Ira Glass and team recorded Invisible Made Visible earlier this year at the NYU’s Skirball Center, and beamed the event live to theaters all over the country. The idea of the show was to involve many things not possible on the radio, including pictures, video and live acting on stage.

This American Life also used the show to experiment with interactivity: A live performance of OK Go incorporated the audience, which was able to influence the music through a special mobile music app. Fans who access the Invisible Made Visible video on VHX will be able to experience some of this with an interactive video player that allows them to play along with the OK Go performance.

VHX.tv originally launched as a video discovery platform, but has been refocusing on its distribution capabilities in recent months, helping Aziz Ansari and Indie Game: The Movie to distribute their videos to an audience willing to pay.

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Daisey’s infamy has grown following the decision of This American Life on March 16th to retract an earlier report after discovering that Daisey could not account for key facts in both his monologue (The Agony and Ecstasy of Steve Jobs) and in his statements to This American Life for a report on Apple and manufacturing that got widespread attention. Among other things, Daisey completely made up an anecdote in which he had supposedly invoked a sense of child-like wonder in a former Foxconn worker with a hand mangled on the iPad production line by showing the man a working iPad for the very first time.

After his uncomfortable performance on “Retraction,” Daisey defended his work, writing on his personal blog that “my show is a theatrical piece whose goal is to create a human connection between our gorgeous devices and the brutal circumstances from which they emerge. It uses a combination of fact, memoir, and dramatic license to tell its story, and I believe it does so with integrity.” Given more time to think about it, he actually doubled down, attacking his critics: “Given the tenor of the condemnation, you would think I had concocted an elaborate, fanciful universe filled with furnaces in which babies are burned to make iPhone components, or that I never went to China, never stood outside the gates of Foxconn, never pretended to be a businessman to get inside of factories, never spoke to any workers.“

However, it later emerged that Daisey had insisted on printing “this is a work of non-fiction” on playbills for his monologue, making it clear that he wanted audiences to walk away from the performance seeing Daisey as a courageous muckraker unafraid to tell the stories others wouldn’t touch.

Daisey’s conscience finally caught up with him over the weekend. On Sunday, he wrote the following:

When I said onstage that I had personally experienced things I in fact did not, I failed to honor the contract I’d established with my audiences over many years and many shows. In doing so, I not only violated their trust, I also made worse art. This is not the place for me to try and explain my good intentions. We all know where the road paved with good intentions leads. In fact, I think it might lead to where I’m sitting right now.  I had an acting teacher, years ago, who always taught that the calling of an artist is to be humble before the work. He knew, I think, how easy it can be to lose one’s way.

He went on to apologize to his other theater performers, human-rights advocates, and journalists that had interviewed him for stories in which he repeated all his falsehoods. “Things came out of my mouth that just weren’t true, and over time, I couldn’t even hear the difference myself,” he wrote.

But Mike Daisey forgot to apologize to the entity that was the direct target of his lies: Apple.

Original Sin

Daisey’s selection of Apple and Jobs as the centerpieces of his monologue was not a coincidence. A self-confessed Apple fanboy, he held great admiration for the work that Apple contributed to the world under Jobs’ second term as CEO as well as immense disgust for the conditions under which modern consumer electronics devices are produced. Given that Apple is the largest producer of modern mobile devices made in factories such as Foxconn’s, and given the intense scrutiny that is paid to all things Apple both inside and outside the tech industry, it’s not hard to see why Daisey chose Apple and Jobs as protagonists in his work.

But in reality, Daisey exposed nothing about Apple’s manufacturing issues that wasn’t already known. It’s not that his whole account was fabricated: workers manufacturing products for Apple have been poisoned by dangerous chemicals, killed in explosions that were preventable, and have committed suicide in groups over the last few years.

Steve Jobs Announces iPhone

What Daisey did do, however, was present made-up emotional and personal stories about those issues as if they were new. He spent months on a media blitz linking Apple as the main contributor to the widespread labor and safety issues at companies like Foxconn (which builds products for an entire industry) based on fabricated accounts of his travels in China.

He implied that the company was covering up even worse violations, such as the widespread use of child labor, in one of the most dramatic scenes of his monologue. He wrote an op-ed in the New York Daily News the day before the latest iPad was released, saying “I traveled to the factories in China, spoke to dozens of workers, heard their stories firsthand and went undercover into factories and dormitories. … The company has been choosing profit over workers’ lives.”

And perhaps worst of all, on the day after Jobs died Daisey repeated the story about the Foxconn worker with the mangled hand in The New York Times, linking Jobs’ legacy to a horrific anecdote that never happened.  After This American Life published its retraction earlier this month, the Times removed that paragraph from its archived copy of the article.

The Daisey And The Damage Done

There is no doubt that the consumer electronics industry needs to do more to improve the working conditions under which its products are made, and that Apple, as the leading consumer electronics company of our time, is in a position to make an outsized impact. But Daisey’s contribution to this issue was not just to raise attention to the problem at large (which he definitely did), it was also to generate publicity for his Apple-themed show. He did that with lies that declared not only was Apple not doing as much as it could to solve the problem, but that it was actually a worse actor than its peers.

On a petition circulated by Change.org following the airing of the first episode of This American Life, over 255,000 people affixed their names to a call for Apple to do more to protect workers. They said things like “I can still make the decision to buy PC instead for the sake of my conscience and the wellbeing of other people” and “As a Mac user for 17 years, this is the first issue that could make me stop buying from Apple.” A petition to retract that petition following the exposure of Daisey’s lies has just 373 signatures.

Mike Daisey built the key parts of his monologue–and much of his current fame–on lies he told about Apple. He has one more apology to make.

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Updated. The radio program This American Life on Friday posted a note on its website retracting a previous episode of the show in which monologist Mike Daisey described the working conditions in factories in China that produce Apple’s most popular devices, saying it “was partially fabricated.”

The show’s website says Daisey “misled This American Life during the fact-checking process.”

Update: Chicago Public Media, which produces the program, said after checking with Daisey’s interpreter in China, that two of the most dramatic moments from Daisey’s reporting were fabricated: that he met underage workers in Foxconn factories and that he met met a man with a hand mangled from working on iPads.

The show’s press representative did not immediately respond to a request for comment.

A link to a new report from American Public Media’s Marketplace describing the error-riddled This American Life episode is online now. In it, Marketplace China correspondent Rob Schmitz questions Daisey about the fabrications.

On his own blog, Daisey posted a statement standing by his work, but admitting that he is “not a journalist”:

I stand by my work. My show is a theatrical piece whose goal is to create a human connection between our gorgeous devices and the brutal circumstances from which they emerge. It uses a combination of fact, memoir, and dramatic license to tell its story, and I believe it does so with integrity. Certainly, the comprehensive investigations undertaken by The New York Times and a number of labor rights groups to document conditions in electronics manufacturing would seem to bear this out.

What I do is not journalism. The tools of the theater are not the same as the tools of journalism. For this reason, I regret that I allowed THIS AMERICAN LIFE to air an excerpt from my monologue.

Chicago Public Media released a detailed account of the misrepresentations and inaccuracies found in Daisey’s report. In addition to lying about the number of factories in China that he visited, and the number of workers he talked to, he also misled the program about particular people he talked to:

In his monologue he claims to have met a group of workers who were poisoned on an iPhone assembly line by a chemical called n-hexane. Apple’s audits of its suppliers show that an incident like this occurred in a factory in China, but the factory wasn’t located in Shenzhen, where Daisey visited.

“It happened nearly a thousand miles away, in a city called Suzhou,” Marketplace’s Schmitz says in his report. “I’ve interviewed these workers, so I knew the story. And when I heard Daisey’s monologue on the radio, I wondered: How’d they get all the way down to Shenzhen? It seemed crazy, that somehow Daisey could’ve met a few of them during his trip.”

In the Marketplace interview, Daisey reportedly tells Schmitz, ”I’m not going to say that I didn’t take a few shortcuts in my passion to be heard.”

Despite Daisey’s fabrications of people he talked to, there has been plenty of other reporting on the working conditions at Foxconn and other factories in China. The New York Times published a series in January, near the same time the This American Life episode aired, with independently reported accounts demonstrating the human costs associated with the large-scale manufacturing of iPhones, iPads and other consumer electronics devices.

Update: The New York Times on Friday has corrected an op-ed by Daisey the paper published after Steve Jobs’ death in October.

Update: This American Life has released the transcript for “Retraction,” its episode devoted entirely to figuring out what went wrong with its involvement with Daisey.

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Given its programming is largely paid for by those (everlasting) local fundraising drives, public radio is in a bit of a pickle when it comes to centralized web distribution. TAL, for its part, offers free downloads of its most recent episode for seven days, then charges 99 cents for library downloads via iTunes or offers free streams on its web site. In the past, host Ira Glass has reportedly indicated that the show delivers up to 500,000 episode downloads a week at a cost of more than $100,000.

How to address that online audience in a way that’s monetizable? Charge a fee. That’s a new strategy for the non-profit Public Radio Exchange technology arm, which built the TAL app in conjunction with Chicago Public Radio, and has seen success with its free Public Radio Player (formerly Tuner) app, which provides streaming access to public radio archives. It’s been been downloaded some 2.5 million times.

Clearly, the value of the TAL app is not just a few bucks but also relationships with loyal listeners. The app includes a complete searchable library of the show, behind-the-scenes content, alerts and live show streams.

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The This American Life–Live! line-up included regular TAL contributors Dan Savage, Starlee Kine and Mike Birbiglia telling stories aloud accompanied by clips from the TAL TV show and other visuals and illustrations. I don’t see any reports of attendance numbers but many showings were sold out. One reviewer attests that nearly everyone who showed up to the actual live show at the Skirball Center at NYU was wearing glasses and was primed to love TAL host and hipster hero Ira Glass.

As a special bonus for the show, Joss Whedon, in his first-ever big live musical performance, played an alternate version of Heart, Broken from the musical commentary for Dr. Horrible. Could that be too esoteric even for This American Life‘s obsession with lovingly expressed oddity? Alternate lyrics for a song about the making of a musical parody that was only released online? Nah — It’s Joss Whedon; it’ll find its sliver of passionate audience. A bootleg video of Whedon’s performance is embedded above.

Fathom Events is the same company that live-broadcasts shows from the Metropolitan Opera (as well as other cultural touchstones, like Dr. Laura) to audiences in theaters nationwide.

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