp;Today, host Martine Powers speaks with Morris about what she heard from workers and their families, the future of this arcane law, and <a href="https://www.washingtonpost.com/politics/2024/08/30/subminimum-wage-labor-department-politics-disabled-workers/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">the growing scrutiny surrounding these programs</a>.Today’s show was produced by Elana Gordon with help from Sabby Robinson and Ariel Plotnick. It was edited by Reena Flores and mixed by Sam Bair. Thanks to Emily Codik, Caitlin Gilbert, Jacqueline Alemany, Lauren Gurley and Andrea Sachs.&nbsp;Subscribe to The Washington Post <a href="https://subscribe.washingtonpost.com/acquisition/?s_l=OFFSITE_PODCAST&amp;p=s_v&amp;s_dt=yearly&amp;utm%5B%E2%80%A6%5De-podcast&amp;utm_medium=acq-nat&amp;utm_campaign=podcast-subs" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">here</a>.

Across the U.S. tens of thousands of disabled workers are paid subminimum wages. Today, an investigation into the longstanding federal program that allows this.

Why some disabled workers make $1 an hour

https://podcast.posttv.com/vitac-transcripts/7591c46a-d881-4930-96aa-fdf737c20f23_66d7813021808470fbf4f2ba-transcript.txt

Across the country thousands of disabled workers are making less than a dollar an hour. Today, an investigation into the federal program that allows workers to earn subminimum wages, its lack of oversight and why so many families still support it.

Szu Yu Chen

When Szu Yu Chen, a graphics reporter at The Washington Post, was covering this year’s Grammy Awards, she couldn’t help but notice how many nominated songs came in under three minutes. The more she looked into it – <a href="https://www.washingtonpost.com/entertainment/interactive/2024/shorter-songs-again/" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">analyzing Billboard charts and interviewing artists</a> – the more she realized this was a real trend. Meanwhile, when “Post Reports” audio engineer Sean Carter was working in a recording studio in Atlanta, he kept observing a similar shift, too.&nbsp;&nbsp;Today, Carter guest hosts “Post Reports,” in conversation with Chen, exploring what’s driving this change in music, and what’s gained and lost as a result.&nbsp;Today’s show was produced by Elana Gordon, edited by Monica Campbell and mixed by Rennie Svirnovsky.&nbsp;Subscribe to The Washington Post <a href="https://subscribe.washingtonpost.com/acquisition/?s_l=OFFSITE_PODCAST&amp;p=s_v&amp;s_dt=yearly&amp;utm%5B%E2%80%A6%5De-podcast&amp;utm_medium=acq-nat&amp;utm_campaign=podcast-subs" rel="noopener noreferrer" target="_blank" style="background-color: transparent; color: rgb(17, 85, 204);">here</a>.

Today on “Post Reports,” join us on a sonic journey through music history and Billboard charts to understand why songs are getting shorter.

Why are songs getting shorter?

﻿Elahe Izadi:: Hey, it's Elahe. On this Labor Day, I thought we'd bring you something fun and different. I don't know about you, but I've been noticing songs coming out now are really short. Well, we haven't imagined it. This is a real trend, and there are some surprising reasons behind it. So, today, on September 2nd, on "Post Reports," we're going to dig into this and bring you a conversation between Szu Yu Chen, a graphics reporter at The Post, and our audio engineer, Sean Carter. I'm really excited for this conversation also because Sean has a background in music engineering, and he's produced a lot of his own music. Szu Yu has done some fascinating reporting on music links. They started off talking about one of last year's hits, "Kill Bill," by SZA. This was a finalist for Song of the Year, and it was part of her Grammy-winning album. Okay. Here's Sean and Szu Yu.  

[SZA's "Kill Bill" plays]  

SZA> [Singing] I'm still a fan, even though I was salty.  

Sean Carter> Damn, I love that song. Szu Yu.  

Szu Yu Chen> Hey.  

Sean Carter> I didn't realize that this song was, like, around 2 minutes and 30 seconds. I always thought it was longer. I guess that means I was just playing it -- I just had it on loop, back to back to back to back.  

Szu Yu Chen> I know. I love that, too. And, yeah, before I checked the duration of the song, I didn't realize it's only less than three minutes. How crazy is that?  

Sean Carter> Right? So, Szu Yu, what made you do a deep dive into this data about why songs are getting shorter?  

Szu Yu Chen> So, I'm a big music fan. I listen to K-pop with my sister. And I remember last year hearing BTS, one of the most popular K-pop groups, talking about, you know, the trend of songs getting shorter in the music industry. For example, their hit song, "Butter"... >>BTS> [Singing] Smooth like butter.  

Szu Yu Chen> ...released in 2021, was less than three minutes long. And then there's Japanese pop. So, my friends and I are both huge J-pop fans. We're always excited to explore new music from our favorite artists. And when Fujii Kaze released his new song, "Hana," last year, we were both so thrilled because it has such a long intro. The song was about four minutes.  

Fujii Kaze> [Singing in Japanese]  

Szu Yu Chen> And then I was like, "Wait a minute. Why am I so hyped about a song being, like, over 3 1/2 minutes long? What's happening here?" So I felt like I had to do an analysis on this. Is this something new? Are song's getting shorter and shorter? And then, earlier this year, we had the Grammys.  

Trevor Noah> This is it. We're back. It's the Grammys, baby. Welcome, everybody! Welcome!  

Szu Yu Chen> When reporting on the Grammys, I just noticed this trend where, particularly in pop music, rap, and R&B genres, many of the songs now are getting shorter and shorter, and, to be more precise, about 28 of the 144 nominated songs at the Grammys were under three minutes in length.  

Sean Carter> Wow.  

Szu Yu Chen> Yes.  

Sean Carter> That's a lot.  

Szu Yu Chen> Besides the example, besides SZA's "Kill Bill" that we just listened to, Nicki Minaj and Ice Spice's track "Barbie World," which was nominated for Best Rap Song, also clocking in at under -- you know, it's not under three minutes, it's under two minutes.  

Ice Spice> [Singing] And I'm bad like the Barbie. I'ma doll, but I still wanna party.  

Sean Carter> I feel like Ice Spice doesn't have a song longer than, like, a minute and 45 seconds. [Laughs] Sorry, no shade to Ice Spice. I love you, Ice Spice. I'm just playing. But, yeah, that's so interesting. And, Szu Yu, your reporting made me do a deep dive into, like, song duration and song lengths, and I love all music from all the decades. And, you know, even going back to the '50s, songs are shorter. Elvis's "Hound Dog" was 2 minutes and 14 seconds.  

Elvis Presley> [Singing] You ain't nothin' but a hound dog. You're cryin' all the time.  

Sean Carter> So, like, wasn't that -- weren't songs short to begin with?  

Szu Yu Chen> Yes. So, if we just stay in the '50s and '60s, there are a lot of examples of shorter songs, like Maurice Williams & the Zodiacs had this big hit song called "Stay," which was about 1 minute and 40 seconds, so it was also under two minutes.  

Maurice Williams> [Singing] Stay! Ah, just a little bit longer.  

Szu Yu Chen> Oh, my God. That suits this topic so well -- "Just a little bit longer."  

[Both laugh]  

But, yeah. I'd say the primary reason back then, if we're talking about technological limitation, it would definitely be with the vinyl records. That was the main thing that people used to record music. A 45 RPM single can only hold about five minutes of music on one side. So that's one constraint. The second main factor, that sort of shaped how the song duration, the now familiar 3- to 5-minutes song duration, is the radio programming.  

André Baruch> Number one, the top tune of the week, the song Your Hit Parade survey finds in first place...  

Szu Yu Chen> So, radio normally shorten a song to about 3 and 3 1/2 minutes, because they also had to accommodate for advertising. So if you're an artist and you want your songs to be on the mainstream platform, like a radio station, you definitely have to stick to those standards.  

Sean Carter> That's so interesting. So, what changed? Because in the '60s and the '70s, songs started to get a little bit longer. Like, for instance, Bob Dylan's "Like a Rolling Stone."  

[Bob Dylan's "Like a Rolling Stone" plays]  

It's like more than six minutes long. Or "Hey, Jude," by the Beatles.  

Paul McCartney> [Singing] Hey, Jude. Don't make it bad.  

Szu Yu Chen> Indeed, songs get longer. Starting from the mid '60s, we're seeing a few pop icons, like Bob Dylan, like the Beatles, they started experimenting with new song compositions, and they had this commercial power that really convinced the radio station to let them play these very long songs. "Hey, Jude" was, I think, over seven minutes, and like you said, "Like a Rolling Stone" was over six minutes.  

Sean Carter> Mm-hmm. So it's like a meeting of technology, artistic expression, and then also radio programmers being pushed or pressured due to the success of these songs that allowed artists to create longer songs?  

Szu Yu Chen> Yeah. And people loved it. People bought the records. They sang along. And then, moving on, to the '80s, that was the beginning of the era where tapes and CDs started showing up.  

Announcer> Sony compact disc players. Your ears will tell you it's not only what you play, it's what you play it on.  

[Classical music plays]  

John Cleese> Just listen to that. No hisses and crackles, of course, but if you do want that, munch a biscuit, sip a cup of cocoa, and it'll sound just like your old record player.  

Szu Yu Chen> And these technologies didn't have the time limitations of vinyl. So they really allowed artists to do songs with more flexibility that make these artists want to experiment with new things. So we're seeing, like, "How Deep is Your Love," by The Bee Gees, at over four minutes.  

Barry Gibbs> [Singing] How deep is your love? How deep is your love?  

Szu Yu Chen> And we're also seeing, like, "Silly Love Songs," by Paul McCartney...  

Paul McCartney> [Singing] I love you.  

Szu Yu Chen> ...which is at nearly six minutes long.  

Sean Carter> That's so interesting. It's like we went from vinyl to tapes, CDs, and then the jump ahead from CDs to like the 2000s, where there's this gray area of the Internet is rising, but not quite there yet, and people are still using CDs. So it's like this grey area. I remember, like, in the 2000s, I was working in Atlanta in a recording studio, and I was sitting with engineers, producers, and artists, and we're listening to this website called SoundCloud, which is kind of like where all these underground musicians would post all their music, from electronic music to hip hop to anything. But primarily in Atlanta was like hip hop, R&B, and this fusion of electronic music that was happening with soul. And we're like, "Man, these songs are like a minute and 30, you know, a minute 30 or 2 minutes at the most." And, you know, the song structures were different. It was like a chorus at the very beginning. There was no intro. There was no drawn out kind of trail to lead the listener to. It was just like, boom, here's the chorus, here's the verse, here's another chorus, and the song was done. And that started to seep into the mainstream a bit. You would start hearing these sounds and these specific sound structures and intonation and vocals in the way that these underground artists were structuring these vocals. It's just like the Internet was already making a strong impact in music without TikTok, without Instagram. So a good example of this was The Weeknd.  

The Weeknd> [Singing] Doing things you never thought you'd do.  

Sean Carter> This is before The Weeknd is what he is now. He was an anonymous figure that just was releasing music on blogs in 2011, and he dropped this mixtape called "House of Balloons."  

The Weeknd> [Singing] Knock your boots off, and I'ma love you, girl.  

Szu Yu Chen> Wow. That was wild.  

[Both laugh]  

I remember, back then -- I'm from Taiwan, and then my college was in Taiwan, and a lot of my classmates, they dreamed of becoming a musician, and SoundCloud was the thing back then. But we also had this local digital platforms called StreetVoice, where people, like -- even some of my classmates, they uploaded their songs to these digital platforms, and I really enjoyed listening to those newer, younger, you know, budding artists. And I also remember listening to songs that are like -- they were like less than two minutes, but I found them so interesting, and I realized the song structure could be so different than the standard song back at those times.  

Accusefive> [Singing in Mandarin]  

Szu Yu Chen> So one example that I think of was "Look for a Star," by Accusefive, and the song was released in November 2017. It's about 2 minutes and 22 seconds, and Accusefive became a very popular band in Taiwan in the past few years.  

Sean Carter> That's awesome. It seemed like the Internet was already making its position within music. Internet music has its own unique lane that wasn't there before.  

Elahe Izadi:: After the break, Sean and Szu Yu get into how musicians feel about this shift in pop music and what might be coming next. We'll be right back.  

Sean Carter> So, I'm curious. Have you spoken to any musicians today that talk to you about these changes and how we got to songs being so short?  

Szu Yu Chen> Yeah. I spoke with Erika Nuri Taylor. She's a songwriter, and she was nominated for a 2008 Grammy for a song called "When I See You."  

Fantasia> [Singing] I put your picture on my mirror.  

Szu Yu Chen> The song was more than three minutes long, and it was recorded by Fantasia Barrino. Erika Nuri Taylor highlighted the general shortening of attention spans and how this has impacted music.  

Erika Nuri Taylor> People, you know, are interested for two minutes, and then they want to switch to the next song, the next video, the next TikTok. It's constant, constant scrolling and bouncing around. And so I think, you know, that has also changed a lot with streaming music.  

Szu Yu Chen> For example, Nuri Taylor brought up Lil Yachty's "Poland," which was just 83 seconds.  

Lil Yachty> [Singing] I took the Wock' to Poland.  

Szu Yu Chen> But he has achieved massive popularity and inspired numerous TikTok creations. She specifically mentioned about how the pay-per-play model adopted by most of the streaming platforms really affected how writers nowadays are creating songs. Let's take Spotify as an example. If you're a writer, if you're an artist, you only get royalties when a song is played for at least 30 seconds. So what that means for an artist is that, in order to really, you know, draw people's attention and make them stay for a longer time, you'll have to give them the good stuff, the catchy hooks, quicker. So I think that also lead to many of the newer songs now skipping intros. Like, one Nuri Taylor mentioned in our conversation, she was like, "And many of the songs now also omit bridges."  

Erika Nuri Taylor> Especially the pop songs, especially the hit songs that are on the radio, which is really disappointing for me because a bridge in a song is so special. It's one of my favorite parts of writing a song is writing the bridge. And also, too, I think for musicians, I think it's, you know, fun, as well, because you get to change chords and change the melody, and there's so much that you can do that a lot of musicians are just not doing anymore.  

Sean Carter> That's so interesting. It's, like, almost teetering the line of artistic success and commercial success. Especially when you're talking about losing their bridges. Like, I love hearing bridges. In the song structure, it goes like this. There will be a verse, then a pre-chorus, and then a chorus, and then a verse, and then a pre-chorus, and then a bridge, and then the chorus, and then a chorus. So that bridge usually only comes once, twice, if you're lucky. And it's like a total chord change, or sometimes it would be a key change, something that is very different in relation to the verses and the chorus. And with that said, one of my favorite bridges -- I was watching the Super Bowl, as we all were, and Usher's song, "You Don't Have To Call," has one of my favorite bridges.  

Usher> [Singing] So tonight, I'm gonna do anything.  

Sean Carter> Yeah, I love that bridge. It's one of my favorite bridges ever. And then it goes back into the chorus.  

Usher> [Singing] Be all right tonight. You don't have to call. You ain't gotta call.  

Sean Carter> I barely hear bridges anymore in new songs.  

Szu Yu Chen> Yeah. And I remember when I spoke with Nuri Taylor, she was like, "I hope that songs don't get any shorter than they already are."  

Sean Carter> Okay, Szu Yu, so now that we went from vinyl records to tape, cassettes, to CDs, to SoundCloud, to the Internet, and to StreetVoice, and TikTok, where do you see the future of music going, in terms of length and time?  

Szu Yu Chen> I am quite optimistic, actually. I think, yes, we are seeing many shorter songs in the mainstream realm. Yes, in the past, mainstream media and the Top 40 charts heavily influenced how mainstream music should be. However, with the advent of the Internet and digital platform, we're also witnessing a shift towards, I think, a more fragmented and more diverse music scene, where popular niches are gaining momentum and sometimes even rivaling mainstream popularity. Like, myself, I listen to a lot of smaller bands in Taiwan, like, right before they, you know, gain popularity in the mainstream media. And there is a lot of variance in their songs, in terms of, you know, the composition, the structure, which I found really engaging.  

Sean Carter> Well, Szu Yu, thank you for your time, and I hope -- I hope the bands that you love release longer songs so you can jam out to them for longer.  

Szu Yu Chen> Yeah, thank you for having me.  

Elahe Izadi:: That was our "Post Reports" engineer Sean Carter in conversation with Szu Yu Chen, a graphics reporter for The Post. Szu Yu has a bunch of really fun visual pieces that analyze changes in song length. She even has one specifically about Taylor Swift's catalog. You can check out her work on washingtonpost.com, and we'll also have links to those pieces in our show notes. That's it for "Post Reports." Thanks for listening. Today's show was produced by Elana Gordon. It was edited by Monica Campbell and mixed by Rennie Svirnovskiy. I'm Elahe Izadi. We'll be back tomorrow with more stories from The Washington Post.  


https://podcast.posttv.com/vitac-transcripts/92254e32-c213-4fb4-8c0a-8c4b2ef36d14_66d2160221808470fbf4f1a4-transcript.txt

You’re not imagining it: From Taylor Swift’s “Midnight Rain” to Lil Yachty’s “Poland,” songs are getting shorter. Today on “Post Reports,” join our audio engineer on a sonic journey through music history to understand the shift.

Bishop Sand

Jesse Dufton was born with a condition in which the light-sensing cells of his retina gradually deteriorated. This did not stop him from climbing with his family – bouldering by age 2, securing his own ropes by 5.&nbsp;When Dufton went to public school and then university, he downplayed his vision problems as he became a better climber. Then he met Molly Thompson, who took note of his long hair that made him look like a mature student.&nbsp;The two grew closer and often climbed together. But even as the couple was falling in love, Dufton was losing all of his sight. <a href="https://www.washingtonpost.com/world/interactive/2024/blind-rock-climber-jesse-dufton/" rel="noopener noreferrer" target="_blank" style="color: rgb(17, 85, 204); background-color: transparent;">Dufton and Thompson had to invent new ways of communicating to continue their love of climbing.&nbsp;&nbsp;</a>This story was written and read by <a href="https://www.washingtonpost.com/people/kevin-sieff/" rel="noopener noreferrer" target="_blank" style="color: rgb(17, 85, 204); background-color: transparent;">Kevin Sieff</a>. Audio production and original music composition by <a href="https://www.washingtonpost.com/people/bishop-sand/" rel="noopener noreferrer" target="_blank" style="color: rgb(17, 85, 204); background-color: transparent;">Bishop Sand</a>.

https://podcast.posttv.com/vitac-transcripts/5d3a0caf-9dea-427c-a72b-2e76315ba518_66d1ec2f1da04a4e39845f49-transcript.txt

Even as his vision declined, Jesse Dufton’s rock-climbing skills grew. Now, he is a fully blind elite climber, reliant on his wife to guide him up mountains. It’s a relationship built of trust, and a slow-moving love. 

Deep Reads: An elite rock climber lost his vision, then found a way to climb blind

Post Reports is the daily podcast from The Washington Post. Unparalleled reporting. Expert insight. Clear analysis. Everything you’ve come to expect from the newsroom of The Post, for your ears. Martine Powers and Elahe Izadi are your hosts, asking the questions you didn’t know you wanted answered. Published weekdays around 5 p.m. Eastern time.

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Post Reports, the daily podcast from The Washington Post

<div>Post Reports is the daily podcast from The Washington Post. Unparalleled reporting. Expert insight. Clear analysis. Everything you’ve come to expect from the newsroom of The Post. For your ears. <a href="https://www.washingtonpost.com/people/martine-powers/">Martine Powers</a> is your host, asking the questions you didn’t know you wanted answered.&nbsp;Published weekdays by 5 p.m. Eastern time.</div><div>Show credits:</div><div>Host: Martine Powers | Executive Producer: Madhulika Sikka | Senior Producer: Maggie Penman | Producers: Alexis Diao, Ted Muldoon, Reena Flores, Jordan-Marie Smith, Linah Mohammad, Rennie Svirnovskiy | Logo design: Mora Vieytes for The Washington Post | Theme music: Ted Muldoon</div><div>[Follow The Post’s complete coverage of the 2020 election with updates from across our podcasts. Subscribe on <a href="https://podcasts.apple.com/us/podcast/election-2020-updates-from-the-washington-post/id1497386314?mt=2&amp;at=1001lvyS&amp;ct=election_wp_podpage">Apple Podcasts</a> | <a href="https://open.spotify.com/show/4D7mM2oI7Rx3i4klmXJOSC">Spotify</a> | <a href="https://www.google.com/podcasts?feed=aHR0cHM6Ly9wb2RjYXN0LnBvc3R0di5jb20vaXR1bmVzL2VsZWN0aW9uLTIwMjAueG1s">Google Podcasts</a>]</div>

Post Reports is the daily podcast from The Washington Post. Unparalleled reporting. Expert insight. Clear analysis. Everything you’ve come to expect from the newsroom of The Post. For your ears. <a href="https://www.washingtonpost.com/people/martine-powers/" rel="noopener noreferrer" target="_blank">Martine Powers</a> and <a href="https://www.washingtonpost.com/people/elahe-izadi/" rel="noopener noreferrer" target="_blank">Elahe Izadi</a> are your hosts, asking the questions you didn’t know you wanted answered.&nbsp;Published weekdays by 5 p.m. Eastern time.

Post Reports is the premier daily podcast from The Washington Post. Unparalleled reporting. Expert insight. Clear analysis. Every weekday afternoon.

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