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59 minutes | May 19, 2020
Pandemic ER: Notes From A Nurse In Queens - The Hour
Kate O'Connell is a radio producer and a registered nurse who lives and works in New York City, where the coronavirus hit with force. In addition to working in an ER in Queens, Kate has also been chronicling her experiences with the overwhelming reality of this pandemic. We've been featuring Kate's audio letters on Transom and in our podcast all along, and have just compiled them into an hour, produced with Samantha Broun. We can't say this is an easy listen, but it's an important one. We're grateful to Kate for doing this so that the rest of us might hear and know what we otherwise wouldn't be able to.
59 minutes | May 1, 2020
Our Show - The Hour
Erica Heilman is the producer of the neighborly podcast, Rumble Strip, and when COVID-19 struck, she looked for a way to be useful. She wasn't needed to make school lunches or volunteer at the hospital, so she asked her podcast listeners if they wanted to make something together. Word spread. Around the world. "Our Show" is a gathering of voices, a voluntary oral history of this moment on the planet, a global vox pop. We've been featuring "Our Show" episodes all along on Transom, and have just compiled them into a lovely poetic hour, quite unlike the daily fare. We highly recommend this for the fellowship and the surprise. We may be in it together, but it's not all the same.
9 minutes | Apr 30, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 7
11 minutes | Apr 18, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 6
13 minutes | Apr 10, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 5
7 minutes | Apr 4, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 4
11 minutes | Mar 30, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 3
4 minutes | Mar 29, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 2
7 minutes | Mar 29, 2020
Pandemic ER: Notes From A Nurse In Queens Ep. 1
38 minutes | Dec 17, 2019
Borders Between Us
Saidu Tejan-Thomas is a young poet. For a long time, he had a story he needed to tell: an homage and apology to his mother. It's a tragic love story driven by the tangled search for a better life. It's personal for sure, but set against the universal perils of immigration--in Saidu's case, from Sierra Leone in West Africa--but by extension, from anywhere. It uses Saidu's poems as narrative drivers, reveals, and resolutions. These are not easy tasks for poems. When Saidu and Jay identified moments in the story that needed these bridges, Saidu would say something like, "I'll go to the Poem Factory and see what I can do." He always made something perfect. Saidu's words are grounded and elevated, his voice is strong and vulnerable, his outlook is youthful and wise. We can't understand how he pulls that off. Maybe you can. This was produced with Jay Allison and with support from the NEA. Read more here.
55 minutes | Jun 4, 2018
Two Years With Franz
This is a story of art & love, of madness & beauty, of youth & age & death. It took Bianca Giaever 2 years of listening to 546 tapes of Pulitzer-winning Franz Wright to make. Jay Allison guided her. Listen.
83 minutes | Dec 7, 2017
Living With Murder
The story of Kempis Songster, who was given a mandatory life sentence without parole for a crime he committed at 15 years old. He is forty-five now, still incarcerated, but recent Supreme Court rulings are giving him a chance at parole. Produced by Samantha Broun and Jay Allison in collaboration with the Frontline Dispatch.
10 minutes | Nov 16, 2016
Preaching To Myself: Five Heretical Sermons In Five Minutes
Editor's Note: This speech was delivered as a "provocation" on the opening night of the Third Coast International Audio Festival in Chicago, November, 2016. (photo by Jay Allison) I confess I like preaching, but don't want you to feel preached to, so I claim that these sermons are for me, and they are . . . even when I don't heed them. They're heretical in that they're the opposite of a lot of advice, but they're some of the things I tell myself when I stray from what feels most abidingly important. Maybe they're exhortations to stay true to my younger self — not to be as foolish maybe, but to be brave and good-hearted — something that feels more critical than ever in these days. Sermon 1: Don't Ask Permission You want to get on the air, be on a show, have your story out there — but as you make your pitches, keep something precious in reserve and don't pitch it. Just make it. Don't even really plan it or predict what the narrative or sound will be. Just follow it and see what happens. Be dogged in the expedition. The joy of this work is the exploration and discovery — both of which are antithetical to pitching, which even for the best of us, can inadvertently cripple the imagination by determining your trip before you walk it. Walk in the dark, microphone extended, and don't ask permission. Sermon 2: Be Odd Here's the convention: Listen to the work you like or shows you want to be on, and then work in that style. Okay. But also: Don't produce in someone else's mold; don't subscribe to someone else's existing theory of narrative, musical tone, structural traditions, in a voice we've already heard. Find a new one. Make something we've never heard before. Sure you can copy, and learn from the exercise, but sometimes: Be a poet. Be odd. Stick out. I miss the whacko fringe in public media. It's important, because the edges can move the center. So, nourish the Fringe in yourself. And, while you're at it, as useful as group edits can be, choose not to submit to them sometimes. Groups can make things that sound like groups made them. The edges are worn off, the individual fingerprint gone. How fine it is to see someone out on a limb by themselves. That's how new things happen — by following a seemingly crazy impulse. You will fall and fail sometimes, but it can be important, for yourself and for others who witness your risk. Once in a while, fail nobly, on your own. Sermon 3: Stay Home Don't just connect with like-minded strangers far away. Radio producers are fundamentally dysfunctional. We want disembodied intimacy, which is a bit weird. We create detached connection, blind one-way communication. Remember to counter that. Do something on the ground with people who share the spot where you live, including the ones you disagree with and that don't look like you. Build something from place. The Internet promised to connect us, but it has us hunkering in our chosen silos. Interview your neighbors, and look them in the eye. Maybe, where you live, you can introduce people to one another, calm one person's fear, enlarge the civic space by inviting everyone to participate. Don't necessarily move to Brooklyn. Find a place you love and dig in. Make it better. Sermon 4: Don't Try To Be Cool Don't be afraid to be sincere. It's a snarky world; we all want to be in on the joke and we don't want to be the butt of it. When you're sincere, you are close to earnestness and open to mockery. It's much, much riskier to be sincere than to be ironic. The heartfelt is rare,
33 minutes | Nov 8, 2016
In Conversation: Jenna Weiss-Berman and Laura Walker
*Editor's Note: This conversation was recorded on October 25, 2016. Jenna: So let's start with who are you and what do you do? Laura: I'm Laura Walker, I'm the President and CEO of New York Public Radio. Jenna: And how long have you been here? Laura: Very long. [Laughter] I've been here for twenty years. Jenna: Really? Laura: Really. Jenna: What job did you start out doing here? Laura: President and CEO. [Laughter] I came when the board had made a deal with Mayor Guiliani to buy the stations for twenty million dollars. And there were two radio stations and, I think, two reporters. And we, over time, bought the stations and created much stronger radio stations. The Road to WNYC Jenna: And what were you doing before WNYC? Laura: I started out as a print journalist and then I did radio. I worked at NPR for a little bit. I loved editing tape and I loved creating. It is so fun. And then I went to business school, and then did a little consulting, and then I was at Sesame Workshop for eight years where I worked on Ghostwriter, which was a mystery adventure. Jenna: It was my very favorite show, probably of all time. It was such a great show. [Laughter] Laura: Thank you. Jenna: No, it was the best show ever. I still sing the song from it all the time. Laura: Oh wow. Jenna: And what drew you to public media initially? Laura: I love the combination of mission and really great journalism and storytelling. But also competing in the real world for both attention and, you know, having to get out there and make some revenue and kind of build a business. Jenna: Yeah, that's interesting. [Laughter] Laura: It's a great combination. Public Media's Mission Jenna: Just how has public media changed since you started working in it? And how do you think it still needs to change? Laura: I think the fundamental kind of goals of public media are still very much the same. You read that wonderful speech that Lyndon Johnson gave almost fifty years ago, you know, when he set up CBP, and he quoted E.B. White and he talked about the theater of the imagination and the mission to tell the stories of America. So I think it's still very much a fundamental mission to do great news, to tell great stories and to lift the voices of those that are not heard. When I first worked in public media, I was an intern at WGBH, and then I went to NPR and it reminds me actually of what podcasting feels like now. I mean, NPR in 1980, which is when, you know, nobody was over the age of thirty. There was this kind of like we're changing the world thing, we're doing something that's really important, we're going to be the best journalists. But we have this medium of radio that we're redefining, and I think in some ways that's come back. I think it's very hard economically for a lot of the stations to actually have a mission in their communities that's more of a news mission. They do a lot of outreach and other things. I think the journalism of radio and the deep roots in the community, and the fact that so many newspapers are, you know, like you look at what's happened to the Bergen Record where they're laying off half their reporters. Who's gonna fill the void? I think it's gonna be public radio to a large extent, and so all eyes are on us in a way that feels like we have a huge responsibility. Podcasting at (especially small) Public Radio Stations Jenna: Definitely. Podcasting has taken on a big role in public radio and it's taken on kind of a controversial role. There are some people in public media who seem afraid of podcasting, there are some people who think that podcasting and radio are at war, which I don't agree with that at all. [Laughs] I think that everything can work really well together, and that it doesn't have to be this competition between podcasting and radio.
13 minutes | Sep 13, 2016
Thank God I'm A Country Boy
The moment I heard about Jim Salestrom, I knew. Not only was this the story I wanted to do for the Transom Traveling Workshop, but I knew in my gut the story was also about me. I came to the Transom Traveling Workshop with all sorts of notions as to what Good and Bad in audio storytelling means. I've been hanging out around these parts for quite a while now. My love affair with, and frankly my need for, this medium as a listener has also opened up something that has grown in me alongside: I want to make stories, too. And I want them to be good. I started to pay attention: Reading about the thing, talking about the thing, gathering equipment for the thing, trying my hand at the thing, taking $15 online classes in the thing, even going so far as to land a fantastic job in the thing…getting to work directly with people who actually DO the thing! I applied for the Transom Traveling Workshop knowing it's like the Ivy League School of audio storytelling training camp without actually being a school. Not only did I want to learn to make something, but to learn the proper way to make something: what the best equipment is and how to use it, writing, recording, editing, levels, what's the perfect length. . . essentially The Rules. And of course I had lots of assumptions and beliefs as to what those rules are. Rule #1: Real Journalists Make Serious Stuff (and keep themselves out of the story). Reality: I worked myself up to the point of tears with my entire class admitting the truth of this story as it came to me, and that I was in it as a subject. To my amazement, no one had an issue with this — they even encouraged it! Rule #2: Use The Right Gear. (Something like the TASCAM 1776, or the ZOOM H1N1…right??) Reality: Doesn't matter. Use your iPhone. Get something decent that you can afford and just start recording. Rule #3: This one is more like an assumption: Collaborating on stories, and reading and editing each other's scripts, will expose all of my weaknesses as a writer and my shallow ideas. It will be torture, it will be humiliating, but it will be good for me. Like broccoli. Reality: The latter was true, the former was not. In fact, it actually made me feel better about my writing. Collaborating with a supportive peer group and leaders not only made the story better, it focused it and gave me ideas which I willingly used, and invested me deeply in other people's stories and processes, and gave me a new community. I also happen to like broccoli. Rule #4: The right length for this piece, for a "real" radio piece, is about 4.5 minutes. Reality: I panicked when mine came in at 10+ minutes, only after brutal slashing (torture!) and rewriting. "They are going to send me packing!" You know what they said? The best story length is as long as the story needs to be. This story is 10+ minutes. I also got some things right. An enormous amount of work goes into making good audio stories. All of the writing and rewriting, collaborating, shaping, editing, leveling. . .it takes hours. Days. All of that logging of tape and transcribing that I was really hoping to find out one doesn't actually have to do? It was an essential resource as I tried to find the story I was trying to structure again and again. There's a method to the madness. It's worth learning the process. Most of what I've been assuming in this realm turns out to be true. Dang. Amazingly, the piece I wound up making paralleled this exact journey. In its essence, the story is about just being who you are. Real Journalists DO make serious stuff, and they do keep themselves out of the story. I am enormously indebted to, and in awe of, the people who do this. The thing is. . . I'm not a journalist. I don't need to try to pretend to be or try to be in order to make stuff. The stuff I want to make is the stuff that comes...
8 minutes | Jun 7, 2016
Jack And The Bag Of Death
Last fall at the very end of the semester I saw a poster in the hallway of the art school at Virginia Commonwealth University for one of my favorite podcasts, Love and Radio by Nick van der Kolk. It turns out that it wasn't a poster for the podcast (Do podcasts have posters? They really should!) but rather for a graduate level documentary radio class that van der Kolk was teaching at VCUarts this spring in the Department of Kinetic Imaging. I wished that I was a student again so that I could take his class. It turns out that one of the benefits of working at VCUarts is the ability to take up to two classes per semester tuition free. This January I registered for Nick's class and took my seat in the classroom as a student rather than as an instructor. I hadn't been on the student side of a classroom in more than ten years and I worried that I wouldn't be able to shed the "let me show you how to do that" mentality that comes with ten years of teaching experience. Old Dog, New Tricks I teach film and video production courses and even have an audio podcast assignment built into my syllabus. So I wasn't sure what I was going to learn in Nick's seminar. The first day of class let me know that I would be learning a lot. For one, Nick's favored form of audio capture is with the onboard mics of an H4N Zoom recorder. Having taught the Zooms for the last five years, I would normally bring out a host of cardioid, shotgun and lavalier microphones with boom poles, long runs of xlr cable and windscreens and show my students how to use them rather than the onboard mics, anything but the onboard mics. I quickly relearned that radio production is not film production, and that microphone proximity is the key factor in audio quality, not expensive Sennheiser shotguns (although they are amazing). Without having to worry about seeing audio equipment in the shot, I was instructed to get the Zoom as close to my subjects as I could (a fists length away) and to record in stereo using one of the X/Y mics for my subject and the other one to record my questions. Nick also taught us about how to avoid plosives when working so close to your subject. My favorite production trick that Nick shared was one he uses to get people comfortable with the unfamiliar equipment that we use with its giant foam or furry windscreens — he scratches his face while holding his equipment in his hand. It works! The End is Usually the Beginning This audio piece was recorded as part the Vox Populi assignment in Nick van der Kolk's seminar. We were instructed to go out and conduct interviews with strangers in public. I chose to look for interview subjects at the Virginia Museum of Fine Arts (VMFA) on Super Bowl Sunday. I asked people the question: "If the VMFA were the NFL and the works of art on the wall were the teams in the Super Bowl of Art, which piece of art would you root for?" My first interview was with Vixi Jill Glenn who was visiting from Boone, North Carolina. Nick instructed us to always leave the tape rolling and equipment in recording position even after the interview questions were answered. After Vixi finished telling me about her favorite Rodin sculpture at the VMFA, she revealed that she was a "Keeper" of the Appalachian Jack tales, which include a series of more than a hundred stories about the Jack of Jack and the Beanstalk fame. In this piece Vixi Jill Glenn tells the Hicks' family version of "Jack and the Bag of Death." Listening and Learning I learned to listen again this semester. Both in the field and more importantly in the classroom as a student. It was such a gift to be on the student side of the classroom, to be reminded of what it is like for my students in my own classes. Face to face,
55 minutes | Mar 1, 2016
A Life Sentence: Victims, Offenders, Justice, And My Mother
Revisiting Difficult Things The story of the violent crime my mother survived in the fall of 1994 has never been something I share easily. It's more something I offer after I've really gotten to know someone and feel that there's something important they need to know about me, about my family. I'm acutely aware of the impact this crime has had on my mother's life, on our family's life, and I've always had a sense of its larger consequences. I thought if I could tell the story of both the intimate and the public impact, it might be worthwhile. There were a lot of people who warned me this would be hard. And it was. Hardest of all was hearing again the details of what happened to my mother that night. And then hearing them repeatedly as I transcribed our interviews, assembled the script, cut tape, and listened to mixes. I spent many days horizontal on my couch, literally knocked over and out again (nearly 20 years later) by what happened to her. Revisiting difficult topics isn't for everyone. When I interviewed my brother for this piece he said he doesn't like to talk about it. I've come to respect that point of view. Over the past two plus years, I've had stomach aches and nightmares, I've locked my doors more than before, and one day was even sure I saw Reginald McFadden (the man who attacked my mother) walking down the street in the small town where I live. Still, I know myself well enough to know what I can tolerate and that ultimately, for me, it's always better to stare hard stuff straight in the eye than to turn away from it. Here are a few things I learned from producing this documentary. Willingness To Talk My mother started talking about what happened to her the night she landed in the emergency room and hasn't stopped since. She says that talking about it has saved her life. Going into this, I knew she would be willing to talk with me about what happened to her. But I had no idea about how others — family members and strangers — would feel about me, out of the blue two decades later, asking them to talk on tape about their connection to events before and after the attack. To my surprise, most people I reached out to said yes. Yes. Immediately yes. There was a sense that they had been waiting to talk to someone else who also carried this event around with them. And that's often the way the interviews would go. After introductory awkwardness and pleasantries, we would jump right into what for some of the interviewees was one of the most difficult times in their lives. And our conversations would go deep. I always left the interviews exhausted. I'm sure the people I interviewed did too. I think Mark Singel (who I talked with for three hours) summed it up best. Producer Me And Me Me I have never done a personal piece before. While working on it, I became keenly aware of Producer Me (head) and Me Me (heart and belly). Producer Me would think about what was good for the piece, would handle details, would think about the story. Me Me was on a personal journey, was feeling lots of feelings. Me Me was seeking answers and resolution. The beauty of this, it turns out, is that despite the fact that I was on my own in the field conducting these interviews, I never felt alone — these two parts of me worked together and helped each other through the rough patches. For example, it was Me Me that convinced me to go to McFadden's sister's house in Philadelphia and it was Me Me who got me out of the car to approach her. Meeting Charlotte was something I had thought about for 20 years; I knew if I left the city and didn't at least try to find her, I would regret it. It was Producer Me, though, who thought to turn on my iPhone and record the whole thing. On the other hand, Producer Me knew going to meet McFadden himself — or even trying to — would probably make great tape.
49 minutes | Jan 19, 2016
In Conversation: Miranda July & Jennifer Brandel
What Miranda July Can Teach (& Remind) Us About Making Media for the Public Admittedly, I over prepared for this interview. Beyond spending many evenings researching and thinking, I also hijacked every one of my hangouts with friends for months, turning brunches and walks into tactical conversations about July's work and what makes it so compelling and unique. Along the way, it became clear that Miranda July's work shares much in common with public media's work. Here's just a short list of the overlap. Both July and public media makers: * Produce audio / radio / video / films * Publish a newsletter * Make apps * Perform live shows * Sell branded bags for the super fans (July's is not a tote bag for the farmer's market, but it has quite a few compelling uses) * Toggle between nonfiction and fiction storytelling * Have a distinct sensibility, so much so that The Onion has had their fun with both July and public radio * Create deep intimacy and empathy with audiences All things were considered, which meant I had far too many questions for an hour's worth of time. (Here's what I had prepped for the interview, if you're curious.) This also meant I surely missed a lot of opportunities to follow interesting threads that emerged, and go deep where my antenna sensed more to plumb, because there was just too much ground to cover. So rather than present a straight Q&A, here's a distillation and expansion on some highlights of the conversation … a quasi-interview turned "classy listicle" (if that's not an oxymoron). The accompanying audio is fairly different from what's below, so feel free to give both your time. OK. On with it. Here are 9 key takeaways from my conversation with July — many of which I can't help but think hold lessons and creative challenges and opportunities for public media. * Audio work teaches rigor * Make people feel the news * Lena Dunham is coming for your job * Comfort with vulnerability is a super power * Not taking risks? Red flag * Generosity over genius * The audience = wild cards, and that's great * Audience engagement is an iterative process * What some of you asked her Though Miranda July may be most well known as a filmmaker and author, her earliest work was in audio, creating radio plays in her early twenties. One early piece was called WSNO Radio Sno: Broadcasting From the Coldness of Your Heart in which she played the host and all of the callers. I wondered how she decided on audio as one of her earliest forms of expression. She explained that the term "radio plays" wasn't intentional — it came about as a kind of shorthand way to explain the work. MJ: Really I wanted to be making movies and for some reason, it never occurred to me to just get as close to Hollywood or a professional filmmaker as possible. Instead, I would do things like what I called a "live movie," which was aka a play, or a performance.
95 minutes | Dec 10, 2015
Story Workshop Fall 2015: Pieces
Rob Rosenthal, Lead Instructor Rob Rosenthal …one of the things I love most about my job as lead instructor [is] I have no idea what's going to happen. From day-to-day, from workshop to workshop… every class is different. The stories are different. Even the style of storytelling is different… Read more. TSW: Class of Fall 2015 "No Flush, No Fuss" by Devika Bakshi Devika Bakshi Follow the good tape. Like a besotted stalker. Like you followed Teju Cole on Twitter. With utter devotion. Read more and listen. "Good Intentions: A Story of Cross-Racial Adoption" by Brenna Daldorph Brenna Daldorph Someone once told me that if you are comfortable during discussions about race, then nothing important is actually being said. I held that close to heart as I worked on this piece… Read more and listen. "An Act Relative To Sex Offenders" by Ciara Gillan Ciara Gillan You're prepped from the outset that your story may not unfold the way you thought it would. But sometimes, at that very last minute, your story can grab you by the ears and spin you right upside down. Read more and listen. "More Than A Game" by Jimmy Gutierrez Jimmy Gutierrez It took me a long, long, long time before I understood the ingredients to make this story work. In the editing process I relied heavily on all eight classmates, along with Rob and Catie. Read more and listen. "Ears Underwater" by Bethel Habte Bethel Habte …go out and drink beers with scientists. More generally, always be on the hunt for stories. Read more and listen. "Trigger Warning" by Jacqui Helbert Jacqui Helbert It was extremely difficult to share so much about myself and make myself vulnerable while working on the piece. But both Paige and I are happy with the end result and hope that our story will help someone who has suffered at the hands of a family member. Read more and listen. "Secession's the Answer" by Sally Helm Sally Helm On my way to gather tape at the karaoke bar, I wondered if I was crazy to think that this might work. At first it was awkward to record people on their night out. By the end of the night, though, I'd started to enjoy the rush that comes from talking to strangers and going out on a limb. Read more and listen. "Driving In Circles" by Martine Powers Martine Powers Coming from the world of print journalism, I always believed in the adage, "Everyone needs an editor." Here's what I learned at Transom: Everyone needs eight editors. Or nine. Or ten. Read more and listen.
28 minutes | Oct 13, 2015
Anatomy Of A Code Blue
A "Code Blue" You've seen it on TV. The line on the heart monitor goes flat. Reassuring beeps are overtaken by the ominous, solid tone of death. Doctors come running, throw electric paddles on the chest and yell, "Clear!" The patient springs back to life — most of the time, at least on TV. Yet a "code blue" can also be traumatic. A large nurse throws his entire weight onto the chest of a frail ninety-year old, cracking multiple ribs. A doctor tears off the patient's gown. Each chest compression launches blood from the patient's mouth showering his naked body. Drugs upon drugs squeeze blood to vital organs, but when his heart starts again most of his brain may have already died from lack of oxygen. A "code blue" is hospital-speak for advanced cardiopulmonary resuscitation. It is an attempt to restart the heart when it has stopped. On television codes are successful 75% of the time. In reality about 20% of patients live to leave the hospital. Whether a code is a magnificent life-saving feat or a brutal exercise in futility depends entirely on the overall condition and context of the patient's life. In many cases the outcome is very difficult to predict. In weaving together the narrative of a code, my goal was not to answer the incredibly complex question of when or whether we should attempt to resuscitate. Rather, I wanted to explore what happens to hospital staff when grappling with acute uncertainty around our ability to combat death. Confronting Death I envisioned a story that was part medical documentary and part collective memory piece, drawing on many people's experiences of working on the wards over many years. Paradoxically, I found my most powerful inspiration in the narrative form of the radio documentary Witness to an Execution by Stacy Abramson and David Isay. Witness tells the story of how lethal injections are carried out in Texas by weaving together the experiences of the full range of "death house" staff — the warden, the chaplain, the media correspondent, the "tie-down crew." For me, the power of Witness comes largely from what it does not do. By not focusing on a single execution, not including recordings from any live event and not editorializing, it brings us deeper into the multi-layered experiences of those who live these events on a regular basis. I don't think it was simply coincidental and ironic that my narrative about resuscitation found its inspiration in a piece about executions. Both moments of confronting death evoke emotions that cut through the more comfortably defined parameters of one's "role" or "job." Why Audio I originally turned to audio because of its power to immerse listeners in subjective experience. While video presents a reality seen through the camera's lens, audio compels the listener to construct a mental and emotional image from the words and voices of those who have lived it. Audio also enabled me to capture a greater range of experience. By recording staff whose voices, accents and languages evoke their diverse backgrounds, I hoped to create a virtual conversation that might never occur due to the divisions within the hospital heirarchy. Indeed, nearly half of my subjects said they would not have talked with me if this were video. Before coming to their interviews many wanted to confirm, "No camera, right?" Logistics, Technical Aspects and Gear It took almost eight months of conversations with various hospitals to obtain permission to start recording. Privacy and legal concerns make this an extremely sensitive subject. I ultimately connected with leaders who shared a love for public radio in an institution that is actively working towards providing medical care with greater transparency. In addition, recording in the hospital turned out to be a technical challenge.


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PHOENIX - Eric Chavez is the A's new phenom du jour. Although only 21 years old and beginning his third professional season, he already has been awarded the starting third base job and is being promoted as a Rookie of the Year candidate.
Management constructed one of its ads in a TV campaign around Chavez. The gimmick is that Oakland Mayor Jerry Brown gives the player advice about how to run a successful campaign for rookie of the year. The next shots are of Eric driving a sound truck, kissing babies and handing out Chavez for Rookie of the Year bumper stickers.

subset: commoncrawl


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DANNIELLA Westbrook has revealed her major new role with Love Island star Jack Fincham.
L'attrice – who played Sam Mitchell on BBC soap EastEnders – said she has landed a new job on stage.
The TV star said she has no plans to return to Albert Square in the future as she sets her sights on new opportunities.
Parlando in esclusiva a The Sun, Danniella said she would consider starring in a rival soap.
The mum-of-two said: "Maybe another soap, I want to do theatre. I'm doing panto at Christmas with Jack Fincham.
"Jack's my friend, he's like a little son to me."
Speaking about her love for theatre, Danniella said: "I like acting, I can't wait to get back to theatre.
"I just like to switch it up a bit and also theatre is not so much social media madness.
"You get to meet people, enjoy the show and see comments, I like that, that's what I like about being an actor."
It comes after Danniella admitted she's the 'happiest' she's ever been with her fiancé David.
Their relationship was brought to light in March this year when the 48-year-old revealed her new boyfriend is serving time in Pentonville prison.
Danniella had to set things straight when she was linked to Towie star Grace Andrew's dad Terry after they enjoyed dinner together that month.
Weeks later the EastEnders legend mi sono fidanzato after her secret lover proposed to her during a prison visit.
Speaking exclusively to The Sun about her relationship at the Whsky Label lancio, Danniella said "I'm over the moon happy.
"I'm good, I'm happy. It helps when you're grounded and you're happy with yourself, and you start to like yourself a bit more."
I più letti in Celebrity
When asked about how she knew David, 28, was 'The One', Danniella replied: "I just know. We get on. I don't have to second guess anything.
"I've been in relationships since I was 15-years-old and working, I've spent a good few years on my own."
Lei ha aggiunto: "I know David, I get on with David, I don't have to second guess him, he doesn't have to second guess me."
Danniella has had a number of relationships in the public eye.
Tra 1991 e 1996, the star dated East 17 lead singer Brian Harvey.
She then got into a relationship with Robert Fernandez, and they share one son together Kai Jenkins.
Chubais ha contribuito alle riforme economiche seguite al crollo dell'Unione Sovietica, ma è rimasto nel governo di Putin e ha mantenuto stretti legami con i funzionari occidentali
After they split, Danniella was married to Ben Morgan for nine months.
poi in 2001 the star tied the knot with Kevin Jenkins, 25, and they share their Jodie together.


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After hours of researching and comparing all models on the market, we find out the Best console curio cabinet of 2022. Check our ranking below.
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Players enter a world of fairy-tale like mystery when firing up Tivoli, a slot from Blueprint Gaming based on the famous Danish pleasure garden. Established in 1843, Tivoli Gardens is one of the oldest amusement parks in the world, second only to Dyrehavsbakken, located up the road in Klampenborg. Tivoli is the more famous thanks to its central Copenhagen location, and the fact Dyrehavsbakken doesn't roll off English speaking tongues as easily as its slightly younger sibling's does. Tivoli Gardens is full of rides, arcades, gardens, and more. Blueprint Gaming seeks to capture this entertainment in their slot version, which uses gameplay and features copied straight from Reel Time Gaming's cult classic Fishin' Frenzy.
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Winning means landing three or more identical symbols side by side from the first reel onwards. The one exception is the top premium symbol needs only two to pay out. Blueprint Gaming has done a great job of expressing the theme through the symbols. At first, we get a bunch of pleasingly designed 10-A card icons, followed by ticket symbols, and several park rides. These include the Himmelskibet, Ballongyngen, Rutschebanen, and Radiobilerne. Five of kind wins are generous too, at 50 to 200 times the stake for the theme park ride premiums.
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Landing on any reel is the Tivoli entrance symbol which is the scatter. When 3, 4, or 5 grace the game, players are awarded 10, 15, or 20 free spins respectively. During free spins, the Ticket Collector scatter symbol becomes active. On his own, 2, 3, 4, or 5 Ticket Collectors are worth a payout of 1x, 10x, 50x, or 500x the bet.
Whenever the Ticket Collector lands on a spin, he pulls in the value imprinted on all of the ticket symbols in view. Individually, these tickets have prizes of 2x, 5x, 10x, 15x, 20x, 25x, or 50x the bet attached to them. Free spins cannot be retriggered so once they wind down to zero the feature is over.
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Tivoli is quite an intriguing slot. Blueprint Gaming has captured a strong dose of Tivoli's magic by using popup book graphics that are genuinely captivating. The soundtrack is just as stirring, and animations such as the firework effects have been put to good use. It all combines to create a carefree look; some might say a little kiddy, with a carnival atmosphere to reproduce a golden age feel the amusement park is famous for. This is a place to forget about the outside world while discovering new wonders to lose yourself in. For a time at least, it's hard not to surrender and be sucked into Tivoli the slot's enchanting world.
If you're not a major fan of Fishin' Frenzy, then the enchantment probably won't last all that long. The limited gameplay comes screaming to the forefront, shifting the daydream into a more general glazy eyed lethargy. Sure it's cloned off Fishin' Frenzy which was a hit (mainly in the UK), but the original is getting on in years and is showing its age. Tivoli's fab new graphics elongate the playing time, though once the first impressions wear off, the slow pace plus a narrow range of features become apparent.
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Blueprint Gaming has done a great job of converting Fishin' Frenzy to a new format aimed at Danish players. It's not exactly high adrenaline gaming, but the gameplay works like a charm with the dreamy garden theme to produce a relaxing environment to try your luck in.


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text: Reacting to the Jay Rosen article linked here yesterday, Dave Cormier cautions that "there will be a rebuttall, and it will not be televised. It will be subtle. People will be bought out." Count on it. History is not inevitable. "If change is going to happen, everyone needs to be emancipated. Emancipation, in the sense of empowerement to publish, to have voice, to be able to control your destiny, is a very, very long way off. The revolution, if there is ever to be one, is going to take years of concerted effort." Quite right. It already has. And it certainly will.


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Usually, ceremony to start sports events are ignored, but the historical reference to the "raging bull" during the "commonwealth" (néé British Empire) games caught interest. Hitherto, was unaware that the chains, manacles and other metal tools made in Birmingham, for colonisation, were manufactured by native women themselves subjected to impoverished employment conditions that culminated in a 1910 strike.
With inclusion of countries such as Mozambique (lusophone) and Rwanda (francaphone), perhaps another name change is due; Anglophone Alliance anyone? Then usa could join (at least until Spanish becomes dominant)! :)
Meanwhile the "lionesses" (yes those animals that roam the British Isles) won a football match, 56 years after the last significant win. Most poignant, that females were once banned from play of said sport.
Reply: Sonya McChristie
Of specific interest to read was the failure of 'big blue button'; not a good advertisement for open source software. Did the organisation respond to the failures? Was the open source community helpful and responsive in general?
As for the "challenge" to encourage lecturers to improve accessibility by provision of text captions for multimedia, a simple solution is to pay for the time to do so. For technical subjects, it is a manual process. Sorry.
Reply: Alison M. Hill
Encountered via the aforementioned blog-post, reminded of an earlier post about one's own attempt to make assessment of a gce a class a bit more relevant to extant circumstances. At the time, had looked at the procedures deployed at University Oxford; if students complain (some did) the response ready to reply was that "similar is being done at university, so you had better get used to the idea".
The use of randomised, individual data sets for students was nice to read, as was the use of 'R' as the data generation tool. Again, such innovation will increase time for assessment and thus more money is required (more teachers, surprise!) for equitable assessment of students.
Weather has been too good to be true (thus far), but since "time stops for no [hu]man", the prospect of the new academic year is beginning to "stir" in the mind. This week will be the final to really rest; next, will begin to get some structure, with some review of the new timetable of classes to teach, read some educational research articles and to practice questions to answer. The brain has not exercised during the holiday (rightfully so), but similar to other muscles, now need to slowly-but-surely "warm it up" in preparation.
Will August be another dry month?


text:
You are here
"Ye Really Are Gods": A Response to Michael Heiser concerning the LDS Use of Psalm 82 and the Gospel of John." The FARMS Review 19, no. 1 (2007): 267-313."
Onomastic Wordplay on Joseph and Benjamin and Gezera Shawa in the Book of Mormon." Interpreter: A Journal of Mormon Scripture 18 (2016): 255-273."
Beyond Understanding: Narrative Theory as Expansion in Book of Mormon Exegesis." Journal of Book of Mormon Studies 25 (2016): 116-138."
Israel's Divine Council, Mormonism, and Evangelicalism: Clarifying the Issues and Directions for Future Study." The FARMS Review 19, no. 1 (2007): 315-323."
Bible Scholarship In Encyclopedia of Mormonism, Edited by Daniel H. Ludlow. Vol. 1. New York: Macmillan, 1992.
Skins as Garments in the Book of Mormon: A Textual Exegesis." Journal of Book of Mormon Studies 24 (2015): 138-165."


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The possibilities are unlimited. Attend this FREE online training with Marcus TaylorOne strategy we've explore a lot is using data captured from our Leadformly kind to customise the material in our ActiveCampaign e-mails utilizing ActiveCampaign's conditional material function. Basically, this allows you to customise the content in your email projects using guidelines like 'If contact's organisation type = firm, screen X, otherwise display Y'. Here's an example of a fully-automated e-mail we send using conditional material.
I presume the reason is due to the fact that it sounds natural and consists of adequate personalisation (it references that they're running a company) that individuals suspect it's been written by hand. We've even received a lot of praise from people who've determined that it is automated, however are still impressed!If you desire to increase your email campaign engagement by 10-20%, simply send all of your emails two times, however the second time around just send out the e-mail to the sector of individuals that didn't open it the very first time round.
While the open rate will not be as high as the very first campaign, it's still going to be opened by a few of your list who would not have actually otherwise seen it (Giveaway Survey Active Campaign). If somebody opens your e-mail but doesn't click through to your deal it means that they were interested by your subject line, but the deal wasn't rather right for them.
Giveaway Survey Active Campaign
One of our most responded-to e-mail projects is an easy email that we send out to everybody who participates in a Leadformly webinar but doesn't register for an account (Giveaway Survey Active Campaign). It appears like this: If somebody clicks 'Yes– however I have a question' or 'No' it opens an email resolved to me with the pre-filled text 'Hello Marcus, I'm not all set to utilize Leadformly since …'.
When we initially started buying tools for our customer success team at Leadformly, we attempted Intercom, Drift, Promoter.io, and numerous others. After numerous months we understood that the majority of the performance we were using in those tools could be changed by ActiveCampaign. Here are a few of the ways we're utilizing ActiveCampaign for consumer success.
While it's meant to be utilized for handling sales pipelines it works well work handling any process that has a clear set of actions– like onboarding. We have actually created automation series to instantly move customers in between different steps of this pipeline based upon what pages they check out or occasions they fire from within the Leadformly application.
Giveaway Survey Active Campaign
I have to confess, gathering NPS ratings in ActiveCampaign is difficult. We had previously used Promoter.io to collect NPS, which is (in theory) a plug and play option. We had a hard time a lot with their service, which was one of the factors for centralising it in ActiveCampaign. Instead of discussing how we set it up here, I 'd advise reading dazzling post that ActiveCampaign released, which we followed to collect and automate NPS collection.
In order to educate our clients and make them successful as quickly as possible, we put all of our consumers into a 7-day onboarding sequence, which drip feeds a series of tutorials, videos, and white documents that they can use to discover our software application and improve arise from their lead capture forms. This automation series takes some stress off of our assistance group, as it means that we can answer concerns in these tutorials that might have otherwise ended up being support tickets/emails.
When somebody cancels their account or requests a refund for our endeavors, it's essential that we learn what caused this. In ActiveCampaign, we automatically set off a series that asks the client what made them leave, and then adds/removes them from the proper lists and series. It's simple but is one less thing that our customer success group requirement to consider.
Giveaway Survey Active Campaign
Below are a few of the ways we've used ActiveCampaign to automate elements of HR, finance, and worker training. When a brand-new employee joins Endeavor Harbour, an automatic e-mail series is triggered that drip feeds details on how we doing things at Endeavor Harbour and why. This makes sure that all brand-new staff members have a consistent onboarding experience, and are aligned with the business's bigger photo vision and goals.
While unconventional, using marketing automation to enhance our new employee onboarding has actually made this procedure a lot simpler. We do not read CVs at Endeavor Harbour. Instead, we ask all candidates that make an application for a job from our site to finish a brief quiz that informs us more about them and how they fix problems (Giveaway Survey Active Campaign).
At the end of the day, if you're not prepared to finish a 10-minute quiz to be considered for a role at Endeavor Harbour, you're definitely not the ideal fit. It likewise offers us a great deal of insightful information about prospects. For instance, one of our worths at Venture Harbour is to never ever stop learning, so in our test we ask 'What are the last 3 nonfiction books you read?'.
Giveaway Survey Active Campaign
This test is sent through a marketing automation sequence, which maximizes hours of emailing back and forth with potential prospects, and makes sure that we only think about the best applicants to come in for an interview. I utilized to hate chasing up invoices. While most of our clients paid their invoices on time, there were always a couple of that needed a nudge or 2.
By sending out the e-mail from a 'noreply@' email address rather than my individual e-mail address it depersonalised the message and encountered more as an alert rather than a person requesting a billing to be paid (Giveaway Survey Active Campaign). Not just was it just as reliable as me emailing them, it indicated I might stop sending an email that I hated sending out– and it saved me time!There are few tools that I completely advise every day, but ActiveCampaign is among them.
As a one-stop e-mail marketing service, ActiveCampaign, which starts at $9 each month has a lot to use, including endless e-mails with all of its plans, third-party combinations, and a range of auto-responders. This leads to a rather hectic interface, which can be hard to take in initially glimpse.
Giveaway Survey Active Campaign
ActiveCampaign has a large library of online assistance resources and onboarding services, and you can receive help via live chat, however not by phone. It's equivalent to Campaign Screen in lots of ways, though each bests the other one in some areas. For the very best email marketing experience appearance to our Editors' Option choices in this classification: Campaigner and MailChimp , each of which offer live assistance, and generous functions.
The company arranges its strategies depending on the variety of customers you're seeking to reach. Plans start at $9 monthly for up to 500 contacts and unrestricted emails. At each subscriber level, you can update to a Plus plan that includes a number of features consisting of client relationship management (CRM), a custom-made domain, and custom-made branding.
Plans go all the way approximately 100,000 contacts; if you need more, you can call ActiveCampaign for a custom-made strategy. In in between, you can select 2,500 contacts for $29 per month, 5,000 contacts for $45 monthly and so on. All plans include endless emails, unlike Campaign Display, which offers both fundamental strategies with restricted emails, and more costly limitless plans. Giveaway Survey Active Campaign.
Giveaway Survey Active Campaign
ActiveCampaign uses a 14-day complimentary trial that does not require a charge card. To begin, all you need is your business name and email address. Next, you set up a password and then pick the service you're trying to find– in addition to email marketing, it uses marketing automation, CRM, and sales automation.
The control panel is overwhelming initially look. It's difficult to know where to look first. On the right rail is a social activity feed, including social shares, unsubscribes, click rates, and more. To the left of that is an introduction of your campaign activity. Part of the confusion is that it's filled with sample information that disappears when you mouse over it.
It's also confusing given that ActiveCampaign also provides CRM and other functions that you may not prepare to utilize, but show up on the dashboard anyhow if you're using the complimentary trial. Giveaway Survey Active Campaign. Along the top of the screen are your primary options: contacts, projects, lists, and other non-email marketing related functions.
Giveaway Survey Active Campaign
From here you can import and export CSV files or import from a third-party service, such as Asana (Visit Site at Asana), Base CRM , Zoho CRM (Free Trial at Software Application Recommendations), and much more. This is another location where it bests Campaign Screen, which has no 3rd party combination. Giveaway Survey Active Campaign.
Prior to you add any contacts, however, you need to develop a list, similar to with Campaign Monitor. When you develop a list, you need to provide it a name, offer your company's mailing address for the footer, business URL, and a note letting subscribers know why they're getting the email (this may lower spam reports from forgetful users.) Next, you can import contacts to that list.
You can likewise choose not to import a specific field. I experimented with including e-mail, name, and birthday. It recognized e-mail, but not the other 2, but I was able to quickly create custom-made fields. You can also tag contacts for simple browsing. Click the projects tab to develop a newsletter. They even have a standard mage editor where you can crop the image. MailChimp's editor is the finest I have actually seen in all of the e-mail marketing platforms I've attempted. You have access to the underlying code, so you can create a really plain e-mail, supplied you make a standard design template first.
Giveaway Survey Active Campaign
MailChimp's integrated image editor is incredibly effective. You can resize, crop, and add custom-made text to your images. I miss MailChimp's email-editing experience. It would save me a little time to have that same experience on ActiveCampaign. However the highly-customizable automations I can build on ActiveCampaign more than offset that possible time savings.
ConvertKit's e-mail editing experience is extremely plain, however easy to browse. Their design templates are limited, which is great with me, however their email modifying experience is slightly easier in that you can create inline images, and you can develop a totally plain email, and even modify the underlying HTML. If you wish to make some quick edits to some e-mails in an automation, with ActiveCampaign, it's troublesome.
I'll click on an email, and it takes me to the editor for that email. Note that I can't even Command + Click to open it in another tab. Whether they suggested to or not, ActiveCampaign has handicapped Command + Click from the automation editor. If I wished to change back and forth between different e-mails, I would intuitively be inclined open the very same automation in various tabs, then open the particular emails from each of those tabs.
Giveaway Survey Active Campaign
In the Automations section, there's a "Handle Messages" area. From here, you can see all of the messages in each of your automations. You can modify each one, or you can Command + Click to open each in a brand-new tab to more easily edit your entire series. Contrast that with ConvertKit's Sequences.
Once again, it would conserve me a lot of time to have ConvertKit's automation email editing experience on ActiveCampaign. However picking an e-mail marketing platform resembles selecting a spouse – Giveaway Survey Active Campaign. ActiveCampaign offsets it with their Message Variables, more robust automations, and advanced segmentation. Speaking of division, another reason I switched from MailChimp to ActiveCampaign was that MailChimp has limited division options.
You can combine qualities with an AND/OR operator, and you can mix and match those groups of qualities with another AND/OR operator. With MailChimp, you can only section by AND/OR, nevertheless MailChimp's Pro strategy allows more sophisticated segmenting, for an extra $199 a month. In my search for the best email marketing platform, I saw numerous others, a few of which I have actually currently discussed.
Giveaway Survey Active Campaign
ConvertKit. If I weren't on ActiveCampaign, I would probably be utilizing ConvertKit. Their automations are much simpler to develop, though they aren't as versatile as ActiveCampaign's, and their divisions options aren't as advanced either. They likewise don't have objective tracking, or Message Variables. MailChimp. You already know that I switched from MailChimp to ActiveCampaign.
MailChimp is totally free for as much as 2,000 contacts, though if you're major I 'd strongly caution versus locking yourself into an e-mail marketing platform simply since it's cheaper on the short term. Changing is a discomfort, and it may cost you more in the long run. AWeber. AWeber has been around permanently, so they integrate with anything.
It has just-okay email modifying experience, design templates, and automations. One edge it has, in my viewpoint, is Worldwide Text Bits. I go more in depth in my AWeber Review. If you're a small service with 5,000 subscribers or more, and you do not require far more than standard broadcasts and automations, AWeber might be an excellent option.
Giveaway Survey Active Campaign
I typically don't believe rates ought to be a significant factor in choosing the right email marketing platform for your organisation. Having the best features for your marketing strategy will ultimately offset whatever price distinctions you discover. But, price is still a factor, so let's look at prices for ActiveCampaign vs.
As you can see: If you're starting with 500 contacts, ActiveCampaign's Lite plan is cheaper than both AWeber and ConvertKit. ConvertKit is nearly double the cost of ActiveCampaign if you're simply beginning. MailChimp, is complimentary listed below 2,000 contacts. But switching is a pain, so only select MailChimp if it's the very best option for you.
About 10% more than ConvertKit, and about 50% more than AWeber or MailChimp. As I've stated, if you're going to be making complete usage of ActiveCampaign's rich automation features, it's well worth the rate difference. In conclusion, ActiveCampaign is an extremely flexible e-mail marketing platform, and I'm so happy I made the effort to do the research study and make the switch from MailChimp to ActiveCampaign.


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