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🚨🚨 URGENT! Congress trying to pass anti-LGBT bill under the guise of “child safety”!
UPDATE 09/05/2023:
Well well well, if it isn’t the consequences of her bigotry
So Marsha Blackburn, in her infinite wisdom, decided to admit in an interview with the bigoted Family Policy Alliance that the Kids Online Safety Act is a GIANT anti-transgender bill (or at the least, it’s so poorly written that it makes targeting transgender people easier). Naturally, after this blunder, she and Blumenthal are trying to do damage control. But WE have the videos, and people’s responses to this open confession in the links below:
Alejandro Caraballo’s Tweet with the Video.
Erin Reed’s followup article
Attempts at damage control commented on by Ari Drennen
PinkNews’ article about it.
Beacon Broadside Article
Mashable Article
So with all that in mind, please make way to the Bad Internet Bills website to tell your Senators that you STRONGLY advise them to drop their support/refuse to support this awful bill in light of this, or that their re-election chances will drop considerably.
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UPDATE 02/14/2023: Richard Blumenthal is a lying snake who’s trying to get both KOSA and EARN IT Act back into law.
He persistently continues to ignore all of the backlash against these bills, the criticisms and highlighting the serious flaws of the bill by numerous human rights and LGBTQ organizations, and it’s telling that there seems to be no one who opposed the bill at the hearings today.
Fortunately, there are those are speaking up against it, such as Evan Greer from Fight For The Future.
Keep your eyes and ears open. We will be hearing more about these bills as time goes on.
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UPDATE 01/30/2023: Well, Chuck Schumer has chosen to backstab human rights and pro- LGBTQ communities, as well as the internet by trying to fast-track KOSA. The time table is as follows:
REINTRODUCTION OF THE BILL IN FEBRUARY
HOLDING MARKUPS IN MARCH
And holding a floor vote in JUNE
https://twitter.com/evan_greer/status/1620088145554579456
KEEP IN MIND, this was the man who blocked legitimately good anti-Big Tech bills like AICOA on the pretense they would be “too much”, but was perfectly fine with the travesty of KOSA.
This man is in Big Tech’s pockets, because only they can afford to pay the fines that such a restrictive pro-censorship bill would enforce. The only people this bill helps are the exact people it claims to stop, while LGBTQ people have to pay the price for the greed of the corrupt congressmen and women.
All of the relevant links are still below, but I will be updated this as we go.
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UPDATE 01/17/2023: Nothing has happened yet, but there have been rumblings of our “favorite” Senator Blumenthal talking about trying to push KOSA in again. I’ll mostly be keeping an eye on things for now, and you guys should too on Twitter, Facebook, and other social media and news outlets.
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UPDATE 12/20/2022: KOSA BILL HAS NOT BEEN INCLUDED IN THE FINAL OMNIBUS BILL! WE DID IT!
https://twitter.com/evan_greer/status/1605261800479547392
That being said, this is very much a reprieve, since Blumenthal and Blackburn, and their cohorts have made it clear they intend to get this bill back into Congress next year. But WE DID IT. We managed to get this bill stopped from being added in the omnibus bill.
I want to thank all of you who helped to reblog this post, signed the various petitions and the open letter, and especially if you went and called your Senators. Without your effort, this might have turned out VERY differently!
Thank you all, and I hope the rest of this year is a pleasant one!
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So, this is a particularly long post, but it’s an absolutely IMPORTANT ONE. PLEASE REBLOG! LIKING IS USELESS!
UPDATE 12/14/2022: Two weeks ago, 90+ human rights, LGBT, and tech orgs signed onto an open letter telling Senators NOT to pass this bill. in response, over 230 orgs led by the American Psychological Association signed a letter urging senators to push this bill forward.
An updated version of the bill has been pushed forward by Senators Blumenthal and Blackburn, who claim to have changed the bill in response to feedback, but insight by the likes of Evan Greer and Ari Cohn have made it clear that the changes are superficial at best, and arguably fail to properly address the problems of the original bill.
https://twitter.com/evan_greer/status/1603139423071309825
We got blindsided by this, and we REALLY need your help!
Further explanation HERE: https://www.tumblr.com/fullhalalalchemist/703545300138262528/urgent
POST ON SOCIAL MEDIA like Twitter, Facebook, Reddit, etc. about your opposition to this! The more voices speaking out the better, and we can’t do this alone!
The Hashtags are:
#KOSA
#STOPKOSA
#KidsOnlineSafetyAct
“Kids Online Safety Act” (no hashtag and quotes, just the regular words)
And PLEASE call your Senators at (202-224-3121).
ESPECIALLY CALL THESE THREE, SINCE THEY ARE THE MAJOR PEOPLE WHO COULD END UP PUTTING THE BILL INTO THE OMNIBUS/MUST PASS SPENDING BILL:
Maria Cantwell (202) 224-3441
Chuck Schumer (202) 224-6542
Nancy Pelosi (202) 225-4965
LINKTREE WITH ALL INFO HERE: https://linktr.ee/stopkosa
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ORIGINAL POST:
In a particularly scummy move, the Kids Online Safety Act is going to be put into the must pass end of year spending bill: www.axios.com/…
The two laws best positioned to get rolled into big year-end legislative packages, according to advocates and lawmakers, are:
The Kids Online Safety Act (KOSA), which would require platforms to guard kids from harmful content using new features and safeguards and to make privacy settings "on" by default for children. The law also mandates privacy audits and more transparency about privacy policies.
At first glance, the bill doesn’t sound bad, since it’s about helping “protect children” online. But like every “protect the children” type law, this would censor the internet of anything “harmful” to children aka any LGBT, NSFW, or whatever the Right doesn’t like, force everyone to upload their govt ID’s to even access anything online, and surveil everyone else. Gutting everyone’s privacy in an era where we see massive state violence and encroaching fascism globally. This is not only pushed by the same people (Senator Richard Blumenthal and Marsha Blackburn) who created the awful EARN IT Act, but also has many of the same flaws, such as pro-censorship, anti LGBT resources and content, and pro-mass surveillance.
But the biggest problem, as Mike Stabile has pointed out, is HOW the mechanism to which this works: The State Attorney General.
This addition would allow states like Texas and Florida to sue companies for having LGBTQ+ content, along with sex education resources, incentivizing these platforms to ban that content. To be more specific, the bill allows the state attorney general to sue if they believe that platforms do not protect minors from a list of harms that includes politicized terms like "grooming" which, as we've seen can include any sort of LGBTQ information, entertainment or literature.
RuPaul on TikTok?
A clip on transgender youth on Facebook?
A gay character in a Disney movie?
Suicide hotlines for gay youth?
Cue a suit from Texas or Florida targeting the entire web.
And the problem is that given the current political climate and the cruel behavior of a number of GOP aligned political groups in positions of power, this only ends up making things RIPE for abuse and mass censorship (since companies will probably end up choosing to acquiesce to their demands rather than risk being subject to liability) not to mention the damage this would cause to children who might need resources regarding LGBT or sex education.
Furthermore, the definition of “sexually exploitative material”, “grooming”, and “child porn” has been used in the past year to target transgender people, drag queens, and the wider LGBTQ+ community by likening their very existence as sexually violent. Yet another way this bill’s language will be used to target a community that is already facing violence. Every night, Fox News blasts a story on “sexualization of children '' to fear-monger around the LGBT community. One needs to not look any further than the right-wing ecosystem to see how KOSA would easily be weaponized.
This article by Mike Masnick on Techdirt also goes further into KOSA and its adjacent bills.
To make matters even worse, on top of the usual suspects of NCOSE ( They used to be called Morality in Media, and are a far right group disguised as an anti sex trafficking org infamous for being religious assholes who HATE anything to do with sex or LGBT) supporting this travesty of a bill, it’s been revealed that the Senate leader is claiming there’s no opposition.
This is literally giving the fascists a dangerous tool to abuse, all for the sake of political brownie points against ‘Big Tech’. A tool that far right groups like the Heritage Foundation have OPENLY stated will abuse to silence LGBTQ+ or sex-ed content for youth everywhere if it passes.
The ONLY way this works is by making sure who is and isn’t a minor is to have some form of age-verification scheme. And the only way to do that is through a third party like ID.me which has recently come under scrutiny for, you guessed it, data leaks. So everyone who accesses anything online will be forced to upload their govt IDs. How is this protecting anyone’s privacy?
With all that said, what can we do?
Well, the same thing we did for the EARN IT Act; we make a LOT of noise, and get the word out.
If you have read all of the above and want to fight this, sign this open letter against KOSA.
And PLEASE call your Senators at (202-224-3121).
ESPECIALLY CALL THESE THREE, SINCE THEY ARE THE MAJOR PEOPLE WHO COULD END UP PUTTING THE BILL INTO THE }OMNIBUS:
Maria Cantwell (202) 224-3441
Chuck Schumer (202) 224-6542
Nancy Pelosi (202) 225-4965
There is a call script with phone numbers here.
Fax them, email them. Tell them they MUST oppose this bill. CONTACT any major human rights, LGBT, and cybersecurity related organizations aligned and let them know about this bill, and the harm it can cause to LGBT rights and children! If you need more information on KOSA, we have a LINKTREE HERE.
EMPHASIZE THE HARM TO CHILDREN WHEN YOU CONTACT PEOPLE, SINCE THEY’RE TRYING TO CLAIM THAT THIS WILL HELP PROTECT CHILDREN’S PRIVACY, WHEN IT DOES THE EXACT OPPOSITE.
There’s also a Petition by the Electronic Frontier Foundation and from Fight For the Future.
#kosa#STOPKOSA#Stop Kids Online Safety Act#earnitact2.0#lgbt#lgbtq#LGBT Rights#earnitact#lgbtq rights#Fuck you blumenthal#FUCK BLUMENTHAL#fuck blackburn
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How 'Percy Jackson and the Olympians' pulled off Poseidon and Sally's emotional diner chat
Virginia Kull and Toby Stephens talk about shooting episode 7's pivotal scene.
By Belen Edwards on January 27, 2024
Percy Jackson and the Olympians is a rollicking fantasy adventure, complete with frightening monsters, high-stakes battles, and gods pulled straight from Greek mythology. So it may come as a surprise that one of the show's best — and most talked-about — scenes is a quiet discussion between two parents.
Of course, these aren't normal parents. One is the Greek god Poseidon (Toby Stephens). The other is mortal Sally Jackson (Virginia Kull), who has spent the last 12 years preparing her son Percy (Walker Scobell) for his heroic destiny — and protecting him from the world of the Olympians.
Like many stories from ancient legends, Sally and Poseidon's relationship is a tragic romance. Separated by circumstances of literally mythic proportion, unable to raise Percy together because Olympian law dictates that Poseidon shouldn't even have a child, their story has no clear solution. Sally carries the burden of the truth about Percy's parentage, while Poseidon is unable to help without endangering both his son and the woman he loves. It's a tough dynamic to understand solely through Percy's eyes, but in episode 7, "We Find Out the Truth, Sort Of," Percy Jackson and the Olympians offers us a bigger window into Sally and Poseidon's connection, in all its painful messiness and surprising beauty.
"We Find Out the Truth, Sort Of" marks our first introduction to Poseidon and what his relationship with Sally really looks like. Because of this, our first glimpse of Poseidon in the flesh is not some bombastic display of godly power, but of a man and a woman simply talking in a diner about the difficulties Sally faces in raising Percy alone.
"It was a really clever way to introduce their relationship and introduce Poseidon, because it makes them very human," Stephens said of the scene in a video call with Mashable. "It's a domestic scene between a mother and father, and at the heart of it there's this pain. It's a yearning between two people to be connected who can't be, but Poseidon is also yearning to be connected with his son but can't because he's protecting him."
The diner scene was the first scene Stephens shot for the series, yet the chemistry and history between Poseidon and Sally were already well within reach for the actors. "I really liked working with Virginia, and she's a really great actress," said Stephens. "We found that very quickly. The scene just had a very intimate feel."
Percy Jackson and the Olympians began creating that sense of intimacy between Sally and Poseidon right from the very first episode, with a scene that sees Sally sitting on her fire escape, taking in the rain.
Kull was incredibly excited to see the fire escape scene when she first read the script. "In television, you typically don't have time for things like quiet, ordinary moments. And this seems like a humdrum moment, but I think it tells such a huge story," Kull said. "It's not just Sally sitting in the rain on the fire escape — she's sitting in the rain communing with the great love of her life and the father of her kid, and this is the way that she feels close to him."
The diner sequence feels like a natural progression from that fire escape moment. Sally and Poseidon are connecting in both, but there's still a distance between them. On the fire escape, Poseidon isn't actually present. But even when he's next to Sally in the diner, there's a tragic divide between them. They're close, but still far apart.
Director Anders Engström achieved this paradoxical nearness by telling Kull and Stephens to play the whole scene without ever looking at each other. For Kull, that became a key to unlocking the power of the diner scene.
"What that did to us as actors was that all of the feelings of, 'I need to see how this is affecting the person that I'm speaking to, I want to know what he thinks about what I'm saying,' we couldn't act on," Kull explained. "Therefore, the desire to be heard, to be understood, and to connect was so heightened and so charged, it was electric. It meant that any bad impulse to 'perform' went away, and I was just desperately listening to and clinging to what he was saying. Even the silences were powerful."
In these silences, where Sally and Poseidon sit shoulder-to-shoulder yet never look at one another, Percy Jackson and the Olympians builds an entire world of a relationship that, up to this point, we haven't fully understood.
"Because Poseidon has been absent for the whole show, the audience is going, 'What a jerk, this guy is this absentee father.' And then when you meet him, you go, 'Right, I get it. It's much more complicated, and actually he really does care,'" Stephens said. "This scene is not in the book, but I think it's needed in the TV version, because it gives you much more context."
#toby stephens#virginia kull#percy jackson#pjo cast#sally x poseidon#posally#poseidon#pjo fandom#pjo
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Vidding’s Grandchildren? Edits, corecore, and other video feels
Thinking about the descendants of vidding, since I was quoted in this recent article on fan edits, “Why Do Fan-Made Trailers Rule the Internet?” by Cat Zhang. The edits of the article, like the fanvids of old, are scenes from television shows and movies set to music. But while these edits are typically much shorter and more feels-focused than vids, they seem to me clearly a descendant of the form. In my book, Vidding: A History (2018), I talk about the ways in which YouTube and the algorithms of the internet were already affecting the aesthetics of vids back in the 2010s (spoiler alert: they’ve became shorter & more intense) and we can clearly see this trend in the 2020s now that fans are firmly on short-form platforms like Insta and Tiktok. The edits in Zhang’s article are all about the feels, and a sub-class of edits, corecore (as explained in this Mashable article by Chance Townsend, “Explaining corecore: How TikTok’s newest trend may be a genuine Gen-Z art form”) is often used to express chaotic or overwhelmed feels. Townsend says that what makes corecore so interesting is that “one’s feelings that couldn't be expressed through words are instead presented through images. Whether that emotion is happiness, a fear of the future, or the excitement of falling in love, corecore edits, through the use of multimedia, speak to our common experience.” The idea of expressing emotion by the artistic act of combining disparate clips with music–well, it sounds like vidding, but at the same time it seems a long way away, too. That said, a work like this hip-hop based edit of The Bear, made by an artist at the X/Twitter account “black boy cinematic universe,” seems to be doing the kind of reparative fannish media work vis a vis race that older vids did for gender and sexuality. Zhang quotes the artist as saying: “There’s an energy to the show where it’s being carried by the people of color. So in my edit, I want to make sure there’s a song that represents that.” That’s a very similar (and familiar) vibe: that urge to make the thing that will Get. It. Right.
–Francesca Coppa, Fanhackers volunteer
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'Dune' Full Commentary, Reactions, Making Of
HOLLYWOOD INSIDER
moviecollectionjp
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I replayed "What Remains of Edith Finch" this week. I loved the game the first time I played, shortly after my father passed away and during my mother's terminal illness. I set it aside for several years, but found myself with some time this week and wanted to play some video games. But it was during one of those unexpected waves of mourning and grief that happen years after losing a loved one. I wanted to feel a connection to history, family, and legacy. This game once again provided that.
If you're interested in a game that can be played through in about 3-4 hours and can cause big feelings, I highly recommend "What Remains of Edith Finch." If you're not interested in playing it, but want to read more about it, check out this mashable article.
(tw: suicide discussion in article)
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'If you're the type of person to double tap edits of Josh O'Connor's glistening thighs in Challengers, or the kind of fan still favoriting clips of Andrew Scott's Hot Priest "kneel" command, you may have recently been led down another digital path: Celebrity-centric audio erotica.
A relatively new phenomenon pioneered by audio erotica apps like Dipsea and Quinn, actors have taken on the role of smut narrator, much to their fans' delight...Most recently, the Hot Priest himself recorded a three-episode story for Quinn portraying a queen's guard with unresolved feelings for a fiery rebel...
Caroline Spiegel, Quinn's founder, hopes the platform can use celebrities and horniness for celebrities to remove some of the shame around talking about sex. "Women and queer people have been trained that talking about their sexuality, talking about sex, talking about masturbation, is not good. Whether it's from a place of purity culture or homophobia or misogyny or slut shaming, it's in [the] way them having a happy relationship with sex," she explained to Mashable. "What's cool about [Quinn Originals] is it's really easy to talk about because you're not talking about sex, you're talking about Andrew Scott, you're not talking about masturbation, you're talking about Jesse Williams and Grey's Anatomy."
The comments on Quinn's social posts reflect those language habits, with fans flooding its pages with requests and comparisons to their other celeb or fictional faves. Following the release of Scott's first episode, Spiegel posted a TikTok video, captioned, "Pitch me on your Quinn celeb casting 👀🎧." Spiegel explained to Mashable that this is part of a strategy to find celebrities, and even influencers, who already have built-in "thirst fandoms."
Tyler McCall, the author behind Scott's "The Queen's Guard," explained the levels of fiction and fandom involved in writing a Quinn Original...
When commissioned for Scott's story, McCall said she perceived the writing process cinematically, almost like writing a movie script. And she pulled in a lot of pop culture inspiration, like Game of Thrones and the sixth installment of a '90s PC game called "King's Quest." "I was thinking a lot about Star Wars. There's always a 'Reylo' at the scene of the crime," she said...
Quinn aims to offer a less stigmatized way to explore sexuality for women. Spiegel sees fanfic — which Gesselman's observations backs up — and celebrity crushes as female experiences. "The female erotic mentality is very much around who the person is, and what's their backstory and what's happening. Female eroticism is sort of like a detective. You're trying to figure out: Who is this person? What's happening? Are they safe? Where are they? What's going on? Celebrity culture, the fanfic culture, reflects that," explained Spiegel. Quinn taps into those desires.
There's a sense of safety for listeners provided by discussing sexuality through celebrity. Not only is the fan listener familiar with Scott's voice and has a pre-existing relationship with his work, but the celebrity is consenting to the erotic content and Quinn co-signs it. It's not like the fan-for-fan erotic fanfiction that's produced and consumed on the depths of the internet. Instead, there are multiple faces for Quinn's content, both Spiegel on its TikTok and the celebrity partners.
"Quinn's whole thing is erotic content and historically it has been this very overly graphic, off-putting uncomfortable genre. Our bet is that it doesn't have to be that way, it can actually be something that's talked about over coffee with friends. That's a really mainstream, normalized, happy, healthy part of life," said Spiegel...
With the continued growth of celebrity obsession, technology is changing the availability of celeb fantasy materials to fans. In January, deepfake pornographic images of Taylor Swift went viral on X, spurring a debate about the ethics of AI tech, celebrity idolatry, and the government's role in stopping this harmful content...The rise of AI technology brings a celebrity's — and all of our — right to their likeness into sharper focus.
But if a celebrity can get ahead of this technology (and sometimes even their own fanbase), then maybe they can exert some control — or at least that's what Spiegel proposes. It may explain a celeb's unexpected collaboration with less explicit, non-visual platforms like Quinn. While the site's marketplace of creator-uploaded audios speak directly to the person masturbating, almost like phone sex McCall explains, celebrity-narrated Quinn Originals ask listeners to become a character themselves, distancing users from celebs even further.
"This is a way for celebrities who have this sort of thirst culture around them to say, 'Hey, this is gonna be on my terms. I want to feel empowered doing this,'" said Spiegel. "'I'm acting in this real, elevated piece of art that's also sexual.' Being sexual doesn't have to feel degrading. It's actually a very empowering, cool thing to deal with sexuality. What I think does feel degrading is this AI porn that people make against your consent, or putting words in your mouth, or asking you inappropriate questions."
Additionally, it's not just that the celebrity is consenting to a Quinn Original, but consent itself is a major theme of all Quinn audios. Spiegel aims to bridge the gap of a topic that she sees as underrepresented in erotica. "[Consent] is a really hot thing that feels in line with the story," she said...'
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“Does the Last of Us finally get video game adaptations right?” Mashable interview
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Unveiling the Best Streaming Websites for Latest Sports Movie Updates
If you are a sports movie enthusiast like me, you probably can't wait to get your hands on the latest updates and sources on this exciting genre. Luckily, there are various blogging platforms and streaming websites that provide a wealth of information on the latest sports movies. Let's dive into some of the best platforms to satisfy your sports movie cravings!
IMDb (Internet Movie Database): IMDb is a go-to platform for all movie enthusiasts. It provides comprehensive information about movies, including sports movies. You can find details about release dates, cast and crew, ratings, reviews, and much more. IMDb also offers discussion boards where users can share their thoughts and recommendations on sports movies.
XMLTV Host: If you are planning to subscribe to a service that uses an XMLTV format, xmltv.host is compatible with any service with an on-screen guide of scheduled broadcast programming television programs that offer €0.01 (one cent) per month for every channel. XMLTV Host is an Electronic Program Guide, providing detailed descriptions of data for IPTV users and IPTV providers, with nearly 8000 TV channels from more than 110 countries. If you are looking for a service that offers relevant information on the actual and upcoming programs for your favorite TV Channels directly on your TV screen, XMLTV Host is the best choice for you.
Rotten Tomatoes: Rotten Tomatoes is known for its aggregated movie reviews. It provides a fresh perspective on the latest sports movies by compiling reviews from critics and audiences alike. You can get an overall score to gauge the quality of a movie and read individual reviews to get a deeper understanding of its strengths and weaknesses.
Sports-focused Blogs: There are several sports-focused blogs dedicated to covering the latest news, updates, and reviews in the world of sports movies. Some popular blogs include Sports Illustrated, ESPN, Bleacher Report, and Sporting News. These blogs often feature articles, interviews with actors/directors, behind-the-scenes insights, and recommendations for must-watch sports movies.
Streaming Platforms: When it comes to streaming websites, there are a few that specifically cater to sports movies:
Netflix: Netflix offers a vast library of movies, including a dedicated section for sports movies.
You can find classics like "Rocky" or "Remember the Titans," as well as newer releases like "Ford v Ferrari" or "Creed." Netflix also suggests personalized recommendations based on your viewing history.
Amazon Prime Video: Amazon Prime Video has an extensive collection of sports movies available for streaming. From inspirational tales like "Miracle" to adrenaline-pumping documentaries like "Senna," you'll find a wide variety of options here.
Hulu: Hulu also features a selection of sports movies in its catalog. While it may not have as vast a collection as Netflix or Amazon Prime Video, it still offers some notable titles worth checking out.
In addition to these platforms, don't forget to follow your favorite sports movie actors, directors, and production companies on social media platforms like Reddit and Instagram. They often share updates, behind-the-scenes photos/videos, and news about upcoming projects.
When it comes to the latest technological advancements in sports movies and mobile development applications, you may want to explore specialized tech blogs like TechCrunch or Mashable. These platforms cover a wide range of technology-related topics, including advancements in mobile development applications for sports movies.
Overall, with the help of these blogging platforms and streaming websites, you can stay up-to-date with the latest sports movie releases, reviews, news, and technological advancements in this exciting genre. Happy watching!
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My sector is gaming
My sector is the gaming industry. For my main sources, I plan on using Game Developer, GameIndustry, and Mashable. To sometimes aid in my research, I plan on watching videos from Atrioc, a game industry veteran and current live streamer who has previously worked at Twitch and Nvidia, as well as Game Industry News, an independent publication.
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Marty the grocery store robot made a brief escape into the parking lot yesterday. I don't know how I even found this video but I guess that Google has really pegged my interests: Marty the Robot Escapes a Grocery Store - YouTube
More on Marty the Robot:
"I just got chased by a robot in Stop n Shop, the future is now" Funny Tweets About Marty, The Shady Stop & Shop Robot | HuffPost
Grocery Store Robot Marty Celebrating First Birthday With Party, Cake (businessinsider.com)
Ethical Issues:
Marty the robot: Non-essential worker | Mashable
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WHY AUDIO NEVER GOES VIRAL Is This Thing On? (One of the Best Pieces Ever)
Stan Alcorn
· Jan 15, 2014
With a community of creators uncomfortable with the value of virality, an audience content to watch grainy dashcam videos, and platforms that discourage sharing, is a hit-machine for audio possible? And is it something anyone even wants?
Skip Dolphin Hursh
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Last October, several dozen audiophiles gathered in a basement auditorium for an all-day conference about “the future of radio in a digital age.” Reddit founder Alexis Ohanian finished a talk he’s been giving to college campuses about the Internet and the transformative power it can unleash when it mobilizes a mass of people around an idea, a video, a website, a tweet. When he took questions, I asked: Why does the Internet so rarely mobilize around audio? What would it take to put audio on the Reddit front page?
Ohanian leaned back, contemplating the question, apparently for the first time. “That’s interesting,” he said. “I’m thinking of a lot of the viral content.” You could practically see the memes and GIFs pass across his brain. He started to point out that most viral videos are under three minutes, while the best audio storytelling was usually longer, but interrupted himself with a story about Upworthy.
When the founders pitched him on their plan — to make “socially good content” “go viral” — Ohanian invested “out of passion,” not because he thought it would work. Now Upworthy is one of the fastest growing media properties on the Internet. Sure, sound may not go viral today, but Ohanian is optimistic. “Probably someone here in the audience is going to show us all wrong,” he said, “and a year from now we’re going to look at the Upworthy for audio."
“So go make it.”
Easier said than done.
Cat Video Vs. The Cat’s Meow
Bianca Giaever has always been obsessed with radio. As a child, while she biked her newspaper delivery route, she listened to an iPod loaded exclusively with episodes of WBEZ’s “This American Life.” At Middlebury College, she stalked her classmates, dragging them to her dorm room to record interviews she edited into stories for the college station and smaller audiences online. “I was fully planning on working in radio,” she says. “My whole life.” That is until, the day after graduation, she became a viral video star.
When she painstakingly crafted moving audio narratives, her parents and brother listened. When she added video to her final college project, “The Scared is Scared” — a 6-year-old’s dream movie brought to life — “It just. Blew. Up.”
“At first I was like, ‘Wow. A lot of people are sharing this on Facebook,’” she recalls thinking, “‘I have such nice friends!’” Then it was friends of friends. Then strangers. By the time websites like Mashable and CBS News picked it up, she could only picture the audience as a number. Waiting on the tarmac for her post-grad vacation to begin, she watched on her phone as that number spiked into the thousands, then hundreds of thousands, seemingly crashing the site that hosted it. “These French people were yelling — because I had my phone on as we were taking off — that I was going to kill them,” she recalls. “They were like, ‘Is whatever you’re doing worth our possible death?’ And I was like, ‘Maybe? This is the biggest thing that’s happened in my life!’”
Of the 100 most-shared news articles on Facebook, three were from NPR, but none included audio. Two of these were reblogs of YouTube videos.
I’m a public radio reporter and this doesn’t happen in my milieu. There is no Google Sound, no BuzzFeed for audio, no obvious equivalent of Gangnam Style, Grumpy Cat or Doge. If you define “viral” as popularity achieved through social sharing, and audio as sound other than music, even radio stations’ most viral content isn’t audio — it’s video. A 17-minute video interview with Miley Cyrus at Hot 97 has nearly 2 million views. An off-the-rails BBC Radio 1 video interview with Mila Kunis: more than 12 million. In June 2013, the list of the 100 most-shared news articles on Facebook included three from NPR, but none included audio. Two of these stories were reblogs of YouTube videos (this one and this one), found on Gawker and Reddit.
“Audio never goes viral,” writes radio and podcast producer Nate DiMeo. “If you posted the most incredible story — literally, the most incredible story that has ever been told since people have had the ability to tell stories, it will never, ever get as many hits as a video of a cat with a moustache.”
It’s hardly a fair fight, audio vs. cat video, but it’s the one that’s fought on Facebook every day. DiMeo’s glum conclusion is an exaggeration of what Giaever reads as the moral of her own story: “People will watch a bad video more than [they will listen to] good audio,” she says.
Those in the Internet audio business tend to give two explanations for this disparity. “The greatest reason is structural,” says Jesse Thorn, who hosts a public radio show called “Bullseye” and runs a podcast network called Maximum Fun. “Audio usage takes place while you’re doing something else.” You can listen while you drive or do the dishes, an insuperable competitive advantage over text or video, which transforms into a disadvantage when it comes to sharing the listening experience with anyone out of earshot. “When you’re driving a car, you’re not going to share anything,” says Thorn.
The second explanation is that you can’t skim sound. An instant of video is a still, a window into the action that you can drag through time at will. An instant of audio, on the other hand, is nothing. “If I send someone an article, if they see the headline and read a few things, they know what I want them to know,” a sound artist and radio producer told me. “If I send someone audio, they have to, like… listen to it.” It’s a lot to ask of an Internet audience.
For some radio makers, social media incompatibility is a sign of countercultural vitality. Thorn has called his own work “anti-viral,” and believes that entertaining his niche audience is “still so much better than making things that convince aunts to forward them to each other.”
“That’s A-U-N-T-S,” he clarifies.
But when I suggest the situation doesn’t seem to concern him, he interrupts, “To say that it doesn’t concern me — it concerns me profoundly. I think about it all the time.” In his view, social media warps our consumption patterns, and not for the better. “It’s a serious problem in my life. And not just in my media-making life, in my day-to-day life.”
After Giaever’s video went viral, she turned down an internship at “This American Life” — “my dream since I was nine” — to become a “filmmaker in residence” for Adobe. She gets paid to make her own movies, which she still approaches as radio stories with added visuals. It’s the proven way to get people on the Internet to listen. “The entire concept of what I’m doing seems problematic to me,” she says. “What’s so beautiful about radio is you can’t compete with what people are imagining in their heads, right? And yet I still continue to do it.”
Because audio doesn’t go viral.
Except that sometimes, it does.
Kids Say The Darndest Things
Most viral audio wasn’t intended for the Internet. Recordings made for some other purpose are excerpted and uploaded: voicemails, speeches, and calls to 911 and customer service hotlines.
One category of viral audio is the document, bits of audio that serve as evidence in a news story. It’s easy to imagine text transcripts being distributed in audio’s absence: Bradley Manning’s testimony, the 911 calls of the Trayvon Martin case, Obama’s oft-quoted “clinging to guns and religion.” The primary advantage of audio over text is that it lets the listener confirm a quote with her own ears and determine if meaning is altered by nuances of emphasis or emotion.
Another category of viral audio is the rant or comic diatribe, where emphasis and emotion are the entire point. For instance, an irate San Francisco Chronicle reader chewing out the editor for referring to a “pilotless drone,” or a voicemail becomes an increasingly laugh-filled narration of the aftermath of a car crash. A transcript of these would be like lyrics without a melody.
Somewhere in between these two is a subcategory that could be called “celebrities gone wild”: Alec Baldwin cursing out his 11-year-old daughter, Christian Bale cursing out his director of photography, Mel Gibson cursing out his ex-girlfriend, etc.
These brief, emotional, sometimes-newsworthy clips of people speaking have cousins in viral video. In fact, the two are sometimes difficult to distinguish. Mitt Romney’s infamous “47% comment” was captured and distributed as a video featuring blurry donors’ backs. A recent viral “video” titled, “Potty Talk! [Original] 3 year old contemplates the effects of his diet on the toilet” is merely a shaky shot of a bathroom door. When documenting a primarily auditory event from the vantage point of a single recording device, adding a video camera to the microphone gives slightly more information, and the advantage of keeping the eyes occupied.
But these amateur, one-shot videos are a small and shrinking section of the viral video pool. “We’re seeing a lot more professional work in [the viral video] space, and I don’t just mean advertisers,” says YouTube trends manager Kevin Allocca. The “top trending videos” of 2013 were all intentionally shot and edited for an Internet audience: music videos (“What Does The Fox Say?”) and ads (Volvo’s “epic split” with Jean-Claude Van Damme) but also low-budget productions like the Norwegian army’s “Harlem Shake.” They all have had over 90 million views.
Analogous audio — deliberately constructed and virally distributed — is a rarer and more recent phenomenon.
Ask a public radio journalist for an example of viral audio, and one piece comes up again and again: “Two Little Girls Explain The Worst Haircut Ever.” It’s two minutes and fifty seven seconds of cute, as five-year-old Sadie and three-year-old Eva tell the story of an ill-advised haircut to their patient interviewer and father, WNPR reporter Jeff Cohen. For public radio, Cohen has covered gangs, unemployment, and the aftermath of the mass shooting at Sandy Hook Elementary school. He won a magazine writing award for a story in the Hartford Courant about Connecticut’s first Iraq war widow.
“I’ve done a lot of work as a reporter that I’m pretty proud of,” he says. “I will never be recognized for anything for the rest of my life, except for this.”
It, too, resembles a viral video: it’s short, self-contained and driven by cute children. But not only does it lack any images of said children, it isn’t a straightforward record of what unfolded in front of the microphone. Cohen recorded two interviews, one with each daughter, and then carefully edited them into a fast-paced, seamless whole. Unlike Alec Baldwin’s voicemail, “Two Little Girls” is a showcase of audio’s power to create what appears to be an unedited version of reality, but is in fact a tightly constructed story, with a beginning, middle and end.
To explain why millions of people have listened to “Two Little Girls” — and why this is still so exceptional — you have to look at its convoluted path to fame.
What We Mean When We Talk About ‘Viral’
Taken literally, “viral” brings to mind an infectious agent bumping around inside its host, spreading accidentally by breath or touch. When “viral marketing” emerged in the 1990s, the medical referent was apt. The disease vector typically took the form of email and “virals” — as such ads were then called — that lived in the inbox. Invisible to the wider world, they spread from individual to individual, as when Hotmail stuck a sign-up ad beneath its users’ signatures. Or when the movie “American Psycho” sent compulsively forwardable emails from its psychotic main character, Patrick Bateman.
Today, those seeking to “go viral” have the same essential goal — to increase their audience by reaching the audience’s audience (and their audience, ad infinitum) — but the web has changed beyond the dynamics of disease transmission. Instead of invisible, one-to-one emails, today’s Internet infections spread by a cascade of publicly visible, one-to-many “likes,” “shares,” “tweets,” and “reblogs,” accelerated and amplified by an expanding web publishing industry. “Sharing” implies a deliberate effort, but social media sharing skews toward a mix of self-representation and what Tumblr creative technologist Max Sebela refers to as “speaking in content”: You might share Rebecca Black’s “Friday,” not because you want people to watch the video, but to make a joke about the fact that today is Friday.
“How does it happen,” YouTube’s Kevin Allocca asked in a 2011 speech called “Why Videos Go Viral.” “Three things: tastemakers, communities of participation, and unexpectedness.”
Tastemakers are like virus broadcasters, picking up outstanding, or “unexpected,” Internet phenomena that might otherwise never spread beyond their initial communities, and spraying their spores onto larger followings.
For Cohen’s “Two Little Girls,” the key tastemaker, without whom it may well have languished in Internet obscurity, was Gawker’s Neetzan Zimmerman. (Note: I spoke with Zimmerman before he announced his plans to leave Gawker to become editor-in-chief of a social network startup called Whisper.)
Zimmerman is the closest thing to a one-man embodiment of what he calls “the viral industry.” When Gawker hired him in early 2012, his boss A.J. Daulerio approvingly called him, “a total freak” for his ability to methodically scour the corners of the Internet for the video, memes, and Internet ephemera that would grow to popularity after being seeded with Gawker’s audience. “Before I used to do basically 20 hours a day,” Zimmerman says. “Now there’s a night shift, so I don’t have to worry as much.” In the last three months of 2013, his posts were responsible for more than half of Gawker’s pageviews and two thirds of the site’s unique visitors — nearly 40 million in total — according to Gawker’s public stats. For comparison, that’s more than 1/3 of the traffic of the entire the New York Times website.
Zimmerman’s work is a more extreme version of the new, upside-down dynamic of web publishing. Instead of the publisher’s megaphone guaranteeing its articles an audience, the publisher only has an audience insofar as the articles “go viral.” Tens of thousands of readers see most of the dozen items Zimmerman posts each day, but millions see his blockbusters.
For those hits, the content and the clickbait headline are as important as the timing. He describes “going viral” like surfing: boarding a wave at the earliest possible point. “You don’t want to wait too long because you’ll miss that initial cresting,” he says. “It’s a race against everyone else.”
Zimmerman chooses what to cover by scanning for signs of that wave rather than looking deeply at the constituent molecules of content. “The way the system works is I keep a mental note of instances of occurrence on a certain tier of sites,” he says. This lets him identify “viral momentum,” even when his personal judgment might suggest otherwise. “The purpose of the system is to override my biases and to override whatever personal feelings I have.”
Sometimes this lets Zimmerman not only beat the competition, but also popularize something that might otherwise never bubble into the mainstream from a less-trafficked corner of the Internet. But the system — Zimmerman’s and that of the “viral industry” more generally — has an obvious bias of its own toward content that is already being shared on the Internet.
For Bianca Giaever’s “Scared” video, first college and radio friends shared it on Facebook, then Vimeo made it a “staff pick,” then major media websites like CBS News, BuzzFeed, Jezebel and Mashable blogged about it. Within three days, hundreds of thousands were watching.
For Cohen, it took four months, and a lot of luck.
‘Invisible As the Radio Waves Themselves’
Jeff Cohen had interviewed his daughters many times, in the same way other fathers shoot home videos. “I’m sappy that way,” he says. But he thought enough of the haircut piece to play it for colleagues at the radio station. “It was about five minutes long, and my boss and friends said, ‘Cut it down to three minutes and put it on PRX.’”
PRX is the Public Radio Exchange, and as the name suggests, its website is a marketplace where station managers shop for stories. After Cohen uploaded his new, tighter version of “Two Little Girls” in February of 2012, it was discovered and licensed by a handful of local stations: KOSU in central Oklahoma, KUT in west Texas, KSJD in southwest Colorado.
But to the Internet, all this was invisible as the radio waves themselves. “PRX is designed as a business-to-business marketplace,” says PRX CEO Jake Shapiro. “We’re not designed for listeners… yet.”
The circuitous route that “Two Little Girls” took to Gawker didn’t start with PRX, but at a monthly event called “Ear Cave” hosted by one of Cohen’s colleagues at a coffee shop in Hartford, Connecticut. “I call it BYOB, BYOE,” says the event’s creator Catie Talarski. “Bring Your Own Beer, Bring Your Own Ear.” She dims the lights, sets up chairs, and projects a photograph of an old radio, so the audience has something to look at while a chosen curator presses play on a laptop. That April, “Two Little Girls” was the grand finale.
“It was just a huge hit,” recalls Adam Prizio, an insurance auditor who was in the audience that night. Two months later, Prizio, with the voices of Eva and Sadie bouncing around his head, decided to google it. Finding the audio on PRX, he posted a link to community blog MetaFilter, with no description other than a mysterious quote (“It happens three times in every life. Or twice. Or once.”) and the categorization “SLAudio,” a riff on “SLYT” (Single Link YouTube).
Overnight, the comments swelled. “Amazing.” “Adorable.” “Better than the Car Guys.” “OH MY GOD THIS IS FUCKING BALLER.” There were fewer comments than a link published ten minutes later — “Fundamentalist Christian schools in Louisiana will soon be citing the existence of the Loch Ness monster as proof that evolution is a myth” — but they were comments of single-minded delight. The next morning, Zimmerman saw the thread in his morning Internet regimen, and within an hour had put up his own post that would go on to gather some 1.3 million views entitled, “Public Radio Reporter Interviews His Two Little Girls After One Gives the Other the ‘Worst Haircut Ever.’”
“It didn’t really matter that it was audio,” says Zimmerman. “It was more about how it was being received online.”
In one sense, it followed the same trajectory as all viral content, or what YouTube’s Kevin Allocca has defined as a combination of “community participation” and “tastemakers.” Something becomes popular in a niche community, whose public enthusiasm attracts the notice of a tastemaker, who then repackages it to suit a larger audience, where the entire process repeats on a larger scale.
But really “Two Little Girls” succeeded in spite of its immediate community. Cohen first had to be convinced to put it online at all, and even then it was on a website searched only by public radio station managers. While Cohen says it made the rounds of his Facebook friends, it only took off after audio enthusiasts heard it at a coffee shop.
Compared to other media, even young, tech-savvy audiophiles are less likely to share audio on a weekly basis, and when they do, they’re more likely to use email instead of social media.
The barriers that nearly blocked “Two Little Girls” from finding a larger audience are a mix of culture and technology. While home videos make the leap to YouTube all the time, audio makers tend to keep their scraps to themselves. When I took an unscientific poll (n=60), it backed up what I heard anecdotally: Compared to other media, even young, tech-savvy audiophiles are less likely to share audio on a weekly basis, and when they do, they’re more likely to use email instead of social media.
Several echoed the sentiment of occasional radio producer Laura Griffin, who said, “I tend to assume that most people don’t have the same patience and appreciation for audio that I do, so I am selective about what audio I share and with whom.”
Others pointed to technological limitations. The files themselves are large and often forbid downloading. Audio-hosting websites employ an inconsistent potpourri of players, many of which disallow the embedding that has helped make online video ubiquitous. (Some PRX audio can be embedded, but Gawker had enough trouble with its player that they uploaded the audio into their own.) “I often don’t share NPR audio because their player isn’t embeddable and requires going to another website to listen,” notes multimedia producer Will Coley.
There is one standard format for distributing digital audio, but rather than resolving these barriers to sharing, it may be their most perfect expression: the podcast.
The Podcast Problem
If you don’t know what a podcast is, you’re in the majority.
Technically, it’s an RSS feed containing links to files (“podcast” typically implies an audio file). Using podcast-listening (formerly “podcatching”) software, you can “subscribe,” setting your computer or smartphone to automatically download the new and get rid of the old.
It’s hard to appreciate in 2013 the enthusiasm with which this simple idea was met by the mid-2000s media.
“I haven’t seen this much buzz around a single word since the Internet,” computer programmer Carl Franklin told the New York Times in 2004.
By letting everyone become broadcasters (or really “podcasters”), it was supposed to disrupt radio in a way that was predicted to parallel that other online media format with a horrible portmanteau name: blogging. In fact, the name “podcast” was tossed off by the Guardian's Ben Hammersley between the alternatives “audioblogging” and “GuerillaMedia.”
It wasn’t all hype. Anyone can start a podcast, just as anyone can blog. The podcast did close the loop, in its clunky way, between where people download and where they typically listen. And aficionados can point to a long list of programs, especially covering technology and — more recently — comedy, which never would have existed otherwise.
12% of Americans listened to a podcast in the last month, the same percentage as three years ago.
But while much of online publishing now takes the form of the blog, interest in podcasting seems to have flatlined. According to Nielsen Audio (formerly Arbitron), 12% of Americans listened to a podcast in the last month, the same percentage as three years ago. It is a substantial niche, but smaller than the percentage of people who create online videos, and less than a sixth the number who watch them.
“There was a huge wave of initial excitement around podcasting changing and disrupting and turning upside-down radio seven years ago, or longer,” says PRX’s Jake Shapiro. “And then it kind of just petered out.”
While the number of podcasts has proliferated, the vast majority of episodes have audiences in the double or triple digits, judging from the experience of podcast hosting giant Libsyn. “If you want to do the average, our mean podcast? Now you’re looking at like 200, 250 downloads per episode,” Libsyn’s Rob Walch told NextMarket Insights's Michael Wolf. The majority of top podcasts, far from being grassroots disruptors, are major public radio shows: “This American Life,” “Wait Wait Don’t Tell Me,” and “Radiolab.” It’s the dominant way of finding an on-demand audio audience on the Internet, but it’s more Hulu than YouTube.
The absence of disruption is, in part, baked into the technology. “It’s clearly the number one barrier to wider listenership,” says Jesse Thorn. Apple gave the format a big boost when it brought it into the iTunes store in 2005, but that walled garden of a market has come to delimit the podcast’s reach. To watch a YouTube video, you click play, wherever it exists on the web. With another click you can immediately share it by putting a player in the feed of your Facebook, Twitter, Tumblr, or even LinkedIn accounts.
To listen to a podcast, however, you have to search for it on an app or in the iTunes store, sign up for it, wait for it to download. (Of course there are other ways to download podcasts, but the majority of podcast downloads occur through Apple.) Click “share” on Apple’s podcasting app, and you’ll be prompted to post an RSS feed, which is a bit like trying to share a new Tom Junod article and instead passing on a password that readers can use to subscribe to Esquire.
These hurdles don’t hamper podcasts that are already well known. Thorn’s podcast audience has been growing steadily by approximately 50% each year. “Radiolab” and “This American Life” — public radio shows that are among the most popular podcasts and the aesthetic guiding lights for young public radio producers — are both approaching a million digital listens for each new episode. For these shows, the occasional episode will get shared more than others, but that “viral” bump is on the order of 10 to 20 percent, and even that seems driven less by social media than old-fashioned word of mouth. “Google is a much bigger referrer to any given episode [than Facebook],” says WNYC’s Jennifer Houlihan Roussel. In other words, podcasts don’t go viral. Nor are they designed to.
As the Guardian’s technology editor, Charles Arthur, points out in the Independent back in 2005, “Podcasts take content and put it into a form that can’t be indexed by search engines or be speed-read, and which you can’t hyperlink to (or from). A podcast sits proud of the flat expanse of the Internet like a poppy in a field. Until we get really good automatic speech-to-text converters, such content will remain outside the useful, indexable web.”
A Cloud Atlas?
If there is any company attempting to create a modern web alternative to the podcast, it’s SoundCloud.
“Podcasting: It’s a fairly old school method of distribution,” says its co-founder and CTO Eric Wahlforss. “We are certainly of the opinion that SoundCloud is the superior way of broadcasting your show across the web.”
If you’ve played audio from Facebook, Twitter or Tumblr, you’ve likely seen it: the slow crawl of orange across a gray waveform. This omnipresent, embeddable player is what has most clearly attracted the moniker “YouTube for audio.” Hoping to make sound as sharable as video, SoundCloud delivers this content via a streaming player instead of a dressed-up file download.
In a Facebook message, data scientist Lada Adamic told me: “Soundcloud does seem to have a lot of sharing activity (everything is dwarfed by YouTube but soundcloud is holding its own) [sic].” SoundCloud was the 11th most commonly submitted domain on Reddit as of March 27, 2013, according to Reddit data scientist Chad Birch, above the Huffington Post, the Guardian and Vimeo. The number of YouTube domains submitted was almost 22 times as high.
But the SoundCloud content accumulating most on social media isn’t what the company calls “audio.” “In our world, in terms of viral content, the real viral content is actually music,” Wahlforss says.
For non-music “audio,” SoundCloud lets broadcasters and podcasters have it both ways, encouraging them to make their shows available on SoundCloud’s platform, while also creating a podcast-ready RSS feed. “We are trying to blur that distinction a little bit,” says Wahlforss.
“We’re on SoundCloud because they have a nice player for sharing on Facebook and Twitter,” says Seth Lind of “This American Life.” But the total plays of their hour-long episodes on SoundCloud peak at roughly 3% of its digital listenership, and are usually under 1%, hovering around 5,000. A look at SoundCloud’s “trending audio” page presents a similar picture: podcast episodes and radio shows, with listenership in the hundreds or low thousands.
Clearly, technology alone doesn’t ensure the virality of an hour-long show with a headline designed for consistency rather than clickability (e.g.: “#513: 129 Cars” from “This American Life”). “It’s probably not going to be as popular as a Gangnam Style,” Lind notes, dryly. The audio that has gone viral takes a different tact: short, tailored specifically for SoundCloud, and providing a near-immediate pay-off that fulfills the headline’s promise.
Much of it is some mix of rant and newsworthy document, like AOL’s Tim Armstrong firing Patch’s creative director, or Charles Ramsey’s 911 call after he helped rescue three kidnapped women in Cleveland.
But the most heard, and most truly social example of SoundCloud’s viral audio is a New Zealand radio host’s dramatic reading of a series of text messages from a one-night stand gone unhinged: “This Is What Crazy Looks Like Via Text Messaging.” “Fletch & Vaughan” host Vaughan Smith found the texts on BuzzFeed and performed them as part of a four hour-long drive-time show. He then uploaded it to SoundCloud and shared it on Facebook to appease callers who wanted to hear the skit — but only that one skit — again.
“At the end of the weekend it hit a million plays,” says Smith. “It was mental.” With more than six million plays to date, more people have heard the version from “Fletch & Vaughan” than have read the BuzzFeed article it was adapted from — a triumph of sound over text.
It couldn’t have gone viral without a player as sharable as SoundCloud, but perhaps more importantly, it couldn’t have gone viral without the active unearthing of comedic gold buried within a longer broadcast. “In public radio, only within the last few years has there been a big value seen in disaggregating content from shows,” says PRX managing director John Barth. “And there’s still a pretty big debate about that.” These concerns echo the now-largely-obsolete resistance of other media to the Internet. They want listeners to experience the whole enchilada, not take the ingredients and re-contextualize them.
As for creating a whole new audio cuisine — work cooked up specifically for a SoundCloud audience — the successful examples are elusive. “We mostly use it as a promotional tool really,” says Smith. “We use it to promote the podcast.”
The Message Is The Medium
Last October, Reddit's Alexis Ohanian told a basement full of audiophiles to go make "the Upworthy for audio," but in a sense, we already have the Upworthy for audio: Upworthy. With its scientifically-selected, clickbait headlines, it is the reason nearly two million people have heard the future president of Ireland Michael Higgins dress down rightwing talk show host Michael Graham (“A Tea Partier Decided To Pick A Fight With A Foreign President. It Didn’t Go So Well.”) It’s the reason hundreds of thousands have heard Geoffrey Gevalt tell a small poignant story, set to music, about his daughter (“A Toddler Gets Totally Profound In a Way Most Adults Don’t”) and Summer Puente about her father (“Every Night This Dad Falls Asleep in Front of the TV. There’s a Beautiful Reason Why.”)
The Upworthy sector of the Internet economy isn’t just healthy, it’s insatiable and omnivorous in its appetite for content it can coax people into clicking and sharing. “Whether it’s audio, whether it’s video, whether it’s still images, whether it’s text: my system remains pretty much the same,” says Neetzan Zimmerman. “For me it doesn’t really matter.”
The viral industry can help solve audio’s skimming problem, but only if it can find the content in the first place. “Radio doesn’t do a very good job of marketing itself to the viral industry, for whatever reason,” says Zimmerman. “Maybe it thinks too highly of itself, or thinks of ‘viral’ as a cheapening of its content. I really disagree with that. I think there’s a lot there to be mined, and a lot that gets ignored.”
“Marketing” makes it sound like radio makers simply need to do a better job of drawing attention to their work. And it’s true: active, public sharing directed at non-audiophiles is how Zimmerman found “Two Little Girls.” If there were a website that showed what audio was “trending” in some smaller community, Zimmerman says it would become part of his system. “One hundred percent. No doubt about it.”
There are also plenty of short podcasts and single-serving radio stories that are poorly labeled on obscure web pages or presented in unembeddable players. “Nobody that I’ve seen, even the best of them, spends time thinking about how to create the metadata or the descriptions: the things that might actually catch your attention,” says PRX’s Jake Shapiro.
More fundamental than marketing is the question of where audio makers see a market. “So far nobody is producing audio, really, for an audience that might be scanning for things to enjoy,” says Shapiro.
“It’s somewhat of a chicken and egg thing,” he says, “Until producers have any kind of confidence that there’s an audience or some money to be made — or preferably both — they’re not really targeting it.”
“If it can’t be used for pornography it’s never going to be the most popular thing.”
Perhaps Facebook will tweak its algorithms to favor audio. Perhaps SoundCloud or PRX or Apple will make a social alternative to podcasting. “It’s possible that someone will make this app that’s all about sharing audio that will be the next Snapchat,” suggests Seth Lind. “That’s obviously not going to happen,” he quickly adds, to make sure I know he’s joking. “If it can’t be used for pornography it’s never going to be the most popular thing.”
But Jeff Cohen and “Fletch & Vaughan” demonstrate that audio makers don’t have to wait for a deep shift in technology to court a viral audience. They would, however, have to create audio not for already-dedicated radio and podcast listeners, but for the distracted, impatient crowd that is the web. Audio enthusiasts would have to evangelize on that work’s behalf, not just in coffee shops or emails to each other, but online, loudly, with the same manipulative, click-chasing techniques wielded by the rest of the web.
The day “Two Little Girls” went viral, Jeff Cohen tweeted: “I fear I may disappoint new Twitter followers once they realize that I mostly write on Hartford, government, and healthcare. Not my kids…” That is still more or less his beat, though he does also have a children’s book (“Eva and Sadie and the Worst Haircut EVER!”) due out this summer.
“I don’t know anything about the Internet, really,” Jeff Cohen says. But the way he sees it, although he got lucky, he also made his own luck.
“I didn’t cut anybody’s hair. But when you see an opportunity, you take advantage of it.”
Stan Alcorn is a print, radio and video journalist based in New York City. He regularly reports for WNYC, Marketplace and NPR and is a staff writer for Fast Company's Co.Exist.
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Just look at TikTok, where storytelling has become a lingua franca. In videos on the app, users encourage one another to “do it for the plot” or to claim their “main-character energy”—and, crucially, to film the results. One TikTok tutorial shows users how to edit a video to “make your life seem like a movie.” Story-speak is often used for levity: “I really hate when people call all the things I’ve gone through ‘trauma,’” one 19-year-old says in a tongue-in-cheek clip. “I prefer to call it ‘lore.’” But it also provides language for hard-to-articulate feelings: In another video, a forlorn teen stares into the camera above the text, “i know i’m a side character, i have no purpose except to sit and wait for my next scene.”
Here, and in most other corners of the internet, narrative taxonomy prevails. We’re telling ourselves stories in order to live, yes, but we’re also turning ourselves into stories in order to live. Amid the shapeless, endless internet—which Burnham describes as “a little bit of everything all of the time”—the tidy language of story appeals, helping to structure our experiences on- and offline. Making ourselves legible to others is, in essence, the mandate of social media. We are encouraged to create a brand and cultivate an aesthetic, to share inspiring anecdotes on LinkedIn and project authenticity on BeReal. On Instagram, “Stories” allow users to broadcast moments and experiences to their followers, and it’s tempting, one Mashable article argued, to rewatch your own—to view your life in the third person, packaged and refracted through a camera lens.
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It's SLIMING TIME BABY!
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The Atlantic: The GIF Is on Its Deathbed
About 40 percent of my first full-time job was dedicated to making GIFs—a skill I had professed to have during the interview process, and that turned out to be much harder than I thought. It took trial and error to figure out how to make sure the colors weren’t too weird, the frame rate too fast, the file too big.
This was 2015, and GIFs had to be smaller than 1 megabyte before you could upload them to most social platforms. Fiddling with them was worthwhile, because GIFs were very important. You had to have them! They were the visual style that the audience craved. Not only did I make dozens a day for the website I worked for, but I often made extras for co-workers who requested them for their personal use. (I was eager to please!)
GIFs—particularly “reaction GIFs,” such as Michael Jackson chomping on popcorn and Mariah Carey muttering “I don’t know her”—were a lingua franca of the internet and significant enough culturally that in 2014, the Museum of the Moving Image in New York even put on an exhibit of reaction GIFs (titled “Moving Image as Gesture”). “This is the file format of the internet generation,” Tumblr’s then-head of creative strategy, David Hayes, told Mashable in 2016, while more than 23 million GIF-based posts were being uploaded to the site he worked for each day. As the GIF’s star rose, GIF-searching features were added to Facebook, Twitter, and iMessage, making it even easier to find a GIF to express whatever emotion you wanted to convey without words.
And that was the turning point. These search features surfaced the same GIFs over and over, and the popular reaction GIFs got worn into the ground. They started to look dated, corny, and cheap. “GIFs Are for Boomers Now, Sorry,” Vice’s Amelia Tait argued in January. As older adults became familiar with GIFs through the new, accessible libraries attached to essentially every app, GIFs became “embarrassing.” (Tait specifically cites the GIF of Leonardo DiCaprio raising a toast in 2013’s The Great Gatsby, and I agree—it is viscerally humiliating to be reminded of that movie.) The future is dark for GIFs, Tait suggested: “Will they soon disappear forever, like Homer Simpson backing up into a hedge?”
Much, too, has been made of Meta’s acquisition of the GIF search engine Giphy, which regulators in the U.K. have attempted to block. Giphy pushed back by roasting themselves. “GIPHY has no proven revenue stream (of any significance),” the company’s lawyers wrote in a filing with the Competition and Markets Authority. No company other than Meta is interested in buying it—they know because they specifically asked Adobe, Amazon, Apple, ByteDance, Snap, and Twitter, and they all said no. “Further, there are indications of an overall decline in GIF use,” the filing continues. Without providing any specific figures, they highlight a “drop in total GIF uploads,” a growing disdain for GIFs among social-media users, and “younger users in particular describing GIFs as ‘for boomers’ and ‘cringe.’”
What I would like to suggest is that the situation is even worse than it appears. Not only are reaction GIFs “cringe” to some people, but the entire GIF medium is under serious existential threat.
GIFs are old and arguably outdated. They’ve been around since the days of CompuServe’s bulletin-board system, and they first thrived during the garish heyday of GeoCities, a moment in history that is preserved by the Internet Archive on a page called, appropriately, GifCities.
Read: The battle for the soul of the web
GIFs—as a file format, not as a category of thing you could use to express an opinion without formulating one—were special. “This was an art form that was native to the internet,” Matt Semke, a GIF artist who works under the name Cats Will Eat You, told me. “Videos existed in other places; paintings, photos existed in other places. GIFs just didn’t exist anywhere until the internet.” And they were beloved because of the seamless animated loop, which was not possible with any other file format. Because of their unwieldiness and antiquation, today, many GIFs are converted to MP4 video files, which look good and make life easier but do not loop perfectly. There is always a tiny hiccup when the video has to restart, making them inferior.
For people like Semke, 2007 was the year to be alive. Tumblr debuted and quickly became the home of digital art and fandom, which meant it became the home of GIFs. Originally, users were stuck with the traditional 1-megabyte limit, with a low resolution of 500-by-500 pixels. This may sound annoying, but actually, it was great. Semke recalls that it was “a cool challenge for artists to try to crunch their art down into a file that was so restrictive—the challenge in itself was part of the art.”
But even with the restrictions, optimizing so many animated images became expensive for Tumblr. It needed a way to crunch them down. So the company approached Eddie Kohler, a Harvard computer scientist, in 2013 to help with its GIF-resizing process. This resulted in a platform that was uniquely well-suited to serving its millions of GIF-hungry users an endless feed of GIFs, which is precisely what it has continued doing to the present day.
Tumblr is now a rarity for displaying GIFs at all. Most popular sites—including Twitter and Imgur—convert GIF uploads and serve the animations as MP4 videos. As Kohler explained to me, video compression has improved so much over the years that many video files are much smaller than GIF image files. He pulled a GIF from a movie and a graphic-art GIF to show me the difference. The GIF from the movie was nearly 4.5 megabytes, and the MP4 translation of it was about 20 times smaller, at less than .23 megabytes. “MP4 is the right choice for this kind of image,” he said. “Much smaller, very similar visual effect.”
But not everyone lives their life in pursuit of expediency. For some, GIFs are an art form; therefore, detail matters, and pain is expected. Kohler noted that an image tailored to this format might demand “pixel perfection for its effect,” which makes compression a trickier business. We looked at an example of graphic art where the GIF version was about 5.4 megabytes and the MP4 was about 4.8 megabytes. “MP4 is blurring some of the pixel perfection,” he pointed out, “and MP4 isn’t even that much smaller.” Even so, artists must follow their audience, and much of the digital-art scene has moved from Tumblr to Instagram for greater visibility. Instagram allows only video uploads, and a GIF artist’s page there will appear as a grid with “Play” buttons all over it. A Tumblr archive of GIFs is a living thing, playing over and over. “That’s probably why I’m still on Tumblr,” Cat Frazier, the artist behind Animated Text, told me. Although she has more than 100,000 followers on Instagram, it’s not the same: “If I could just upload GIFs everywhere and not reformat them, I would.”
Read: How the snowflakes won
Tragically, even Tumblr’s commitment to the GIF is now in question. In 2015, it appeared to be unwavering: “The format is woefully outdated, and this begets massive, low quality animated images,” a post on Tumblr’s engineering blog read. “However, as the true ‘home of the gif,’ Tumblr isn’t ever giving up on your gif files!” This summer, though, even Tumblr started “experimenting with serving GIFs as MP4 videos” to a “small subset” of users, with the aim of making GIFs load faster. (Company blog posts discussing the change did advise artists that they could opt out of this conversion by adding a single transparent pixel to the first frame of their GIFs, breaking the conversion and thwarting the process.)
So could it really be the end for the ol’ GIF? Tumblr sees nowhere near the number of posts of any kind that it did six years ago, and not to be crass, but there are constantly rumors that it is itself at death’s door. GIFs are “cringe” in part because they are too easy to make and find—they have been totally devalued by the public. And they are being replaced—Frazier noted that people communicate with other kinds of moving images now, such as TikTok clips with text over them and super-short Twitter videos that add humor by incorporating sound.
But I think there will always be, at least, a handful of masochists who want to struggle to make a GIF and struggle again to post it somewhere—all because they are devoted to the perfect animated loop, and because they think there is something spiritually important about contorting themselves to create it. “[Igor] Stravinsky has a quote about constraints,” Kohler told me. Then he read the whole thing aloud: “The more constraints one imposes, the more one frees one’s self. And the arbitrariness of the constraint serves only to obtain precision of execution.”
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Tech Technologies: Unlocking the Future for Young Minds
Minds
Welcome to the exciting world of tech technologies! If you're an 8th-grade student, you're at the perfect age to start exploring the amazing innovations shaping our world. Whether you're interested in gaming, smartphones, or the latest gadgets, tech technologies are all around us. In this blog, we will dive into what tech technologies are, why they matter, and how they are changing our lives. So, let's embark on this fascinating journey together!
Overview of Technologies!
Tech technologies, often simply called "tech," refer to the tools, systems, and devices created using scientific knowledge to solve problems and improve our daily lives. These technologies can range from the smartphones we use to communicate to the robots that perform surgeries in hospitals. The field of tech technologies is vast and ever-evolving, making it one of the most exciting areas to study and explore.
Examples of Tech Technologies-
Smartphones: These pocket-sized devices allow us to call, text, browse the internet, and even play games.
Computers: From laptops to desktops, computers help us with schoolwork, entertainment, and communication.
Robots: Used in various industries, robots can perform tasks ranging from assembling cars to assisting in surgeries.
Artificial Intelligence (AI): AI systems can learn and make decisions, like recommending videos on YouTube or recognizing faces in photos.
Virtual Reality (VR): VR headsets let us experience immersive virtual worlds, perfect for gaming and learning.
Why Are Tech Technologies Important?
Tech technologies play a crucial role in our everyday lives. They help us stay connected with friends and family, make learning more interactive, and even keep us entertained. But beyond that, tech technologies have a broader impact on society.
Improving Education
Tech technologies have transformed the way we learn. With online classes, educational apps, and interactive learning tools, students can access information and resources from anywhere in the world. This makes education more accessible and engaging, allowing students to learn at their own pace.
Enhancing Healthcare
In the medical field, tech technologies have led to significant advancements. For example, telemedicine allows doctors to consult with patients remotely, making healthcare more accessible. Robotic surgeries enable precise and minimally invasive procedures, improving patient outcomes.
Boosting Communication
Communication has never been easier, thanks toTech Technologies Social media platforms, messaging apps, and video calls allow us to stay connected with loved ones, no matter where they are. This instant connectivity has made the world feel smaller and more connected.
Trending Blogers: The Power of Tech Technology in Blogging
One of the most popular ways to share information about tech technologies is through blogging. Blogers are individuals or groups who write about the latest trends in technology, offering insights, reviews, and tips. These blogs are a valuable resource for anyone interested in tech, providing up-to-date information on the newest gadgets and innovations.
Why Follow Trending Blogers?
Following Trending Blogers can help you stay informed about the latest tech trends. These bloggers often test new products, provide honest reviews, and share their experiences. This can be especially helpful if you're considering buying a new device or want to learn more about a specific technology.
Popular Tech Blogs
TechCrunch: Covers the latest in tech news, startups, and gadgets.
Mashable: Offers a mix of tech news, reviews, and entertainment.
Wired: Focuses on how emerging technologies affect culture, the economy, and politics.
The Verge: Provides in-depth coverage of the latest tech products and trends.
Engadget: Reviews new gadgets and tech products, providing detailed analysis and opinions.
How Tech Technologies Are Shaping the Future
Tech technologies are not just about the present; they are also about the future. Innovations in this field are continuously shaping how we live, work, and play. Here are some ways tech technologies are paving the way for a brighter future.
Smart Homes
Imagine living in a house where you can control the lights, thermostat, and even the refrigerator with just your voice or a smartphone app. Smart homes use tech technologies to make our lives more convenient and energy-efficient. Devices like smart speakers, smart thermostats, and smart locks are becoming increasingly common, making homes more connected and automated.
Autonomous Vehicles
Self-driving cars, also known as autonomous vehicles, are no longer just science fiction. These cars use a combination of sensors, cameras, and AI to navigate and drive without human intervention. While fully autonomous cars are still being tested, they have the potential to make transportation safer and more efficient.
Renewable Energy
Tech technologies are also playing a significant role in promoting renewable energy sources. Solar panels, wind turbines, and energy storage systems are becoming more advanced and affordable. These technologies help reduce our dependence on fossil fuels and promote a cleaner, more sustainable future.
Space Exploration
Advancements in tech technologies have made space exploration more achievable than ever before. Private companies like SpaceX are developing reusable rockets, reducing the cost of space travel. This opens up new possibilities for exploring other planets and potentially establishing human colonies beyond Earth.
Artificial Intelligence and Machine Learning
AI and machine learning are transforming various industries, from healthcare to finance. These technologies enable computers to learn from data and make predictions, improving decision-making processes. In the future, AI could help solve complex problems, automate tasks, and even create new forms of entertainment.
How to Get Started with Tech Technologies
Are you excited about tech technologies and want to dive deeper into this fascinating field? Here are some steps you can take to get started.
Learn the Basics
Start by learning the basics of tech technologies. There are plenty of online resources, including websites, YouTube channels, and educational platforms, that offer free tutorials and courses. Topics you might want to explore include coding, robotics, and digital design.
Join Tech Clubs or Workshops
Many schools and communities offer tech clubs or workshops where you can learn and collaborate with others who share your interests. These groups often work on projects, participate in competitions, and invite guest speakers to share their expertise.
Experiment and Build Projects
Hands-on experience is one of the best ways to learn about tech technologies. Start small by building simple projects, like creating a basic website or programming a small robot. As you gain confidence, you can take on more complex projects and even participate in hackathons or science fairs.
Follow Tech Blogs and News
Stay updated on the latest trends and innovations by following tech blogs and news sites. As mentioned earlier, Trending Blogers are a great resource for staying informed and inspired. You can also subscribe to tech magazines and podcasts to get a broader perspective on the industry.
Connect with Mentors
Having a mentor can be incredibly beneficial as you explore tech technologies. Mentors can provide guidance, answer questions, and offer advice based on their experiences. Look for mentors in your school, community, or online platforms dedicated to connecting mentors with mentees.
The Future is Yours: Embrace Tech Technologies
Tech technologies are an exciting and ever-evolving field that offers endless possibilities for discovery and innovation. As an 8th-grade student, you are at the perfect age to start exploring this fascinating world. By learning the basics, joining clubs, building projects, and staying informed, you can unlock your potential and shape the future.
Remember, the journey of exploring tech technologies is not just about acquiring knowledge; it's also about having fun and being curious. So, keep asking questions, experimenting with new ideas, and sharing your discoveries with others. Who knows, you might be the next great innovator in tech technologies!
Conclusion
In conclusion, tech technologies are transforming our world in countless ways, making life more convenient, efficient, and exciting. From smart homes and autonomous vehicles to renewable energy and space exploration, the future is full of possibilities. By following Trending Blogers, learning the basics, and staying curious, you can be a part of this incredible journey.
So, are you ready to unlock the future with tech technologies? The adventure starts now! Dive into the world of tech, explore the innovations, and let your imagination soar. The future is bright, and it's yours to discover. Happy exploring!
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