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winged-wolf-dreamer · 7 months ago

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It's strange. I was not friends with Steven. I never exchanged messages with him here or on twitter when I still had it. All the correspondence was just some answered asks I sent him, that's it.

I still feel like I've been stabbed in the heart.

A Song Of Ice And Fire is... a series with layers. And the fandom has spent its time without a new book peeling apart those layers to find the meaning underneath, and few have done it as well as Steven, with his famed Chapter-By-Chapter analysis of the series. Truly, it is a foundation of the analytical side of the fandom. I'm sure I am not unique in that, even as I drifted out of the fandom, I still eagerly awaited each new installment of the series. His CBC analysis was one of the first things that allowed me to see beyond the pages of GRRM's epic.

But it was more than ASOIAF that I appreciated his work on. He had a passion for Marvel comics that helped ignite in me an interest to read them, beyond just general knowledge of the franchise. Even now, I'm reading Immortal Hulk, and I think I would not have done it if not for me reading his posts about Marvel comics in general over the past several years.

Now... I think of how he was working on another post for his CbC, the chapter on Tyrion's trial, and of the remaining chapters of ASOS he didn't get to write. The Mountain and The Viper. Lysa's confession. Tywin's death. Stoneheart's rise. And the many many chapters of the FeastDance too. I remember he talked about Brienne's journey being like Don Quixote, and it made me excited to see the analysis he would do of those chapters. And I think of how the Krakoan Era of the X-Men books was coming to an end, and a new era would soon start. Two more comics were announced for that era today, and I couldn't wait to hear his thoughts on them, as well as the new X-Men 97 episode and the final issue of Resurrection of Magneto (a miniseries he adored, if you go through his recent posts).

Most of all... I had gotten back into the fandom a few months ago by rereading ASOIAF, one chapter a day. I have kept to the one chapter part, but haven't quite been able to do it every day, and I would read the essays he did for each chapter. As of this writing, the next chapter to read is the Purple Wedding, which means I am nearing the end of his CbC posts, and that makes me feel sad. Once I pass the next Arya chapter, that will be it...

And it's not just that. I still believe we will get TWOW and maybe even ADOS and an ending, but now it will be without his reactions and analysis of the books. I sometimes imagine the reaction to GRRM announcing Winds proper, what it would be on tumblr, and now, should I ever read those books, it will be with a twinge of sadness.

I apologize for these many words. I am not a fandom contributor, nor a friend of his, just a reader of his work, but I feel his loss keenly now, and will miss him. My thoughts go to his family and friends.

And now his watch is ended.

#racefortheironthrone

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cirque-dhomosexual · 2 years ago

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Random Cindy headcanons (ft. Some others) I plan on touching on in my upcoming fic:

Cind is a raging hopeless romantic!

her fave movie was casablanca

Tommy loved 2001: space odyssey

She loves the Beatles, ABBA, and Queen (But wouldn't say it out loud) She would, however, talk about Barry Manilow, Olivia Newton-John, and Captain and Tennille

She had a huge alien/space phase

Her + Alice broke into their school to use a telescope

SHE IS PUERTO RICAN/ BRAZILIAN ON HER MOM'S SIDE!!!! LATINA CINDY FOR THE WIN! (lDC If this me projecting as a Lesbian Latina. In my heart and soul this is a canon/factual statement.)

She's a horror buff! She was the one to talk to get Ziggy into it. She would have read ziggy horror books as a bedtime story and let her sleep in her bed if she ever got scared. But since her dad left, she hasn't had the time to read.

She prefers books but loves movies too

She loved reading select Stephan King books, Frankenstein by Mary Shelly, Anything by Shirley Jackson, Dracula by Bram Stoker, and the exorcist by William Peter Blatty. Even Carmilla by J. Sheridan Le Fanu!

She's not a huge fan of zombies

On Carmilla, she read it in her library but found out about it by listenining to the CBC radio novella. She didn't check out the book (for obvious reasons) but after fighting herself for ages she reads it and she does so like she's trying to smuggle in contraband. She was so jumpy and for no reason bc literally no one else around her knew about it or it being queer.

Outside of horror, she loved reading romance

She cannot skate. Not at all. She tries and she went on a skate date with Tommy but she can't stay up longer than 2 whole seconds

Alice was the one that introduced her to comics. She pretends she's never read a comic but she's quite the fan of the x-men and wonder woman. She has tried to enter the comic shop in a disguise but people do recognize her.

She's a closeted trekkie

She does end up shoving these interests to the side so she can have her "perfect life" that a girl her age should have but I doubt she stops loving her nerdy shit.

#cindy berman #my head canons #fear street #tommy slater #the line seperating projection and canon is looking kinda transparent ngl #weeeeeeee #tell me your thoughts :)

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thehypertuna · 2 years ago

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Long time no update! I usually don’t post much about my actual work here but I figured it would be nice to share about it once in a while :^) I lettered a cool HighWater Press book with Wanda John-Kehewin (writing) and nicole marie burton (art) and it's coming out this April! Available for pre-order here: https://www.portageandmainpress.com/Books/V/Visions-of-the-Crow It's also been featured on Publishers Weekly and CBC!! https://www.publishersweekly.com/pw/by-topic/new-titles/childrens-announcements/article/91345-forthcoming-children-s-ya-books-by-indigenous-authors.html https://www.cbc.ca/books/20-canadian-comics-to-check-out-in-the-first-half-of-2023-1.674031

#.txt #work #lettering #highwater press #portage & main press #graphic novels

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boricuacherry-blog · 2 years ago

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Interview with Melissa Auf der Mauer:

I grew up in Montreal, Canada, in Quebec. My parents were independent, freewheeling, freelancers for their whole lives. Both started as journalists. They both founded two different independent presses - my mother a French one, my father an English one - and they were both radical politically. My parents never worked for one corporation in their entire lives.

My mother was a first wave feminist and decided to do everything she had never seen a woman do. My father was the child of very, very poor immigrants and really built an incredible world for himself. My mother ended up in the grand world of Quebec theater via Cbc and her own radio shows and broadcasting - she went from journalism into Quebec theater and became the leading literary translator. Her passion is bringing the voice of French Canadian theater to the world. I spent my 2nd birthday in Africa because she said being a mother wasn't going to stop her from climbing Mount Kilimanjaro, so that was the kind of woman I was raised by. She was also the first female rock disc jockey on the Montreal airwaves.

My father took his journalism into radio, then into a remarkable television show that he had from 69' through 72' which was really early wave man-on-the-street camera on film interviewing everyone. He captured a remarkable oral history of people in Montreal during a time when a huge political upheaval was happening. There was a language war between the French and the English, and both my parents fought for the underdog - the French. My father ended up becoming a politician and running downtown Montreal for years and has a street named after him. He had the biggest funeral in Montreal history. My father was larger than life in many regards. He was married to the city of Montreal. My parents weren't together for any of my life, but my father was a man of the people. My mother married my stepfather when I was ten.

I liked depressing new wave British music as a kid and wore military khaki outfits. I didn't care what I wore. None of my women role models dressed up. I dated a couple mods, we wore very straight clothes, no curves, but I was also a late bloomer. So I just really embraced that people thought I was a boy for a few years. I still have small breasts, so I've never been focused on that. Before I joined Hole at 23 I had never worn lipstick.

There was some religion in my parents' upbringing that turned them off, so they were atheist, political, intellectual, unbelievably well-read literary people. So in many ways I rebelled against that. I'm still not a big reader, but I do enjoy the structure of schooling. I was more into sound and visual. I was planning on getting my masters in photography. I enjoy school, but I'm more into mystical emotional analysis than a bunch of intellectual destroying-of-ideas stuff. In high school I had my own darkroom, and my first instrument was trumpet. Our yearbook was basically like a punk rock fanzine, and I took all the pictures, and did all the collages. I don't go into anything with any expectations or plans, and I'm not a person that strives for security. I moved out of home when I was sixteen, I've been very independent my whole life. I've never had aspirations, I just enjoy being in the moment, which is why I love music, but why I was so hesitant to join Hole. I hate the word 'rock star.' I never aspired to that. My heroes were Glenn Danzig - he was a really weird nerdy comic book guy, not your typical 'rockstar,' you know - Morrissey, Robert Smith. These people weren't your larger than life rockstar, they were just odd people. I never romanticized success, just making art and finding my people, finding my voice.

Some of this could be because I grew up in the public eye in Montreal. I was the only daughter of a very special, but slightly controversial figure. My father was a bachelor, a man about town - they call him a bon vivant - he died very young from too much smoking, too much drinking. He was like a 1950s fedora wearing silent film star. I grew up in his shadow, a very well-known girl, which I believe made me more shy, as it was hard for me to speak in public. My mother didn't like me growing up in the public eye and would accuse my father of exploiting me to make him look good. So I harbored a pretty complex idea of what outside adoration looked like. He was a very difficult and tortured person. His family were all really intense and religious people. Very spirited, but not normal at all, so his relationship with them was very fraught. My father was one of those people who needed to be adored, to have a big life on the outside, but didn't have an intimate life... I was sort of the only person who he had a responsibility to have an intimate relationship with. I was the only one who had a private life with my father, this figure who had such an immense public life, and that defined a big part of me. It's also connected to why I was such a good fit for Courtney, and later Billy [Corgan]. Because in many ways, Courtney and Billy were like these weird second-versions of my parents. I was often unknowingly used as a pawn between them. There was always so much drama with Billy and Courtney. Courtney is more like my father. He was really radical and outspoken, so he understood her.

I had a drive to find my own voice. But I compromised a lot of my own beliefs to be in a band on a major label, because I hate corporations. And my whole journey continued to be in conflict with that, as well as the part of me that just wanted to be a photographer and be in a darkroom, and not have to deal with all these people who have a bigger relationship to the outside world than they do their inner world.

I became a dj at seventeen at this dive bar and I worked as the ticket girl at a club, which is where I saw Billy Corgan for the first time. I started my first band Tinker and I played bass. Smashing Pumpkins were my favorite band because of their sonics, the oceans of sound and layers of guitars and rolling drums and bass.

When Kristen Pfaff died, Hole was on a search for a new bass player. I was in the middle of preparing for my masters at college when Billy Corgan called me and told me he wanted me to join Courtney's band Hole. I refused, but then Courtney started leaving messages on my phone and was persistent. She convinced me to come see her band, and I realized they had a hole (no pun intended) that they really needed filled.

And because I'm less of an academic and never really articulated feminism, at the time, I didn't realize the power of her lyrics. I've never been a singer/songwriter fan, you know, like Courtney loves Bob Dylan, Leonard Cohen...I love Black Sabbath and Caius...I just like witchy stuff. I like ghosts and magic. And so with Courtney, it was all very academic in a way to me. So the joke is, I probably missed a lot of the point during my time in Hole.

There are some bands that recognize that drummers and bass players nurture and create songs and are paid adequately, and then some people, quite literally and medievally, break it down to chords and lyrics. I don't think Patty or I were handled fairly in regards. Courtney's process of writing a song stems from six hours of jamming on one riff, one lyrical thing, and then carving it together. We were at every session and did everything together. But Patty and I got slivers [financially]. Eric and Courtney, who are the founders of the band [although Courtney claims she's the only founder] were more the business people. Although I'm proud of my bass playing, it was definitely my singing that brought the most to Hole. I worked harder on my backup vocals than anything. Because of my choir teacher, I had an ear for harmonies. On Celebrity Skin, for every Courtney track, there is me doubling her one to three times...and there are two to four to five part harmonies with me behind every chorus. So I had more of my voice on that record than I do on even my own solo records. They wanted a lush sound, and I was the angel to the wild screamer, so we just coated everything with my voice.

The first few weeks I was just paid $600 a week. It was a weird polished corporate record, but there were also no other female voices on mainstream rock radio besides Gwen Stefani and Alanis Morrissette. So I thought, maybe there was a point to this insanely overproduced record. But then Courtney's red carpet movie career was happening, which meant there were a lot of delays in making Celebrity Skin. Then I worried she wasn't going to be concerned about making this record if she decided to make another movie. And I had already signed a five year contract with Hole. I didn't want to be in a band that didn't work, just waiting around. We were supposed to do all these tours and Courtney just wasn't committing. So after the five years were up, I was out. At that exact time, D'arcy had left the Pumpkins, and Billy wanted me to be the bassist for Smashing Pumpkins for a year. In that one year I made more money than the five years I spent in Hole. I had photographed during Hole - I took a roll a day - so I have 30,000 photographic negatives of those years.

For Smashing Pumpkins, every setlist was different. So imagine three to five hours of music, different key changes, different versions of the songs we already knew. I had five basses tuned in all these crazy ways.

Right after I left Hole, I sent a letter to Courtney, I don't remember what she said in the letter she sent back...it was five pages. She wasn't happy about me leaving. The letter has long since disappeared or faded, but the only thing I remember was a line warning me of turning into a Nicole Kidman ice queen and warning me of becoming Billy Corgan's purse [whatever that means].

I dedicated my first solo record to my Welsh choir teacher because he believed in me when I was still so shy. My second album was a concept album about this woman who travels through time and follows the blood of a Viking's heart into bleeding trees then comes out of the other side of a car crash. I love witchy stuff - which is why I like men who make heavy metal. They don't know it, but they're tapping into their woman side. I think that's the power of bands like Black Sabbath. The real world isn't beautiful - its fantastic in its humanity but the brutality of humans coexisting is pretty profound. For me it always works best going into the realm of witches and goblins and time travel.

The first time I ever had unprotected sex was in my 30s and I got pregnant the first time. So now I'm a mother. I had a home birth because I'm afraid of needles. It only took an hour. And while I was giving birth, my daughter literally reached her hand out of my vagina to shake my husband's hand.

#melissa auf der maur #interview #hole #celebrity skin

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intothestacks · 3 months ago

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Friendly local librarian here with the answer to some FAQs as well as some fun library facts! :D

Q. How much does it cost to get a library card?

A. The answer to this depends on where you live and your age.

Most public libraries in North America* are free, although the ones in smaller communities may charge a small fee to cover the cost of the card and welcome package (back in the early aughts when my local library charged a fee it was $12 a year). That being said, if you cannot afford the fee, I can guarantee that they will waive it for you.

Also, its worth noting that regardless of how much it may cost an adult, I have never ever ever heard of a public library that charges for children’s and teens’ library cards.

Q. What kinds of things can I check out at the library?

A. This will vary wildly from library system to library system and even from branch to branch, but here are some of the things libraries around the world lend out to their patrons:

Newspapers

Magazines

DVDs

CDs

Video games

Pedometers

Fishing tackle

Dogs

Power tools

Clothing for the homeless

Mobile wi-fi hotspots

Bikes

Seeds

Fishing poles

Museum passes

Musical instruments

Green screens

Hobby supplies

Garden plots

Prom dresses

Local music streaming

Camping and hiking kits

Movie streaming services

Online magazine, comic book, and newspaper services

Book club kits

Sports equipment

Crayons

Ukranian egg decorating kits

Analog/tabletop games

Santa suits

Video game consoles

Laptops

iPads

eReaders

Umbrellas

Karaoke machines

Snowshoes

Room for wedding receptions

Knitting needles

Animal skeletons

Sewing patterns and kits

Electricity usage monitors

Cider mills

Car ramps

Detailed models of the human brain

Metal detectors

Portable disc golf baskets

Telescopes

Microscopes

Kitchen tools

People (the international “Living Library” project)

Sources: CBC, Mental Floss, ProQuest, How Stuff Works, MNN

Q. I have mobility issues getting to the library. Does that mean I can’t use it then?

A. Absolutely not!

For starters, most libraries have free online resources you can log into using your library card info. Most libraries also have a delivery program for people who are housebound or have mobility issues of any kind. Some libraries even have special programs especially for housebound people, such as book clubs that meet via Google Chat or Skype instead of in person (and if yours doesn’t, why not suggest they start one?)

Libraries for sparsely populated areas usually have some sort of program where they can mail stuff to you so you don’t have to go all the way to wherever they are... and in some places the library will just come to you! See if your library has a bookmobile schedule to pass by your area! :)

* I can’t speak for libraries elsewhere but I��d imagine this likely applies to them too.

#canada #north america #library #libraries #library collections #library of things #librarylife #libraryland #public libraries

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drearydiarycomics · 2 months ago

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This year I was part of a five person editorial team who produced and published a brand new comics collection that is now nominated for two major American awards.

Pulping Volume One: Comics on Comics is an 144-page anthology featuring 35 Toronto-area cartoonists making work on the meta theme of comic books, including an original nine page story by yours truly.

Pulping is now up for two Ignatz Awards at the annual Small Press Expo @SPX the biggest/best east coast USA indi-comics show!!

Outstanding Anthology and Outstanding Story for the original contribution "The Happy Art" by contributor Sami Alwani.

If you're not already, I would be so grateful if you would please register to vote for the Ignatz Awards and cast your ballots for Pulping and Sami!

Anyone can register and vote. The awards ceremony is Saturday Sept 14 and voting is open until at least Sept 12.

Once you register to vote via the simple form you will receive a ballot link by email. Then it's just a matter of clicking through and voting for Pulping.

If you do register, please keep an eye on your spam folder for the ballot link email.

Want your own copy of Pulping? Let me know and I'd be happy to sell you a physical copy for the low price of only $20. We are now working on a digital edition and Volume 2.

TLDR: register to vote for the Ignatz Awards and vote Pulping!

AND: Read more about Pulping on CBC Arts

#comics #art #anthology #Toronto #canada #spx #ignatz #ignatz awards #small press expo #small press #cdnart #torontoartist #cbc arts

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qualitycomix · 2 months ago

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Why buying Silver Age comics is a good idea

Investing in comic books has become more popular over the last few decades, with Silver Age comics becoming a very profitable part of the market. The Silver Age of Comic Books ran from 1956 to 1970 and produced some of the most famous and valuable issues in the history of comic books. These comics are a unique and amazing way to invest your money. Comics from the Silver Age not only keep their value, but they often even go up in value over time. Adding these comics to your investment portfolio can help it grow and become more diverse. But, it's essential to have your comics graded by respectable organizations like CGC (Certified Guaranty Company) and CBCS (Comic Book Certification Service) in order to find their value. Why Silver Age Comics Are Fun The "Silver Age" of comic books is known for being creative, with many beloved characters and stories coming into being. Important characters like Spider-Man, the X-Men, the Fantastic Four and even the Justice League of America made their debuts during this time. Because the stories of these characters are so popular with fans and collectors all over the world, they have become true icons. The fact that these Silver Age comics are still read today is a huge part of their investment potential. Collectors and fans are both willing to pay a premium for past issues featuring the first appearances or significant story lines of these characters. Fans of Silver Age comics will always want to buy them, which is why investors are rushing to buy both new and used graded comic books. Keeping value and making it grow One of the best reasons to buy Silver Age comics is that they are valuable and worth collecting. Many investments today can go up and down, but Silver Age comics have always gone up in value. Because they are stable, investors who want to diversify their portfolios with non-traditional assets look to them as a good alternative. There are a few things that will affect how much Silver Age comics are worth: 1. rarity: Silver Age comics that are still in good shape are becoming harder to find over time. Because they are hard to find, their prices go up, especially for issues in very high grades. 2. Historical Significance: Many comics from the Silver Age are important moments in the history of comic books. Issues that introduced major characters or major plot developments for the first time are very valuable. 3. Effects on Culture: The Silver Age characters and stories have had a lasting effect on popular culture, making them still relevant and desirable to collectors. Case Studies: Value Appreciation A lot of Silver Age comics have gained a lot of value over the years. As an example: The first time Spider-Man was seen was in Amazing Fantasy #15 (1962). A copy that was almost brand new sold for $1.1 million in 2011. Another copy in the same condition sold for $3.6 million in 2021. • X-Men #1 (1963): This is where the X-Men first appeared. A near-mint copy that sold for $250,000 in 2012 was valued at over $500,000 by 2021. • Fantastic Four #1 (1961): The first appearance of the Fantastic Four. A copy in near-mint condition that sold for $300,000 in 2010 was valued at over $1 million in 2020. In these examples, we can see how investing in Silver Age comics can pay off in a big way.

https://www.qualitycomix.com/learn/why-silver-age-comics-are-a-great-investment

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rei-ismyname · 7 months ago

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I miss Race For The Iron Throne. I miss Steve. I didn't know him personally but I'm hyper aware of how much of my leisure time was spent reading his work. I came across him in my search for high quality ASOIAF analysis and immediately appreciated his perspective above all others. His unique lens of history, economics, politics, and his stylistic choices changed the way I consume media and tbh how I view the world.

I'm pretty sure I've read everything he put on the internet, which is a LOT, even the analysis of things I haven't read and topics I wouldn't normally be interested in. He's the reason I'm into comics. His coverage of HoxPox blew my mind and that became a part of my reading process. I'd read the issue then read his take on it. I'd ask him questions and he always answered them and then some.

There's been a nagging feeling since he passed away that life is a bit flatter, with less intellectual stimulation and entertainment. A parasocial relationship inherently focuses on his utility to my enjoyment, which was significant. I read a LOT. It's my main form of entertainment and relaxation. I hate how callous that sounds but the flipside is that my world is poorer for his absence. I'm sure that's exponentially more true for those close to him.

If he wrote it, I read it ... multiple times, and I will again. Not just yet though. Not for a while I think. My gosh it feels odd to mourn someone I didn't know personally, but as a chronically online introvert I'm okay with that. I think I'll read The Locked Tomb books when I'm ready. He wrote about a lot and I'd be surprised if that endorsement doesn't pay off. Then I can read his meta on TLT from a new perspective and capture that feeling again before saying goodbye to him. I'll return to his CBCs and whatnot whenever I feel like treating myself, and that'll have to be enough.

The Krakoan era of the X-Men is winding, perhaps as a bookend to his profound impact on me. I just wish he was here to enjoy it, too. I miss him

#race for the iron throne #rip #thanks for everything #memorial #xmen

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laresearchette · 10 months ago

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Tuesday, January 30, 2024 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES? DEXTER: NEW BLOOD (Paramount+ Canada) VANDERPUMP RULES (Slice) 9:00pm QUANTUM LEAP (City TV) 10:00pm

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

CBC GEM FOR THE CULTURE WITH AMANDA PARRIS

NETFLIX CANADA JACK WHITEHALL: SETTLE DOWN (GB)

NCAA MEN'S HOCKEY (TSN2) 6:30pm: Boston University vs. Northeastern

NHL HOCKEY (TSN2/TSN5) 7:00pm: Sens vs. Habs (SN360) 10:00pm: Kraken vs. Sharks

NBA BASKETBALL (SN Now) 7:30pm: Lakers vs. Hawks (TSN/TSN3/TSN4/TSN5) 7:30pm: Pacers vs. Celtics (SN/SN1) 8:00pm: Raptors vs. Bulls (TSN/TSN4) 10:00pm: 76ers vs. Warriors

THIS HOUR HAS 22 MINUTES (CBC) 8:00pm

MARY MAKES IT EASY (CTV Life) 8:00pm: Steak House Sides

SON OF A CRITCH (CBC) 8:30pm: When Mark realizes his friends think his comic book collection is immature, he impulsively sells them all and quickly regrets it.

COMFORT FOOD WITH SPENCER WATTS (CTV Life) 8:30pm: Spencer cooks a turkey and wild rice blanquette with fluffy bannock, a rich cauliflower korma soup and ends with a sweet dulche deleche mug pudding cake.

ONE MORE TIME (CBC) 9:00pm: When DJ is set up on a blind date with a non-verbal deaf woman, he struggles to find a way to communicate with her.

RUN THE BURBS (CBC) 9:30pm: Andrew struggles to train Leo for the basketball team tryouts, and Camille discovers the cooking gene skipped Khia.

RUSSELL PETERS: IRRESPONSBILE ENSEMBLE (CTV Comedy) 10:30pm: Russell jokes about modern life and interacts with some Italian-blooded audience members; featuring Robby Hoffman, Donnell Rawlings and Daniel Sloss.

#cdntv #cancon #canadian tv #canadian tv listings #this hour has 22 minutes #mary makes it easy #son of a critch #comfort food with spencer watts #one more time #run the burbs #russell peters: irresponsible ensemble #ncaa hockey #nhl hockey #nba basketball

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atlanticcanada · 11 months ago

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#new brunswick #news #politics #canada #atlantic canada #CBCNB

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kingqueenboutique · 1 year ago

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Check out this listing I just added to my Poshmark closet: Detective Comics CBCS 9.8 1990 21-236237D-001.

#614

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ear-worthy · 1 year ago

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On Air Fest Adds Headliners to LA Annex Podcast Festival

Comic-Con began in 1970 when a small group of comics, movie, and science fiction fans from San Diego put on an event attended by just 300 people. In 2023, about 150,000 people attended the event. It’s a dopamine overload for those who attend as fans and a marketing bonanza for TV, film, comic book, and merchandise producers.

Podcasting needs a Comic Con. The medium already has several terrific live events that draw podcasters and fans from around the world. Podcast Movement, PodFest Expo, and On Air Fest, to name just a few

I envision Pod Con as a four-day event, with fans cosplaying as Ira Glass, Kara Swisher, Audie Cornish, or Wendy Zukerman. Joe Rogan fans could scream at attendees about getting any vaccine, and then hand out pamphlets with a curated list of conspiracy theories.

Until that day, we have the On Air LA Annex that will bring together the vanguard of storytellers, audio creatives, and inspired listeners who are shaping the culture of sound. The event runs from November 1 through November 4.

As the annual West Coast edition of New York City’s influential On Air Fest, this year’s event will take place at multiple locations including KCRW’s Santa Monica studio and dublab in University Park, pushing podcasting further into the future and revealing new answers to the question of “what’s next?” (WIRED).

From live recordings and performances to exclusive premieres and innovative installations, the lineup will showcase both emerging and established voices across an eclectic schedule and an additional wave of headliners that are still to be announced. Find tickets here and more details below.

On Wednesday, November 1st at KCRW’s state-of-the-art Annenberg Performance Studio, the festival kicks off with the On Air Business Summit, a by-invitation gathering of industry leadership for urgent dialogues on the growth and evolution of podcasts. Then, the doors open to everyone for an evening that features:

KCRW’s Lost Notes: A sneak preview of the revelatory series’ highly-anticipated return, unspooling the real stories behind LA’s soul music scene with co-hosts Novena Carmel (Morning Becomes Eclectic) and Michael Barnes.

Let’s Make a Horror: Part improv comedy, part horror film, and all plot twist, this interactive rendition of the acclaimed show from CBC Podcasts and Kelly&Kelly will take the stage for a brand new, spooky story right on the heels of Halloween. Comedians Ryan Bell, Maddy Kelly, and Mark Chavez will be joined by a special guest to be announced.

On Thursday, November 2nd at KCRW, the second evening of On Air Fest will shock, entice, and enlighten attendees, with sessions from: Spooked: From the creators of Snap Judgment, presented by PRX and KQED, comes Spooked. Host and Snap Studios founder Glynn Washington opens the second night of On Air Fest LA Annex with a live performance. This installment of the popular paranormal podcast will reveal a true-life tale of the supernatural.

Spooked explores the Shadowlands — daring listeners to confront the unknown. Be afraid… Talk Easy with Sam Fragoso: The revered host returns to On Air Fest for a live taping of the intimate, in-depth interview podcast that has welcomed such greats as Carol Burnett, David Byrne, Fran Lebowitz, Lorde, Oscar Isaac, Padma Lakshi, Questlove, Quinta Brunson, Tom Hanks, and many others.

On Air LA Annex will reveal more details, headliners and exclusive first-listens throughout the coming weeks, as well as the full lineup for the On Air Open House on Saturday, November 4th. Hosted at dublab, the day-long event is free, open to the public and dedicated to celebrating the talents of LA’s creator community. In addition to live radio streams and performances, a happy hour presented by ESPN 30 for 30, DJ sets and more, it will include the debut of an unprecedented exhibition. Following the introduction of On Air Fest’s first-ever, multi-room installation at the beginning of 2023, this new collection of original listening experiences will see guests moving between different stations to interact with the inaugural collection of On Air Official Selects.

Launching as part of this year’s On Air LA Annex, On Air Official Selects is an open, global call for short-form audio stories. Between now and October 4th, any creative can submit an original piece under 10 minutes in length, with an emphasis on experimentation and boundary-pushing approaches. This feedback loop makes On Air Fest unique.

A panel of leaders, tastemakers and judges — including Alejandro Cohen (Executive Director, dublab), Gina Delvac (Head of Podcast Audience Lab, KCRW), Marshall Lewy (Chief Content Officer, Wondery), Ben Adair (Founder and Executive Producer, Western Sound), Christy Gressman (Vice President, Podcasts, Topic Studios) and more — will award 10 works with an honorarium, as well as the opportunity to showcase their piece for all the attendees of On Air Open House. Learn more about On Air Official Selects and apply here: https://www.onairfest.com/article/announcing-on-air-fest-official-selects-2023

Organized by work x work, — 2023’s LA Annex will continue to elevate the art form and reaffirm its place as “the Coachella of podcast festivals,” as Fast Company magazine described it.

EVENT DETAILS WHO: On Air Fest with KCRW & dublab WHEN: November 1–4, 2023

WHERE: KCRW (1660 Stewart Street, Santa Monica, California) dublab (1035 West 24th Street, Los Angeles, California)

WHY: A gathering place where audio makers, artists, storytellers, podcasters and listeners are inspired by the art of sound.

TICKETS: Free-$225. General Admission & VIP tickets available for single and multiple days.

MORE INFO & TICKETS: HERE at the On Air LA Annex landing page and onairfest.com Presenting Sponsors & Program Partners: Audible, ESPN, Dolby, Simplecast, Adswizz, Subtext, KCRW, LAist, CBC, Pushkin Industries and dublab.

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