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Beloved Minneapolis-founded podcast, 'Heavyweight,' finds new home after a year away

Beloved Minneapolis-founded podcast, 'Heavyweight,' finds new home after a year away

Yahoo02-03-2025
The critically acclaimed podcast "Heavyweight," which got its start in Minneapolis, is returning after nearly a year away.
The show was canceled in 2023 by Spotify, which acquired original producer Gimlet Media in 2019, during a restructuring that included significant layoffs. The show's final episode was released in December that year.
Now, it has found a new home with the Malcolm Gladwell co-founded Pushkin Industries. A welcome surprise for the show's many fans who still discuss episodes online.
The show, which launched in 2016, features its Minneapolis-based creator Jonathan Goldstein talking with guests who dig into unresolved moments from their past and work through the frequently traumatic episodes from their lives. It's a format that Goldstein says is closer to a documentary than how we typically think of podcasts.
The podcast was almost instantly a hit with listeners, climbing to the top spot of the Apple Podcasts charts shortly after its debut, per the New York Times.
In the intervening time since the show was canceled, Goldstein discussed bringing the podcast to other networks and even considered distributing it independently and funding it through a platform like Patreon, he told the New York Times.
Ultimately, he opted to join another podcast network, which will debut a new 10-episode season later this year.
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The playlists of the rich and famous: What the people in power really groove to

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How do you see these concepts of cute and cool talking to, or finding tension with, one another? SB: Cute has become a major player in this world. People want to be loving and cute and now that's become cool. We started this at a time when everybody was so apathetic, giving up and becoming corporate. Humans need to be the loving force and the pursuit of 'cool' started to steer us away from that. View this post on Instagram A post shared by SAM (@seattleartmuseum) Little Cloud has become an emblem of FriendsWithYou. How did you land on this character to symbolize your mission: 'magic, luck and friendship'? AS: Animism is a key component of our practice, so, for us, Little Cloud embodies the idea that someone, even if hanging above, will always have your back. It's a condensed expression of our core philosophy: optimism, lightness and not taking yourself too seriously. Letting it pass and letting things change. Little Cloud sky-scapes have made stops all around the world. What do you hope audiences take away from your ongoing Seattle presentation of Little Cloud Sky ? SB: We're interested in psychology, comparative mythology, relational aesthetics and the simplicity of the human mind. We're seeing all of humanity through this character, like a reflective point. The presentation at Seattle Art Museum is a big moment for Little Cloud: there's an army of them, it's as if they're in-step, making this sacred geometrical pattern in the sky to show the importance of the message we're trying to convey. As simple or as vapid as it may seem, Little Cloud has the ability to draw everyone in, regardless of age or language, to be in sync with us. In addition to your signature soft flair, there's a formal curiosity that threads through your practice. Out of all the different mediums you've explored, which do you find yourselves drawn to? Does the message dictate the medium? AS: The message does lead some of our projects, but some mediums are conduits to feelings you can't get out of others. We're not selling craft, so it's less important to us whether we're the best oil painters or sculptors in the world. It's more about the conceptual framework, which is why we also give ourselves the latitude to try new things and focus on the message we're trying to get across. Some artists become so enthralled by mastering just one medium because it feels good to know you can totally control a material, to know that you're really good at it. That, however, can be its own kind of drug, one that just holds you in one place. We always try to change things up. We don't have the most by-the-book approach – it's a little bit risky – but we've built our whole career outside of the norms. 1 of 9 2 of 9 3 of 9 4 of 9 5 of 9 6 of 9 7 of 9 8 of 9 9 of 9 'We always try to change things up. We don't have the most by-the-book approach – it's a little bit risky – but we've built our whole career outside of the norms.' From an outsider perspective, your work is especially exciting because you keep it really fresh. Audiences never know what kind of work you'll make next. SB: It's fun for us too. We're really good at stuff, like kids animation, clay objects or weird 3D printed sculptures, and the idea is that if we keep on this path, we'll be able reach millions more than just the 4,000 people in the art world. Even if the direction isn't always crystal, step-by-step, we're building this rainbow bridge and asking everybody to come along. AS: Our dynamic is like any relationship: you have to incorporate new modalities to challenge yourselves and learn new things together. It's what makes you grow. 'We often forget that play is key and not knowing is a superpower.' There's a tangible sense of play that's central to all your works. Can you describe where this feeling stems from and how it shapes your artistic approach? SB: We both had to grow up pretty quick — Tury growing up in Cuba and myself in Florida – so there's a freedom that comes with being able to play. Play allows us to be forever inventive. This obsession is quite beautiful to us – the curiosity, the unknown and having a eureka moment when you come onto something new. You'll surprise yourself with beautiful things you've never thought you could make. Once the market picks up your work, you get excited about it, but at the same time, there's a pressure to keep following the same formula that led to that success. If you're an amazing painter, make a film, try performance art. All we can do as artists is embody freedom because it's what the algorithm of trying to appease the world tries to drain us of. We often forget that play is key and not knowing is a superpower. 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