![]() It might have been possible to design a show with him that he would have felt comfortable with and I would have felt comfortable with. But I didn't want to keep doing that show.and the notion that everything I brought to The Wild Room I got from him I find completely infuriating.I didn't want to do free-form radio anymore. While Glass admits he wasn't transparent about his plans, in that same article, he explained, "Every week on The Wild Room we came to the show with two independent sensibilities. When the show went on without him, Covino says he felt "betrayed". ![]() He just didn't call it The Wild Room." Glass, however, didn't include his co-host in his plans and assured him that the deal was unlikely to happen. In a 1998 article in the Chicago Reader, Michael Miner quoted Covino as saying, "The show proposed was The Wild Room. Malatia approached Glass with the idea, who countered that he wanted to do a weekly program, but with a different premise, a budget of US$300,000, and sights on taking it national. They offered him US$150,000 to make a show featuring local Chicago writers and performance artists. However, he was looking for new opportunities in radio, and had been sending grant proposals to the Corporation for Public Broadcasting for two years when, in 1995, the MacArthur Foundation approached Torey Malatia, general manager of Chicago Public Radio. In the early 1990s, Glass co-hosted, with Gary Covino, a Friday-night show in Chicago called The Wild Room. Glass has stated he is contractually obligated to mention station WBEZ (and previously, also former distributor PRI) three times in the course of the show. The end credits of each show are read by Glass, and include a sound clip extracted out of context from some portion of that show, which Glass humorously attributes to previous WBEZ general manager Torey Malatia, who co-founded the show with Glass in 1995. The majority of interviews with subjects never make it to the air, as many as 80 percent, because the team looks for interviewees who recount stories in a "particular way". Often This American Life features stories which explore aspects of human nature, such as "Kid Logic", which presented pieces on the reasoning of children. The show often addresses current events, such as Hurricane Katrina in "After the Flood". The mood of the show ranges from gloomy to ironic, from thought-provoking to humorous. Stories are often told as first-person narratives. After the introduction of the theme, Glass then introduces the first act of the program.Ĭontent varies widely by episode. This prologue will then lead into the presentation of the theme for that week's show. Programs usually begin with a short program identification by host Ira Glass who then introduces a prologue related to the theme which precedes act one. Each act is produced by a combination of staff and freelance contributors. On occasion, an entire program will consist of a single act. Ī television adaptation of the show ran for two seasons on the Showtime cable network between June 2007 and May 2008.įurther information: Lists of This American Life episodesĮach week's show has a theme, explored in several "acts". The series was distributed by Public Radio International until June 2014, when the program became self-distributed with Public Radio Exchange delivering new episodes to public radio stations. The first episode aired on November 17, 1995, under the show's original title, Your Radio Playhouse. Primarily a journalistic non-fiction program, it has also featured essays, memoirs, field recordings, short fiction, and found footage. It is broadcast on numerous public radio stations in the United States and internationally, and is also available as a free weekly podcast. This American Life ( TAL) is an American weekly hour-long radio program produced in collaboration with Chicago Public Media and hosted by Ira Glass. ![]() Stereo, iTunes, SoundCloud, Google Podcasts
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