Last weekend, Kelly and I drove up to St. Petersburg with friends to see Ira Glass present a one-man stage show explaining how he makes This American Life on the radio. I had no prior familiarity with his work, having not heard the radio show unlike the fans that I went with, but I think it's long past time that I started listening to the celebrated series online.

Glass talked about how he studied semiotics in college, and that made a lot of sense: He approaches the radio show not like a journalist, but like a storyteller, using structure rather than content to build the audience's interest. He broke down some of his most famous episodes and explained how he organized them to build mysteries in the mind of the listener and establish universal connections to the people in the tale. I'm absolutely going to start applying his lessons to my own storytelling.

The stage show was frequently funny -- Glass has the skills to be a comedian, if not the psychopathology -- but for the cost of the tickets, I guess I expected more. It was over so soon, after Glass explained maybe four aspects about how his show works, and there was no visual element to the show other than Glass just walking around the stage, gesturing as he talked. The radio show has zero visual component, so I thought maybe the stage show would project images onto a screen or bring out some props or something to differentiate it. The stage show did include several requests to donate to the local NPR member station, so it was like the radio in that sense.

Even though stage show itself was not very good despite some laughs, I'll be glad that I went if it gets me listening to the backlog of This American Life online and gets me to approach storytelling in a new way.


Logical Operator

The creator of Funeratic, Scott Hardie, blogs about running this site, losing weight, and other passions including his wife Kelly, his friends, movies, gaming, and Florida. Read more »

Space Out

As Denise suggested I do, I've gotten partway through the Unsolved Mysteries set on UFOs. (link) It's not my favorite topic, but the show is entertaining no matter what it covers, and they put on a good show. The problem is that most of it is so hard to believe. Go »

All King and No Kubrick Make Jack a Dull Boy

I recently got to talking with friends who liked The Shining, both Stephen King's novel and Stanley Kubrick's film adaptation of it, but who were unaware that King has always loathed the movie, despite its reputation as one of the best horror films ever made. It's hard to imagine that a writer doesn't know his own work better than someone interpreting it, but I think this is one of those rare cases where the writer is just too close to the story to get it. Here are three reasons why I think Kubrick's film better understands the material, and is better overall, than King's novel: 1) In King's version, Jack Torrance is a fundamentally decent man who wouldn't hurt a fly, but who is down on his luck and desperate. Go »

Only in the Web Era

Victim's cell phone is stolen on subway. Thief takes photos of his own wife, family, dog, and home. Cell phone automatically uploads them to victim's Flickr account. Go »

I Want to Play Sega with Harrison Ford

Behold the bizarre, pop-culture-inspired visions of Brandon Bird: (link) Thanks, Maggie. Go »

Notes from Milwaukee So Far

Bad flight Friday. Late dinner at the local 24-hour Greek diner, first pasta I've had in a week and so good. Matt thought the waitress was ignoring us; I thought she was attentive. Go »

Survivor Guilty

As a longtime Survivor viewer, I've been bothered by its slow decline. Some of the show's problems are apparent on its surface, like Jeff Probst's appalling gender bias and the show's overemphasis on tacky "themes" for the season. But I got to thinking about what's wrong under the surface, on a conceptual level. Go »