Amazing Audio From the Bay

I’ve been listening to 99% Invisible while traveling, and the design series’ fresh take on everything from elevator audio to the group Anonymous is well worth sharing. Created by East Bay producer Roman Mars (whose talents I know from Chicago Public Radio), the episodes are brief–and great–enough to listen to twice.

“The human-human interface” program is so informative it may work its way into the Designing Calming Technologies course at Stanford this spring. I’m excited to hear your thoughts and think you’ll find that this “tiny radio show” is anything but.

Knight News & Spot.US API

This week’s announcements of the winners of this year’s Knight News Challenge brought good news in many forms, including financial backing for projects by SF-based Stamen Design and Public Radio Exchange, a system for raising money to pay creators of local radio stories. The grant is enabling PRX to collaborate with the community funded news resource Spot.US in developing an API for both sites and the former’s StoryMarket for reporters, producers and editors.

Expect a Women 2.0 page on Spot.US to follow for supporters of the In Conversation series with entrepreneurs, and, in the meantime, Ruby on Rails programmers’ skills are being solicited for the growing open-source project.

Feel the Magik Magik

Between its fantastic name and emphasis on helping San Francisco musicians make a worthwhile living, the Magik*Magik Orchestra caught my attention with its pressure-filled beginning. (No garage band start here). The orchestra’s founder and artistic director, Minna Choi, was studying composition at the San Francisco Conservatory of Music when she received a request by the booker at Cafe du Nord to put together a 34-piece string orchestra. And not just for the exercise, but to play the West Coast premiere of Radiohead guitarist Jonny Greenwood’s orchestral work, Popcorn Superhet Receiver.

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“The performance was slated to occur that summer while Greenwood was in town to play the Outside Lands Festival with Radiohead, and would be his first U.S. hearing of the work,” production manager Julia Vanderham recalled. “Minna set to work putting together an ensemble of some of the finest talent at the Conservatory and, in August at a sold-out show at the Herbst Theater, the Magik*Magik Orchestra was born.”

Most of the Magik’s original members were students and it now accepts players on a word-of-mouth basis through application. The full service “orchestra-for-hire” typically works on a contractual basis with bands who want to add classical musicians to their own music, whether live or recorded. Music arrangements, sheet music preparation, coordinated rehearsals, and the opportunity to work with a bank of talented young folks are among the reasons their work is solicited for social music gatherings and a full-length album with John Vanderslice.

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SFiFF Opens, Hosts Live “Utopia” Documentary

I’m not the biggest short film connoisseur, but at last year’s Sundance Film Festival I was struck by “The World’s Largest Shopping Mall” about a massive shopping center in south China that stands nearly empty despite housing space for hundreds of stores and a Venice-style canal system. It was shot by local filmmaker Sam Green and producer Carrie Lozano, who worked on two other projects that are well worth watching and discussing: “The Weather Underground” feature and the live documentary “Utopia in Four Movements,” which had its California premiere last night as part of this year’s San Francisco International Film Festival.

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With on-stage musical accompaniment by the Brooklyn band The Quavers, Green narrated a set of four stories about utopian ideals, socialist and capitalist politics, the intended universal language Esperanto, and (of course) the merits of forensic archeology at Kabuki Cinema. The combination of audio and Keynote slides and video clips were mixed live by co-director Dave Cerf for an audience of local filmmakers and critics on the fourth day of this year’s festival. I found focusing on the stories themselves a bit challenging given the on-site production elements–cue ADD–but found it a compelling take on filmgoing following last year’s live episode of This American Life. (The undertaking isn’t a small one either, as evidenced by website FAQs that include “what is a live film?” and “what is utopia?”)  And the gathering aspect seems to have been part of the point: in the show notes, SF essayist Rebecca Solnit wrote:text

Television chopped up movies with commercials and put them in the middle of domestic distraction, but that was nothing compared to this moment when films are on your iPhone and your laptop and in fuzzy tiny windows on YouTube. The worth thing about these new modes of viewing isn’t that they diminish cinema as visual and imaginative spectacle. The worst thing is that they’re watched furtively and alone. Cinema, which was once a great banquet in a dream palace is now often a snack devoured absentmindedly in isolation.

What You Love, Want, Need? Welcome Ladywood

I had seen a porn for gals book a few years ago that was almost vision-straining in the eye rolls it induced in me. A clean sink and a Baby Bjorn are nice and all, but their turn on potential is…far-fetched for most women at best. Enter SF-by-way-of-Boulder designer Jamie Panzarella, an online experience creator who’s not too timid to invite women to put a Rick James track on a video of a gent shaving (or a plate of rotating gourmet cheese) and address it “supertramp.”

Knowing friends with varied triggers that make them melt, Panzarella sought a way to address the particularness and complexity with which many women pursue that which makes them melt. Ladywood.biz was born, and the just-launched site’s steamy video creation tool with a send-a-friend capability and array of curated news items make for entertaining reasons to return. (The eye-catching magenta and black color scheme isn’t bad, either.)

“It all started about a year ago when I was at a hotel and  decided to peruse the porn selection–just to see,” Panzarella said. “I was surprised by the variety: horny housewives, swinging soccer moms, naughty cheerleaders…All of them were cheap. Not one movie catered to ladies. This intrigued me: that we don’t have the options, and if we did, what would they be?”

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SF Welcomes The[Un]Observed

I have found few online resources where it’s possible to find West African Afro beat, reflections on public transport miscommunications, and interviews with the Dame of Punk (she being designer Vivienne Westwood), and it’s not for lack of trying. As someone with undiagnosed ADHD and an affinity for the search bar, the locally based audio resource The [Un]Observed is a long awaited catalog of auditory enjoyment, and I have radio producer Tania Ketenjian to thank.

Inspired by the Austrailain Broadcasting Company’s Night Air, the BBC World Service and Studio 360 contributor recently launched a radio magazine for conversations and observations that is, to her credit, very hand-selected. “I want people to know what quality they’ll hear” when they listen to the new five pieces The [Un]Observed adds to its archives per week, says Ketenjian, who also hosts the artist conversation series Sight Unseen on KALX.

Audio by journalists, sound artists, and producers of American, Australian, and British descent are well worth a browse (and listen). The Chorus of Refuge online installation by Jason Cady, Kara Oehler, and Ann Heppermann stands out with its combination of stories from six refugee populations relocated to as many American cities, and the experiences of postmodern dancer Anna Halprin and singer Marvin Gaye are also lovingly told. Consider it radio, curatorially catalogued.

Noise Pop Opens (Or, Why Not Start the Weekend Early?)

Despite traveling I’d be remiss not to mention the auditory enjoyment that Noise Pop fest is bringing San Franciscans through next Monday. And not just because it temporarily claims the stages of favorite haunts (Benders, Cafe du Nord and Rickshaw Stop among them) with shows by the likes of Zee Avi and Downtown Calling. Two films also stand out: a Roxie Theater screening of the documentary Austin, Texas: Live Music Capital of the World? about the effect that the city’s economic downturn had on working musicians and Vin Cinema’s event around Blood Into Wine about Tool’s front man’s attempt to make wine in the Arizona desert. And, for the record, I’m completely (not) over missing tonight’s happy hour “Outside the Crowd” photography show with work by the very talented Ashod Simonian at my home away from home Hotel Biron. C’est la vie, as they’d likely tell me.

You Need Therapy (In the Best Way)

Picture 7Some smart work from our SoCal friends: when Therapy wanted to draw increased interest in its post-production company site and portfolio, the West LA shop didn’t turn to a sales rep or agent to hawk their reel. Instead, they’ve been drawing eyeballs to their VFX and editorial work by purchasing bizarre URLs and printing them on T-shirts. When people visit the sites (supposedly after seeing them on the backs of l’influencers), they go to a strangely funny 5 second teaser splash page before being driven to the Therapy site.

Rebecca Orlov of Loving. Living. Small. (and a video producer in her own right) turned me onto the Therapy tees and passed along Therapy executive producer Joe DiSanto’s description of the method: “physical viral.” I call it iamnotcynicalijustdontenjoymyself, but as you will.

Pop-Up Magazine and This American Life Live This Week

Literature and multimedia-loving locals will enjoy tonight’s Pop-Up Magazine, a night of live presentations from contributors to Wired, All Things Considered, Harper’s, et al. Award-winning artists and authors on stage at the Brava Theater will include New York Times Magazine contributors Michael Pollan and Peggy Orenstein; The Kitchen Sisters, Davia Nelson and Nikki Silva; and photographer Todd Hido. Lest you be upset that the Pop-Up Magazine is a one-night only event, This American Life Live will be shown at theaters around the country on Thursday to provide your smart independent culture fix.

Web 2.0 Expo: NPR and Current Talk APIs

The first full day of the Web 2.0 Expo in SF opened with a great conversation about the benefits and potential improvements of the application programming interfaces (APIs) released by National Public Radio and Current in the past year. NPR’s Director and Chief of Technical Strategy Zach Brand explained the process of making 13 years of broadcast content available for sharing as a “brand and release” approach, while Current’s VP of Strategy Robin Sloan described his joy at the local cable and satellite network’s decision to make its video content available in a structured way.

Photo by Andy Carvin.

Full disclosure: as a former intern at the NPR affiliate station Chicago Public Radio (WBEZ) and a supporter of KQED, I’m a public broadcasting junkie. Outside news feeds in an RSS aggregator, I get most of my news from radio coverage online and can often be found streaming and listening through huge headphones at my desk. Programming from Public Radio International and American Public Media is a weekly must-listen, but for me, NPR’s breadth of reporting and analysis takes the cake.

So it was with much excitement that I went to hear Brand and Sloan explain the process of leading their media organizations’ efforts to make content accessible and shareable. NPR, which launched their open API last July, now makes 250,000 individual stories and the work of 16 public broadcasting partners available through it. And it hasn’t gone unnoticed: with 1,300 registrants, Brand says the API has increased exposure and reach to audiences who wouldn’t otherwise tune in live or visit NPR.org.

While some of NPR’s competitors have found Atom feeds to be the best distribution mechanism, the majority of the content creator’s API registrants get theirs in the form of XML, widgets, and RSS feeds. Beyond output formats, there is the additional question of how the content available on the API is shared with mobile users. After Public Radio Exchange created a radio tuner iPhone application, a part time programmer and firefighter who supports NPR’s efforts created a second, wildly popular app which listeners can browse and use to listen to stories broken down by category. While Sloan said he’s humbled by the fact that someone outside the organization beat NPR when it came to creating an iPhone app, it’s a testament to how much people are advocating to make its content more accessible anywhere.

Sloan said a similar accessibility was what his Current team strived for in partnering with Twitter to deliver real-time updates of debate watchers’ opinions during last fall’s presidential election. The opportunity that an Open API provides, Sloan said, is experimentation—instead of creating a static set of content, the nature of making multimedia shareable is that it can be located and changed. This can be seen in the difference between the one-to-many style election coverage presented in 2004 and the changing presentation of many-to-many coverage of late 2008. Sloan admitted that there was a learning curve in the quality of presentation and scale of distribution between the first debate and election night, but overall I like the idea of the trend away from overly edited, singular voice presentation, even it if means mistakes are made the first few times out of the gate.

While inherently different in their average audience age and funding mechanisms, NPR and Current have both begun to demonstrate the way that long unaltered methods for radio and video distribution are being given a less restricted life. Sloan told Web 2.0 participants to “be imaginative when thinking about who [their] API audiences might be.” Even more than the media companies, the ones who stand to gain the most from the implementation of API software are the people who weren’t formerly able to access all it has the potential to provide. And that’s news worth waking up for.