Podcast appearances and mentions of dick gordon

This week, we discuss "tracked vs. untracked," kickoff return TDs, very few passing yards, and some more stats symmetry. Quote of the week - Ed: I don't think Willie Lanier is that ugly / Jim: Until you see him chasing you." Intro-outro music is "Jersey City Hustle."

Listen to our interview with former senator Dick Gordon.

Christian Esguerra sits down with the senator who once led the inquiry into one of the biggest scandals during the Duterter administration.

Dick Gordon opened the tunnel to Intrepid, saw his companions floating in a dirty cloud of moon dust, and slammed the hatch closed. He called out, “You guys ain't gonna mess up my nice clean spacecraft!” Homepage with pictures

Former senator Dick Gordon talks about the Ombudsman's plan to file criminal charges against former government procurement officials and officers of Pharmally Pharmaceuticals Inc. over an allegedly anomalous deal amounting to P4.1 billion.

Christian Esguerra sits down with former senator and tourism secretary Richard Gordon on the controversy surrounding the new tourism campaign slogan of the Philippines following the discovery that the mood video contained "stock footage" of destinations, which weren't actually from here.

After graduating from the University of Washington, Gordon joined the US Navy, and after his first exposure to planes decided to become a pilot. Gordon said “Once I found what the airplane could do for me, or I could do for it, it was love at first sight.” Homepage with pictures.

Dick Gordon is one of our favourite astronauts, so why not take a week to talk about him? Especially where there is a brand new book about him which has just come out by his step-daughter Traci Shoblom: “Apollo's Creed: Lessons I Learned From My Astronaut Dad”Traci Shoblom: https://www.astronautdad.com/ Facebook: https://www.facebook.com/profile.php?id=100089350950155Twitter: https://www.twitter.com/traci/shoblomLinkedIn: https://www.linkedin.com/in/tracishoblomvujicich/ Full show notes: https://spaceandthingspodcast.com/Show notes include links to all articles mentioned and full details of our guests and links to what caught our eye this week.Image Credits: NASASpace and Things:Twitter: https://www.twitter.com/spaceandthings1Instagram: https://www.instagram.com/spaceandthingspodcastFacebook: https://www.facebook.com/spaceandthingspodcast/Merch and Info: https://www.spaceandthingspodcast.comPatreon: https://www.patreon.com/SpaceandthingsBusiness Enquiries: info@andthingsproductions.comSpace and Things is brought to you And Things Productions https://www.andthingsproductions.comSupport this show http://supporter.acast.com/spaceandthings. Hosted on Acast. See acast.com/privacy for more information.

This week we start with the reasons why the Apollo 15 crew's careers all ended in a state of ignominy after one of the more successful moon missions, followed by a few eulogies - Apollo 15 astronaut James Irwin and Apollo 12 astronaut Dick Gordon (oops!). We wrap up the episode with the story of Apollo 16, the penultimate Apollo mission.The Space Race series introduction music is Lift Off by kennysvoice.As always, a very special thanks to Mountain Up Cap Company for its continued help to spread the word about the podcast on Facebook at: https://www.facebook.com/MountainUpCapCompany Climb to Glory!For more information about the podcast visit: ·       The GoA website: https://www.ghostsofarlingtonpodcast.com    ·       Facebook: https://www.facebook.com/ghostsofarlingtonpodcast·       Twitter: https://twitter.com/ArlingtonGhosts·       Instagram: https://www.instagram.com/ghostsofarlington/

This week, we catch up with Buzz Aldrin's post NASA life, and then move on to the mission that followed Apollo 11 to the moon - Apollo 12. While NASA was excited to continue to explore the moon, many were questioning if there was anything else to gain versus the great cost of the lunar missions. The Space Race series introduction music is Lift Off by kennysvoice.As always, a very special thanks to Mountain Up Cap Company for its continued help to spread the word about the podcast on Facebook at: https://www.facebook.com/MountainUpCapCompany Climb to Glory!For more information about the podcast visit: ·       The GoA website: https://www.ghostsofarlingtonpodcast.com    ·       Facebook: https://www.facebook.com/ghostsofarlingtonpodcast·       Twitter: https://twitter.com/ArlingtonGhosts·       Instagram: https://www.instagram.com/ghostsofarlington/

This week we discuss the tragedy of Chuck Hughes, the Legend of George Blanda, the Terrible Terrys and the Tenske Twins; and collisions with end zone fences. Quote of the week: "Didn't they know about continuity back then?"

Back in November 2014 a new podcast was taking the world by storm. It was barely 2 months old at the time, but Serial, a new podcast from the creators of This American Life, hosted by Sarah Koenig, become the biggest podcast hit ever. Here's how their website describes the show... Serial will follow one story - a true story - over the course of a whole season. We'll follow the plot and characters wherever they take us and we won't know what happens at the end of the story until we get there, not long before you get there with us. Each week we'll bring you the latest chapter, so it's important to listen in order, starting with Episode 1. In typical fashion of other extraordinary storytelling podcasts (like my all-time favorite, now retired show, The Story with Dick Gordon), Serial has superior production elements, but mostly a compelling story. It's Baltimore, 1999. Hae Min Lee, a popular high-school senior, disappears after school one day. Six weeks later detectives arrest her classmate and ex-boyfriend, Adnan Syed, for her murder. He says he's innocent - though he can't exactly remember what he was doing on that January afternoon. But someone can. A classmate at Woodlawn High School says she knows where Adnan was. The trouble is, she's nowhere to be found. The case of this first season of Serial focuses on a single accuser named Jay. Jay tells police a story with vivid details about how Adnan murdered his ex-girlfriend, Hae. Without any DNA or other hard evidence, a jury quickly convicts him of first-degree murder. Is Jay telling the truth? What about the other testimony that came out during the trial. Sarah, the host of the show, reveals how so-called facts can be used and misused when accusations are made. Is Jay a false accuser? Adnan is in a Maryland maximum-security prison. There's not much he can do about it other than continue to proclaim his innocence. Well, there's actually quite a lot more he can do inside his own head. He can grow increasingly angry, bitter, resentful, and cynical. Who could blame him? Why Do People Falsely Accuse? It's ancient going back to the beginning. According to the Genesis record of the Old Testament, the first false accusation was the devil, disguised as a serpent, lying about God to Adam and Eve. God warned them to not eat of the tree in the midst of the Garden, the tree of knowledge of good and evil. God pronounced the punishment, "Thou shalt surely die." With the insertion of one word - "not" - the devil falsely accused God by telling them they would not die. Since then, the number of false accusations is beyond our ability to compute. Christians understand the biblical truth that Christ was crucified on the basis of false accusations. The Bible says it was for envy. In the Old Testament, the 9th commandment of the 10 is "Thou shalt not bear false witness against thy neighbor" Then why do people do it? I don't claim to be smart enough to know all the reasons, but I think we've all got quite a few good ideas based on our own experiences, the experiences of friends or family, and all the stories we've heard or read. Judas betrayed Christ for some money. That continues to be a big player for some I think. Greed and covetousness are major drivers for lots of people. It's manifested in divorce courtrooms all across the world I suppose. And like that sound clip from Serial, people can use kernels of truth mixed in with gobs of deceit to spin an accusation that will play to their favor. In an ugly divorce battle where the husband wants to hang onto more of his wealth and the wife wants to gain more of it...both can amplify the negative behaviors of the other. Dollars drive deceit. Finger-pointing isn't just child's play. Grown up's do it, too. All the stories we've seen on TV of the cellmate who enters a courtroom saying he heard a confession that never happened. He testifies against the defendant in exchange for a lighter sentence or some other benefit.

Join The West Lancashire Paranormal Society for this adventurous instalment of At Your Peril! 'Hi there everyone. It's Dick Gordon here. This'll be a slightly longer entry to the newsletter than usual, but I promise that it's important — And since Kirsty took the leap of making the West Lancashire Paranormal Society Newsletter paperless, I feel no remorse for the word count...' ***NAB YOURSELF A BOTTLE OF THE 'AT YOUR PERIL & 4160 TUESDAYS LIMITED EDITION PERFUME' HERE>>> www.indiegogo.com/projects/at-your-peril-perfume#/ Intro theme voiced by Oliver Britten.

What if you're the toxic one? As in kahit isipin mong ikaw lagi ang naaapi sa mga away nyo ng friend mo, paano kung ikaw naman pala ang nagdadala ng pait sa relasyon nyo? Awow, pait talaga? Haha! This week the Ka-MiMs brought it sa mga pasabog nilang sagot sa tanong na "Ano ang pinakasakin na nagawa mo sa isang kaibigan?" Di mo kaya, pramis! May kalatan ng nudes!

Best laid plans have a way of unraveling, and like the plot of this week's movie, we too had a plan at MFM that didn't include this movie. But when our plans fell apart, Daniel strongly suggested a go-to film for him. And even though this movie is almost 30 years old, one of the twins had never seen it. Find out what movie we were going to talk about, and also enjoy our conversation about Sneakers. Sneakers is rated PG-13 and was released September 11, 1992 The movie stars Robert Redford as Bishop, Dan Aykroyd as Mother, Sidney Poitier as Crease, David Strathairn as Whistler, River Phoenix as Carl, Timothy Busfield as Dick Gordon, Mary McDonnel as Liz, and Donal Logue as Dr. Gunter Janek. Hosts: Daniel Levain, Ian Sweetman, and Eric Sweetman. Subscribe thru: Apple Podcast Google Podcast Spotify Or your search for the show on your favorite podcasting software.

Come for the dick jokes, stay for the awesome conversation that happened. Find out about a different side of Sen. Dick Gordon, what made him have a passion in public service, his work ethic, his willingness to do the tough jobs, and even the last thing he watched on Netflix! --- DISCLAIMER: The views and opinions expressed by the podcast creators, hosts, and guests do not necessarily reflect the official policy and position of Podcast Network Asia. Any content provided by the people on the podcast are of their own opinion, and are not intended to malign any religion, ethnic group, club, organization, company, individual, or anyone or anything.

To start off our 6th Season, we will have Senator Dick Gordon to share the hustle behind the Philippine Red Cross. Sen. Gordon will share his early hustles that immersed him in business and eventually in public service. He will also share how he became a part of the Philippine Red Cross and how he has led them to what it is now and how they did a data-driven approach to combat Covid-19. Sen. Gordon will also share amazing advice about networking, leadership and management in this episode. This episode is brought to you by Xendit Philippines. Join their SME program here now: https://podlink.co/xenditph For show notes, go to hustleshare.com Hustleshare is powered by Podmetrics

We've done it before, let's do it again and ruin a classic! This time our sights are set on the Mighty Ducks. Although we are enjoying the reboot, Gordon Bombay and his Ducks are not exempt from our wraith and we will take him down this week in a very funny episode on the world today. For more Can You Confirm That? check out instagram, facebook and TikTok or go to cyctpod.com to get it all in one place! Thanks for listening! Time Codes: BTS V. Freddie Mercury (05:40) IDOL Update (09:11) Why White People? (27:29) Ruin A Classic - Mighty Ducks Edition (54:26)

Catch Senator and Chairman of Philippine Red Cross, Dick Gordon for another level of Kamote Thursday! Follow us on Twitter @boysnightout899 and @magic899

Hip-hopping his way through life with a big grin on his face is this weeks' guest - Mervin Jenkins, Senior Brand Ambassador at Nearpod! Join this podcast to hear about his special talents, some fun details about Flocabulary and Nearpod, and about his gift for bringing joy to learning and motivating others to be the best they can be! Mervin Jenkins (also known as Spectac) is a hip-hop artist who has worked with a Grammy-nominated producer and a host of other artists throughout his career in music. Mervin's service as an educator has been equally rewarding. He has worked as a middle school teacher, high school assistant principal, middle school principal, and central office administrator. He is currently the Strategic Planning/Brand Ambassador for Flocabulary by Nearpod. Mervin has served as the Eastern Region Assistant Director at AVID Center. Over the years Mervin has received numerous accolades for his work in education. He was awarded the Zeta Phi Beta Southeastern Regional Education Award twice, named Tar Heel of the Week in Raleigh's News & Observer, interviewed on NPR (The Story with Dick Gordon), and honored as Chatham County Schools Principal of the Year. In 2014 Mervin was invited to the White House to participate in a roundtable discussion on the education of Hispanic males in the United States. As a speaker, Mervin inspires students, their parents, and educators on the importance of student learning and its direct impact on our community. Mervin received his Bachelor of Arts in Art Education at Benedict College, and his Master of Education in Secondary Education Administration at Charleston Southern University. Currently, Mervin is pursuing an Educational Doctorate Degree in Education Leadership at Charleston Southern University, in Charleston, SC where he resides with his wife Chiffon.

Gretta Cohn is the founder and CEO of Transmitter Media. Gretta's experience runs the gamut of all things audio, from public radio and ringtones, to producing chart-topping podcasts. We discuss her time touring with the band Bright Eyes, being hired as the first production executive at Midroll Media and Earwolf, and starting her own podcast company with only $7,000 of savings. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com--EPISODE TRANSCRIPT:Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Gretta Cohn:I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. And when I say I saved money before starting the business, I saved $7,000. Chris Erwin:This week's episode features Gretta Cohn, the founder and CEO of Transmitter Media. Now, Gretta's experience runs the gamut of all things audio. From being a touring cellist with the band, Cursive, to teaching radio workshops at NYU, to working in audiobooks, ringtones, and most recently podcasts. And Gretta's done some groundbreaking work along the way like turning Freakonomics Radio into an omni channel media brand, launching the number one podcast show, Beautiful Stories from Anonymous People and helping build Howl, which eventually became part of Stitcher. But Gretta's career transformed in 2017 when she decided to do podcasting on her own terms. So with only $7000 of savings, Gretta founded Transmitter Media and quickly began producing premium podcasts for clients like, TED, Spotify, and Walmart. Today, Gretta is focused on scaling her Brooklyn based team and creating more, as she describes, beautiful things. Chris Erwin:Gretta's love for her craft and team is so genuine and her story is a great example of how sheer will and passion are the ultimate enablers. All right, let's get into it. Chris Erwin:Tell me a little bit about where you grew up. I believe that you grew up in New York City. Is that right? Gretta Cohn:Well, I grew up in the suburbs, so I grew up on Long Island. My mom is from Queens and my dad is from Brooklyn and there is a sort of mythology of their meeting. My mom's dad was a butcher in Queens and my dad would always tell us that they didn't have toothpaste growing up and he'd go over to my mom's house and just eat. Yeah, they moved out to Long Island after they got married. Chris Erwin:Nice. And what part of Long Island? Gretta Cohn:Initially I grew up on the eastern end in the town called Mount Sinai and then when I was 13 in a very traumatic move at that age we moved to Huntington, which was more like smack in the middle of the island. Chris Erwin:My cousins are from Huntington. That's where they grew up, but then I think they moved to Lloyd's Neck shortly after. Why was that move so traumatic at 13? Gretta Cohn:I think it's that really formative age where you are sort of coming into yourself as a human, as a teenager and I remember writing my name on the wall in the closet because I wanted to leave my mark on that particular house that we grew up in. But then we moved and I made new friends and it was fine. Chris Erwin:Everything is scary at that age. It's like, "Oh, I have my friends and if I move to a new high school or middle school, I'll never have the same friends again." Gretta Cohn:My best friend at the time, Alessandra, never to be talked to or seen again. Chris Erwin:What was the household like growing up? Was there interesting audio from your parents? I mean, I think you mentioned, remind me, your father was a butcher and your mother was... Gretta Cohn:No, no. Those are my grandparents. Chris Erwin:Those are your grandparents. Got it. Gretta Cohn:Yeah. No. My parents were both teachers in the education system. My dad was a teacher his whole career life. He taught shop and psychology classes and computer classes. And my mom ended up being a superintendent of the school district on Long Island. She got her start as a Phys Ed teacher and then became an English teacher and worked her way up to superintendent. The sort of interest in audio they instilled in me and my two brothers extremely early. We all started learning to play string instruments at the age of three through the Suzuki method. Chris Erwin:The Suzuki method? Gretta Cohn:Yeah. Which is like an ear training style of learning music. So you essentially at three years old, you cannot possibly understand how to physically play an instrument and I remember a lot of time spent in those early group lessons just hugging the cello and singing this song, I love my cello very much, I play it every day and crawling up and down the bow with spider fingers, that's what they called it because your fingers kind of looked like spiders crawling up and down the bow and we all started playing string instruments at that age. I played cello and then the brother who came after me played violin, and the brother who came after him also played cello. Chris Erwin:Wow. And did you parents play instruments as well, string instruments? Gretta Cohn:No. My dad loves to say he can play the radio. Chris Erwin:I respect that. Gretta Cohn:I think they are educators, they are really invested in the full education of a person and so I think that they thought it was a good teaching discipline and it certainly required a kind of discipline. I can recall really fighting against practicing because I had to practice probably every day and I would rebel and not want to do it, but it was not really an option and I'm glad that ultimately I was pressed to continue to play because playing music has played such a huge part of my life. Chris Erwin:Clearly. It led you, which we'll get to, into founding a podcast production company and network and so much more. So very big impact. But, I get it. I began playing the alto saxophone in fourth grade and my twin brother was playing the clarinet and it was lessons with Mr. Slonum every week, an hour of practice every day and it was, when you're putting it on top of sports and homework and academics, it's a lot and it's intense and there's moments where you really don't want to do it and it's not fun and then there's moments where you're very thankful for it. And I think a lot of the more thankful moments came later in my life, but if you can get some of those early on, it's meaningful. When you first started playing, did you really enjoy it or was it just like, uh this is what I'm just supposed to do? Gretta Cohn:I remember enjoying it. I remember in particular being able to do little recitals every so often and I know there are photographs of myself in recital that I've seen even recently and there is such a joy in that and I think that showing off something that you've done and your family claps for you, it's a good job. Ultimately, what it feels like to play in a group, in an ensemble, it's pretty magical. I played in orchestras starting in grade school all the way up through college and there is something really amazing about the collective and your part and you can't mess up because it's glaringly obvious if you're the one out of the section of 12 cellists whose got their bow going the wrong direction or the wrong note playing. But it's also really beautiful to play in a group like that. Chris Erwin:Yeah. It's a special team sport, right? You rely on other people and people rely on you. When it comes together, it's an absolutely beautiful event, for you and the audience. Gretta Cohn:Yeah. I also played soccer growing up, speaking of team sports. Chris Erwin:Okay. What position? Gretta Cohn:I was defense. They would enlist me to run around and shadow the most powerful player on the other team. I don't know why, but I remember that. Chris Erwin:I was very similar. I started out as a recreation all-star like a forward and then got moved to right fullback, which is defense. That was my soccer career. All right. So interesting. So yeah, speaking of studying music, I think that when you went to university, you almost went to study music at a conservatory but you ended up going to Brown instead. What were you thinking, because were you going down a path where it's like, "I want to be in audio, I want to create music." What was your head space there as you started to go through advanced education, beginnings of your career? Gretta Cohn:I remember collecting fliers for conservatories. I was interested in conservatory, I think though that as I began to really think about what that would mean, I don't know that I was thinking really broadly, like oh... No one at 17 or whatever really has a full picture of what those choices ultimately mean but I'm glad that I didn't go to music school. I was always the worst player in the best section. So I remember I was in the New York Youth Symphony and I was definitely not the best player in that section, but it was really hard to get in. One summer I went and studied at the Tanglewood Institute in Boston, which is, again, extremely competitive and hard to get into but I was definitely not the best player there. Gretta Cohn:And I think that thinking about what it would mean to devote oneself entirely to that, I had other interests. I wasn't so completely focused on being a performer that it didn't ultimately feel like it would make a lot of sense because I wanted to study history, I wanted... And obviously, you go to conservatory, you have a well-rounded education ultimately, I would imagine, but it's not where I think I ultimately wanted to go. That was not the direction I ultimately wanted to go. Chris Erwin:Yeah. It's a really big commitment going from good to great, but I mean, you are great. You are getting into these elite orchestras but to be the first chair, that's a level of dedication practice that's really tough. It's funny, I actually read a David Foster Wallace article about the sport of tennis and he played and he was very good and I think he could have even gone pro, but he's like, "I'm good, I put in enough hours and I have fun with it, but for me to go to the next level..." He's like, "It's not fun to me and I don't want to do that." It's not for him. So you make a decision and you go to Brown. What's your study focus at Brown? Gretta Cohn:I ultimately was in the American Studies Department, but I had a special sort of crossover with the music department so I took a lot of music classes, I took a lot of American Studies classes which is basically like cultural history, social history, history through the lens of various social movements or pop culture, which I think is really fascinating and I wound everything together so that my senior thesis was about cover songs and the history of sort of copying and the idea of creating various versions of any original work and the sort of cultural history and critical theory lens of it, but also just I selected three songs and I traced their history over time from a performance perspective but also from like, how does this song fit into the narrative of music history? Chris Erwin:Do you remember the three songs? Gretta Cohn:I think I did Twist and Shout. Chris Erwin:Okay. Gretta Cohn:I Shall Be Released and I can't remember the third one. But I had a lot of fun writing it and I really liked the bridging between the music department and the American Studies department. And strangely, there are so many journalists who came up through American Studies. There are several producers on my staff who were American Studies students in college. I think it just gives you this permission to think about story telling in the world from just this very unique cultural vantage points. Chris Erwin:Did you have a certain expectation where you had an idea of what that story was going to be over time or were you surprised and as you saw how the narrative played out with the original song and recording and production and then the covers, anything that stands out of like, "Oh, I did not expect this, but I found this very fascinating."? Gretta Cohn:I don't really remember at this point. Chris Erwin:Sorry for putting you on the spot, it's such a long time ago. Gretta Cohn:The thing was like more than 100 pages and it's probably a door stopper now at my parents house. I remember that I put a big picture of a mushroom on the last page. John Cage wrote a lot about mushrooms and so I wove some of his work into the thesis but this idea that the mushroom takes the dirt and crap and stuff that's on the forest floor and turns it into this organic material, the mushroom. So yeah, I don't remember the specifics. Chris Erwin:Yeah, no. All good. My thesis was on the Banana Wars and that is... It's not even worthy of being a door stopper. That's just straight to the trash. But I did, for a music class, I think I did break down a song by the Sex Pistols. Gretta Cohn:Cool. Chris Erwin:I can't remember specifically which one, but I think I dove deep into the lyrics and I think I was pretty disappointed. I expected to find more meaning and have more fun with it, and I think it was maybe my young mind, I couldn't go deeper than I thought I could. Anyway... So fast forward to 2001 and as I was going through your bio, this really stood out and it hits close to home. You become a cellist for some alternative rock bands including Cursive, The Faint, and Bright Eyes. And I just remember The Faint, I think a song from 2008, The Geeks Were Right. I remember listening to that shortly after college. So tell me, what was that transition going from university to then moving, I think you moved to Omaha out of New York to play in these rock bands? Gretta Cohn:So when I was in college, I continued to play in the school orchestra, but I also met some friends who became collaborators and we would just improvise in the lounge like, bass drums, guitar and cello. And that was really freeing for me. Growing up on Long Island, I had such easy access to New York City and for whatever reason, I was really given a lot of freedom to... I would take the Long Island Railroad into Manhattan and go to concerts all through high school, like rock concerts. Chris Erwin:What was some of your earliest concert memories? Gretta Cohn:Purposely getting to an Afghan Whigs show and planting myself in the front row because I wanted to be as close as possible to the stage. So I used to go to concerts all the time and I was really, really interested in... I wasn't only a person who thought about classical music at all and so I met this group of people and formed this little group together and so I was playing music in college, eventually joining a band mostly with locals in Providence and we became the opening act for a lot of bands that were coming through. Chris Erwin:And what type of music were you playing, Gretta? Gretta Cohn:It was arty rock. Chris Erwin:Arty rock. Okay. Gretta Cohn:Yeah. Some of it was instrumental, but then some of it was like pop. I think one of the bands that I was in was called The Beauty Industry and it was probably a little bit reminiscent of Built to Spill and The Magnetic Fields and a little bit like Poppy. So in that band we would serve as the opening act for a lot of artists that were coming through and through that I was able to meet the folks from Saddle Creek from Omaha, Nebraska. And I didn't know that I made an impression on them, but I did and after I graduated I moved to New York. I didn't really know exactly where I was headed. I got a job working in the development office at Carnegie Hall and I didn't love it. We had to wear suits. And one day the folks from Omaha called my parents home phone and left a message and asked if I would come out and play on a record with them and I did. Chris Erwin:When you got that message, were you ecstatic, were you super excited or were you just confused, like, "Hey, is this real? What's going on here?" Gretta Cohn:Yeah. I think I was like, "Huh, well, that's interesting." Like, "I didn't expect this." So Cursive is the group that invited me out to record. Just sort of like come out and record on our album. And I didn't actually know Cursive. I had met Bright Eyes and Lullaby for the Working Class when I was at Brown, but I hadn't met Cursive and my best friend, who is still one of my best friends was a Cursive fan and dumped all of their CDs and seven inches in my lap and was like, "You need to listen to them, they are so good." So I did and I sort of gave myself a little Cursive education and then I started to get really excited because I felt like there was a lot of interesting potential. Yeah. Gretta Cohn:Moving out there was not an easy decision. It was very unknown for me. I love New York City and I always imagined myself here and I had never been to the Midwest so I didn't know what my expectations were and I didn't... Also at that time Cursive was a fairly well-known band but it wasn't understood that I would move out there and that would be my job, right? I was moving out there to join this community and play in Cursive and do Cursive stuff, go on tour, record records, but at that point there was no promise like, "Oh, I'm going to live off of this." And so I went to a temp agency and I did paperwork in an accountant's office and- Chris Erwin:While also performing with Cursive? Gretta Cohn:Yeah. Yeah. I will also say though, after the first year, things really took off after The Ugly Organ and I would say at that point I was no longer working in the temp office and we were going on long tours and when I came home in between stretches on tour, I was recovering from tour because it's quite exhausting and working on the next thing with the bands. Chris Erwin:Were you touring around nationally? Any international touring? Gretta Cohn:Yeah. National and international. We went all over the States, Canada and then European tour is like often... Cursive was very big in Germany so we would spend a lot of time in Germany, Scandinavia. We went to Japan once. Chris Erwin:What an incredible post university experience! Gretta Cohn:It really, really was incredible. Chris Erwin:Playing music because of a skill that you formed very early on and then working in New York at Carnegie Hall and a job that you weren't too excited about and then you just get this serendipitous phone call. And you started listening to Cursive records in seven inches and you're getting more and more excited and all of a sudden you're traveling the world. That's like a dream scenario. Gretta Cohn:Yeah. It was pretty dreamy. And I think I recognized at the time. I mean, those first tours, we were sleeping on... I had my sleeping bag and we would be sleeping on hardwood floors, end up in like a row and someone's apartment in like Arlington. And I remember some of those first tours internationally, like in Germany, you would play the show and then everyone would leave and they would shut the lights off and we would just sleep on the stage. And in the morning the promoter, like the booker would come back and they would have bread and cheese and fruit and coffee. And it was just this beautiful... But we were sleeping on the stage. Chris Erwin:I mean, you're all doing it together. So it was cool. Right. You just were a crew. Gretta Cohn:Yeah, yeah. It was great. I loved it. I really, really loved it. Chris Erwin:I look at your work timeline between 2001 to 2010, which includes, you're a touring international artist, but then you do a lot of other things in audio. Like you study with Rob Rosenthal at the Salt Institute, do some time in Studio 360, and then you go to radio and then audio books. So what are the next few years? How does this audio adventure start to transform for you? Gretta Cohn:While I was in Cursive, there were other parts of me that I felt needed feeding and so I started writing for the local alternative weekly in Omaha. And I was doing like book reviews and reviewing art shows and doing little pieces, which sort of opened up to me, this understanding that journalism was something that I was really interested in. And while I was still essentially based in Omaha and still, essentially based out of Saddle Creek, I came back to New York for a few months and did an internship at The Village Voice because I just really wanted to sort of start exploring these paths of what would potentially come next. I didn't necessarily think that I was meant to stay in Omaha like for the rest of my life. When I first moved out there, I thought, "Oh, I'll give it a few years. See how it goes and then probably come back home to New York." Gretta Cohn:And then things really took off and so I didn't want to leave. And I was really having a great time and loved it and loved everything that I was doing. And I think that at the time that chapter was coming to a close, it was sort of like naturally coming to a close and I wasn't entirely sure what I wanted to do next. I was interested in journalism, I was interested obviously in... still thinking about music and audio although I think I needed a break from music after that time. Like when you're so intensively working on something like that, you just need a minute to let everything kind of settle. Chris Erwin:Yeah. It's all encompassing. Right. You're just living, breathing, eating music and the band. It's a lot. Gretta Cohn:Yeah. So I took a couple of years and started to figure it out. Actually, something that's not on your list is I worked at a ringtone company for a bit. Chris Erwin:It is audio based. So I'm not surprised. So yeah, tell me about that. Gretta Cohn:It was just a job that I got. Actually, looking back now, I think that it was a company that was founded by two classical musicians. They mostly had contracts with major record labels and I remember turning Sean Paul's Temperature into a ringtone in particular. It was just like chopping things into little eight seconds and looping them and mastering them and- Chris Erwin:Were you doing the technical work as well? Gretta Cohn:Not really, you spend time in the studio and so you learn and you pick up things. I wasn't recording the band, but that was the first time that I got my own pro tools set up and so I had my own pro tool setup, like was using it for my own little projects at home, but I was not technically involved with the making of any of the records that was on now, except for playing on them. Chris Erwin:Yeah, you were dabbling in pro tools then pretty early on. Gretta Cohn:Yeah, yeah. I had the original Mbox, which is like this big plastic, weird alien looking object with just like a couple of little knobs on it. I finally got rid of it a couple of years ago. I held onto it for a long time and now you don't even need it. Chris Erwin:So you're dabbling and then I know that you spend time as a producer at The Story with Dick Gordon, North Carolina, and then you went to audio books. Is that when things started to take shape for you of knowing kind of what you wanted to do? Gretta Cohn:I think as soon as I went to Salt to study with Rob Rosenthal is when I knew that that's what I wanted to do. I took a few years after Cursive to kind of reset a little bit and then I started working at the ringtone company and began to have conversations with people about where all my interests collided. Like I loved working in sound, storytelling and journalism were really important to me. I don't think at that point that... There was a whole lot that I was exposed to apart from NPR, This American Life and Studio 360 were sort of the major outlets for audio storytelling that I understood and spent time with. And I just remember having a meal with someone who I don't recall his name, but he's done a lot of illustrations for This American Life and public radio outlets and he was like, "There's this place, it's called salt. You can learn how to do this there." And so I just decided that I was going to step down this path. Right. Chris Erwin:Yeah. And Salt is based in Maine, is that right? Gretta Cohn:Yeah. So I moved to Maine for six months. I was very excited. I got a merit scholarship to go there. Chris Erwin:Oh wow. Gretta Cohn:Yeah, and I basically... There's so many fundamentals that I learned there that I use every single day now still. I think Rob Rosenthal is absolutely brilliant and he has trained so many radio producers. It's insane. Chris Erwin:Of all the learnings from Rob, just like what's one that comes to mind quickly that you use everyday? Gretta Cohn:I don't know that this is one I use every day, but it's one that's really stuck with me, is he really counseled to be really mindful when thinking about adding music to a story. He used the phrase, emotional fascism. Essentially, if you need to rely on the music to tell the listener how to feel, then you haven't done your job in sort of crafting a good story. So like the bones of the story, like the structure, the content, the sort of stakes intention and the character you've chosen, like all of that have to clear a certain hurdle and then you can start thinking about adding music, but if you're relying on the music to sort of create tension or drama or emotion, then you've kind of missed something. Chris Erwin:Yeah. That's very interesting. What a great insight! I like that. Emotional fascism. Gretta Cohn:I'll never forget. Chris Erwin:So after the Salt Institute, what's next? Gretta Cohn:I got an internship at WNYC at Studio 360. At that time the internship system at New York Public Radio was like largely unpaid. I think I got $12 a day. So I interned I think three or four days a week and then I had like two other jobs. Chris Erwin:Just to make ends meet, to make it work. Gretta Cohn:Yeah. I worked at a coffee shop, like most mornings. And then I worked at a Pilates studio many afternoons and on the weekends. So it was like a lot, I was really running at full steam, but I really enjoyed the internship there. And then that was my first real glimpse into what it was like to work in a team to make impactful audio storytelling and I learned a lot there too. The team there was really amazing. Yeah. So Studio 360 was fantastic. And then a friend of mine had found out about this gig at The Story with Dick Gordon. It was a short term contract producer role, like filling in for someone who was out on leave. And I got the job and I moved down to Durham, North Carolina, and found an apartment, brought my cat and worked on that show for a few months, which I think was a pretty crucial experience to have had, which helped open the door into WNYC. Chris Erwin:Why's that? Gretta Cohn:So this was in like 2008, 9 and there weren't like a whole lot of opportunities in the audio storytelling space. Like your major opportunities were at public radio stations and public radio stations were highly competitive. It didn't have a lot of turnover. They understood that they were the only game in town if this was the career path that you were interested in going down. So having had a job at a radio station on staff on a show was such a huge opportunity. I don't know that I was like chomping at the bit to leave New York or move to Carolina, although I loved it there. And I had friends who lived there that I knew from the Saddle Creek community. So it was really great. I moved down there and I didn't have to... I can't recall ever feeling lonely. Right. Like I immediately had this community of people, which was amazing, but that gig was only three months. Gretta Cohn:And so I came back to New York and basically spent the next couple of years banging on the door to get back into WNYC, which is when I went to the audio books company where quite a few radio producers worked. Like that's how I found out about it. There were folks who had passed through Studio 360 or elsewhere. And my boss at the audio books company is David Markowitz, who is now currently working in the podcasting department at Netflix. And he previously was at Pushkin and at Headspace and he... So he and I, although our paths crossed at that moment, because our paths have continued to cross over and over again since that time working together with the audio books company. Audio books wasn't my passion, but while I was there I got the idea to pitch the podcast to the audio books company, which they agreed to let me do. And so I had this outlet to just do a little bit of experimenting and to grow some skills and also have just like an outlet to doing this kind of work that I wanted to be doing. Chris Erwin:Had you ever pitched a project or an idea before to any place that you worked at? Gretta Cohn:I pitched stories to Studio 360, but to pitch an idea for something that had not existed before, no. Chris Erwin:It becomes, I believe, The Modern Scholar podcast, is that right? Gretta Cohn:Yeah. You've done like a really deep research. Chris Erwin:Look, it helps to tell your story. Right. So you pitch, and then you get the green light, which must feel validating. It's like, okay, this is a good idea, but now it's got to be more than a pitch, you had to execute. Was that intimidating or were you like, "No, I'm ready to go I got it." Gretta Cohn:I was ready to go. They had an audio book series called The Modern Scholar. Professors would come in and record like 10 hours worth of like Italian history. And so what I did was just have a one hour interview with the professor who was the author of this series and talk about their work, go into detail on something really specific. I will say at that time that like I applied for a mentorship with AIR, the Association of Independence Radio, they gave me a mentor and I had like a few sessions with him and it was great. Like I had someone... I had an editor, right. I wasn't totally on my own kind of like muscling through. And so he really sort of helped refine the ideas for that show and that was a great help. So I'm lucky that I was able to get that. Chris Erwin:What I'm really hearing Gretta is that you moved around a lot and participated in and developed all these different music and audio communities around the US and even the world from like Omaha and international touring and Scandinavia and Europe, and then the Salt and Maine and North Carolina and New York and more, and I'm sure, as you said, with David Markowitz, that these relationships are now serving you in your current business. So it feels like that was like a really good investment of your time where the networking was great, but you also learned a lot and were exposed to a lot of different thinking and ideas. Is that right? Gretta Cohn:Absolutely. Definitely. Yeah. Chris Erwin:After dabbling around a bit for the first decade of the 2000s, you then go to WNYC and you're there for around six years, I think 2008 to 2014. And you work on some cool projects. You're the associate producer at Freakonomics and you also work on Soundcheck. So tell me about what made you commit to WNYC and what were you working on when you first got there? Gretta Cohn:At the time there weren't a lot of options for people doing this work. And WNYC obviously is an incredible place where really amazing work is done, really talented people. It basically was like the game in town, right? Like there weren't a lot of other places where you could do audio storytelling work in this way. There was a pivotal moment that I think could have gone in a different direction, but I had applied for a job at StoryCorps and I applied for the job at Soundcheck. Chris Erwin:What is StoryCorps? Gretta Cohn:They have a story every Friday on NPR that's like a little three minute edited story and it's usually like two people in conversation with each other. It's highly personal. And they're very well known for these human connection stories. It's I think influenced in part by oral history and anthropology, but it's basically this intimate storytelling. And I did not get that job, although I was a runner up and the person who did get the job is now one of my closest friends. But at the same time was an applicant for Soundcheck and I did get that job. And I think it was... That was the right path for me because I have such a passion for music. Right. My background kind of really led me to have an understanding of how to tell those stories. Chris Erwin:What is the Soundcheck format? Gretta Cohn:It changed over time. But when I joined Soundcheck, it was a live daily show about music and really open, like wide open as far as what it covered. So in any given episode, you could have like Yoko Ono there for an interview, you could have the author of a book about musicals from the 1920s, and then you could have like a live performance from Parquet Courts. So it was really wide ranging and varied and super interesting. And there's so much about working on a daily show that's I think extremely crucial to building up chops as a producer because every single day you have a brand new blank slate, you have to work extremely quickly and efficiently. Working in the live setting can create so much pressure because not only are you keeping to a clock, like the show went from like 2:01 to like 2:50 every day, and there had to be certain breaks and you have an engineer and you need the music to cue in a certain place. Gretta Cohn:And so you're like, "Cue the music." And you're whispering to the host like, "Move on to the next question." You're like this master puppeteer with all these marionettes and it's pretty wild. It's really fun, super stressful. You go off stage and it's like- Chris Erwin:It sounds stressful. Gretta Cohn:You can't fix it. You just have to move on and you learn a lot. Chris Erwin:It feels like something, you do that for maybe a couple of years or a few years and then it's like, ah you need a break from that. It's amazing that people who work in like live video or live radio for decades, like kudos to the stamina that they build up. Gretta Cohn:And that's exactly what happened is I needed a break from it. And that's when I went to Freakonomics. Chris Erwin:Got it. Before we go into Freakonomics, you also helped create Soundcheck into an omni-channel media brand where you were launching video and live events and interactive series. Was that something that had been happening in the audio industry or were you kind of setting a new precedent? Gretta Cohn:Our team was tapped to reinvent Soundcheck. So it had been this live daily show for quite some time and I think that WNYC wanted to reshape it for a variety of reasons. So we were sort of tasked, like we pulled the show off the air and kind of went through this like sprint of re-imagining, what the show could be, how it would sound, what it would do. And actually, I remember that I pitched this video series that was a lot of fun. I can't remember the name of it now, but we worked with a local elementary school and we would have three kids sitting behind desks and we would play them clips from pop songs- Chris Erwin:Whoa. Gretta Cohn:... and they would review them and- Chris Erwin:That's a really cool idea. Gretta Cohn:... it was awesome. It was so much fun. We did a lot of live performances and I started producing sort of like more highly produced segments and storytelling for Soundcheck at that time, because there was more space to try and figure that out. Ultimately, what it turned into was like a daily delivery of a show that I think ultimately resembled the old show in many ways, but it was not live anymore. And there were all these other tasks. I also created a first lesson type series for Soundcheck at that time where we would like stream a new album before it came out and I would write a little review. It was really fun. When we pulled the show off the air and we were tasked with re-imagining it was like a sandbox that you just kind of could plan, which was great. Chris Erwin:It's a wide open canvas that you can paint to how you desire. I get that why you were burnt out after that. So then you change it up and you become an associate producer at Freakonomics and you work with the fame, Stephen Dubner and Steven Levitt. How has that experience? Gretta Cohn:It was great. It was challenging. I think that show has incredibly high standards and there's a particular kind of brain that I think works extremely well at that show. At the time, there were two of us who were the producers of the show, myself, who has this background in music and in production. And then the other producer was an economist who had been freshly graduated from economics school. And so we were this pair and I think what ultimately happened was that where I shown where these like human stories and where he shown was like distilling econ papers into sort of understandable stories. And so I think the two of us together really complimented each other. One of my favorite episodes that I worked on was about the Nathan's hotdog contest and one of the sort of like champs who had come up with a particular system for how to win- Chris Erwin:Dunking them in water and all that stuff. Yeah. I remember watching some of those segments online. In a minute they put back like 47 hotdogs. It was something crazy. Gretta Cohn:Yeah, it's wild. Chris Erwin:After Freakonomics, you decided to depart for Midroll and Earwolf. What was the impetus for that? Gretta Cohn:My time at Freakonomics was sort of like naturally coming to a close. I think that while my strength was in this sort of human sort of storytelling, I think the show needed someone who had a little bit more of that like econ background. And so I started to look around the station at WNYC, of other places where I could land, right? Like I'd moved from Soundcheck to Freakonomics, like what would be the next place for me to go? And I couldn't find it. I spent a little bit of time in the newsroom helping to look for a host for a new health podcast and I had conversations with people around the station about various other shows. I think I talked to the folks on the media and this producer, Emily Botein, who ultimately founded the Alec Baldwin podcast and a host of other really great shows there, but it didn't seem like there was space or a role that really made sense for me as far as like the next step is concerned. Gretta Cohn:At that time, Erik Diehn who's now the CEO of the Stitcher empire was in the finance office, I think at WNYC and he left to go to Midroll/Earwolf. Chris Erwin:I didn't realize he was also WNYC. Bannon was also WNYC who's now the chief content officer over there? Gretta Cohn:Mm-hmm (affirmative). Chris Erwin:Wow. It was a feeder to that company. Gretta Cohn:Yeah. So Erik Diehn left WNYC and I remember the note that went around, he's going to this company, Earwolf/Midroll. And I was like, kind of filed that away. And then it was probably a few months later that they put a position, they were hiring for a producer. And I sort of leapt at the opportunity. I thought that the shows on Earwolf were awesome. I had not worked really in comedy. Although I think that there's so much crossover in Soundcheck. We really had a lot of license to have basically like whoever on the show, like I booked comedians, I booked authors. Like I booked anyone who had a passion to talk about music, which is like 90% of the world. And so I think that that was really of interest to them. And I had a couple of conversations with Erik and the job was mine. I mean, I went through- Chris Erwin:You make it sound very easy. Gretta Cohn:... a proper vetting and interview process. And there were other candidates, but they gave it to me. And I was really, really excited because I think I was ready for a fresh start and I was ready for something new, something a little bit unknown. I think that I tend to find... Typically, I think if you look over the course of my life, like every few years, I'm like, "Okay, what's the next thing?" And I think that I still feel that way except now I have this entity of Transmitter in which to keep iterating and playing, but I was just ready for the next thing. And it was at that time, a really small company, I was the first New York based employee, like Eric was living in New Jersey. So it doesn't count as a New York employee. There was no office. Chris Erwin:I remember that Jeff Ullrich was the founder and it was bootstrap, didn't raise any venture capital and started I think in the early 2000s, if I remember correctly. Is that right? Gretta Cohn:I don't know the dates, but that sounds right. Chris Erwin:Okay. A little context for the listeners. And Earwolf is a comedy podcast network. So there's a slate of comedy shows and Midroll was the advertising arm of the business that would connect advertisers with the podcasters. But no, please continue. So you're the first New York hire. Gretta Cohn:Yeah. Which was really exciting to me. I was the first producer hired by the company. They had a few really amazing audio engineers out in LA who ran the recordings and they did editing, but there had never been a producer on staff. So it was really this like wide open field. And Jeff at that time, I think had taken a step back from the company, but the moment that I was brought in is when the idea for Howl came into the picture and Howl was a membership subscription-based app that has now turned into Stitcher and Stitcher Premium, it was folded in, into Stitcher and Stitcher Premium. But at the time there was like this real push to create a subscription-based app with like a ton of new material. And one of my first jobs was to work extremely closely with Jeff to figure out what was going to be on this app, who were we going to hire to make material? What producers, what comedians, what actors? There was an enormous spreadsheet, like one of the most enormous spreadsheets that I've ever spent time with. Gretta Cohn:So that was my first task and alongside, which was to sort of from a producer's perspective look at this later shows on Earwolf and start to think about what would a producer bring to the network? What would a producer bring to the hosts, to the way that things were made, to new ideas to bring to the network? And so those two things were sort of happening concurrently. Chris Erwin:The producer role was not defined. You're the first producer there. So it's you coming in saying, "Here's how I can enhance the slate. Here's how I can enhance the content strategy of where we're headed concurrently with we're launching Howl, which needs a lot of content, both from partner podcasters and probably owned and operated and then filling..." So creating a new slate, that's going to fill that. That's going to make people want to buy the membership product or subscription product, which are big questions that Spotify and Netflix and the biggest subscription platforms in the world have huge teams to figure out. And it's like you and Jeff, and maybe a couple more people? Gretta Cohn:There was one developer. Chris Erwin:Wow. Gretta Cohn:It was intense. It was a lot of work. I remember because at that time too, I was the only New York based person. Eric was in New Jersey. I think Lex Friedman came along. He was either already there or came along shortly thereafter, also based in New Jersey. Chris Erwin:And Lex was running sales? Gretta Cohn:Yes. And he's now with ART19, but there was no office. I was working from my kitchen table, much like I do now. It was great. I think what really excited me was like the open field of really sort of figuring out what everything was going to be and it was like off to the races. Chris Erwin:So I actually reached out to a few people that we mutually know to just get like, oh, what are some stories I can have Gretta talk about from the early Midroll/Earwolf days. So I reached out to Adam Sachs who was also on this podcast earlier. He's a childhood friend of mine that was also the CEO of the company when it sold the scripts, as well as Chris Bannon, who I consider one of the most like delightful humans on the planet. I think he was the chief content officer while you were there and he still is now under Eric as part of this new Stitcher Midroll combined empire. And what Chris said is that, like you mentioned Gretta, no office for the first six months and that you were taking meetings, I think in sound booths as well. And that when you finally did get an office, it was so small that you were taking turns sitting down. Gretta Cohn:Yeah. Well, we put our own furniture together. I learned so much from my years at Earwolf that have completely guided and shaped a lot of how Transmitter kind of came into being. Yeah, we put all of our furniture together ourselves in this first office. Chris Erwin:That's good training for you launching Transmitter where it's lean budgets, you're funding from your savings. You probably had to set up your own furniture yourself too. So that DIY attitude persists. Gretta Cohn:Yeah, yeah. And it was exciting. Whereas a place like WNYC is this like well oiled machine, it's also like a big ship that in order to turn 30 people have to be sort of moving things around and like, is the sky clear? There are just like so many little tiny steps that have to be taken to make a decision. Whereas what working at that early stage at Earwolf meant was like you can just make decisions, you just do it. Eric and I went around to see like five different offices. We decided together, "Oh, let's take this one on Eighth Avenue." This is the furniture. All right, let's put it together. I remember walking into the office when the furniture was first delivered and it was extremely dusty and we were wearing dust masks and trying to figure out where's the studio going to go? And it was just really exciting. It's really exciting to sort of pave your way and build something from the ground up. Chris Erwin:I like what you're saying too, is that you can just get things done very quickly. And that's actually one of the things that Bannon brought up about working with you is you guys launched good shows I think in just a matter of a few months or less, like Bitch, Sash and Beautiful Stories from Anonymous People, which was a number one hit on iTunes. And that now making shows like that, if you're at a bigger company with all the bureaucracy and the approvals can take over a year, but you guys were getting stuff done fast, there was no alternative choice. Gretta Cohn:Yeah, we were working very quickly. Chris Erwin:So I'm curious to hear like Beautiful Stories from Anonymous People. That's like an iTunes topper. Was that the first big podcast hit that you had in your career? Gretta Cohn:I would say so. Yeah. I'm trying to remember what if anything came ahead of it, but I'm fairly certain that some of my first meetings after joining the team at Earwolf were with Chris Gethard and working with him on sort of early prototypes of Beautiful Stories from Anonymous People. And he's a remarkable person. He's a brilliant comedian. He's such a good human being. He's an amazing collaborator. And yeah, it was the two of us for a while just, I think the first call that we took, which was sort of just the prototype, the pilot for the show. We're like, "We don't know what's going to happen. Is anyone going to call?" And yeah, I mean, it was really awesome working on that show. And also it was such a departure from the kinds of projects that I had worked on previously, which were extremely buttoned up like very highly produced in the sense that every single step that you took in the process was regimented, right? Like making a Freakonomics episode, making an hour of Soundcheck, thinking about that live daily experience. Gretta Cohn:Like you can't have a minute on the clock that's not accounted for in making those things. And here's a show where we just open a phone line and see what happens for an hour. And it's so freeing to be sort of separated from that regimentation and working with Chris Gethard, I think taught me that you can make something that's really compelling and that's really good. And it was highly produced. Like a lot of thought went into it. There's a lot of post-production, but it didn't need to be the kind of thing where like every single minute of that hour was a line on a spreadsheet. And I love that show. I think that we're all like voyeurs of other people's experiences. Right. And I think it's super interesting the way that people are willing to call and sort of like bare their souls to Chris and working on that show was fantastic. Gretta Cohn:And it was really gratifying and really rewarding when we realized that people were paying attention and they were going to listen. And for that to be one of the first projects of my tenure at Earwolf was great. It was great. Chris Erwin:That's awesome. What a cool story! Bannon even mentioned you work on, I think Casey Holford's Heaven's Gate, which is now an HBO Max series. I think that just came out this week or something, some big projects. All right. So look, in 2015, Midroll/Earwolf sells to Scripps, EW Scripps. Then I think in 2017 is when you start Transmitter Media. I'm curious to hear that after this fun sprint at Midroll and the sale and launching the shows and launching Howl and Wolfpop and all the things, what got you thinking about becoming a founder, which is a very different experience than what you had done for the first 10, 15 years of your career? Gretta Cohn:So after the sale, I think that Adam Sachs kind of offered me the opportunity to reshape my role a little bit. So I had been overseeing the Earwolf shows, developing and producing brand new shows and Howl was in the rear view at that point for me, I believe. I think this is like a classic situation. They're like, "We're going to split your job into two, which half do you want?" And I was like, "This is great." Because it had been a lot to be developing new shows, to have this sort of slate of shows at Earwolf requiring my attention. And I picked the path of new development and that's when they went out and found someone to executive produce the Earwolf network. And in my new role, I needed to build a team and a division. Gretta Cohn:So I had to hire really quickly about six producers to form a team. And there wasn't really a human resources and so it really fell on me to read every application that came in and kind of vet all of the candidates and begin that process of selecting who to talk to. And I probably spent about six months just interviewing. I think that I learned a lot from that process and I think it developed in me like a little bit of an eye for how to spot talent and people that I want to work with, but it also was like supremely exhausting. And at the same time, I think that the company was in a real state of renewal and flux and change following the sale to Scripps, which I think is probably common in any situation where a company is acquired by a company that has a different POV, like maybe doesn't understand podcasting, has its own goals that are separate from what the goals had been at Earwolf. Gretta Cohn:So there were just a lot of strategy shifts that I did my best to kind of keep up with, but ultimately found myself thinking like, "Well, if I were setting the strategy, what would I do? If I were re-imagining sort of the direction that this company was going in, what would I do?" And I looked around and Pineapple Street had been around for a few months, maybe six months. And I went and had some chats with them about sort of like what they were doing and what they wanted to do. And I went over and had a chat with the folks at Gimlet thinking like maybe there would be a place for me there, but ultimately out of my conversations with all of those people, was this kind of clarifying feeling that there was something that I wanted to do and that I wanted to do it differently. I would say it was definitely like burnout that kind of led me to thinking about what I wanted to do next, because it felt like where I was at was like a little bit unsustainable. It was scary. Gretta Cohn:I definitely spent a month sort of quaking with fear on the couch. Like, is this something that I'm going to do? What does it take and what do I need and are there like, long-term consequences that I can't really think of yet? Because I'd always had a job, right? Like I always worked for someone else and enjoyed the freedom, frankly, that that gives you, right? Like you show up, you do the work and then you leave and you can go and take care of whatever. So I just spent a lot of time thinking about it and talking to friends, my close friend who gave me the Cursive records back in the day has run a press, a small press for nearly as long as I've known him. And it's a small non-profit, but it requires the same levels of sort of like entrepreneurship and sort of like- Chris Erwin:Discipline in a way. Gretta Cohn:Yeah. Discipline. That's exactly the word. And so I talked to him a lot about he figured out what he was doing. My brother has had his own post-production business for film for more than five years, so I went for dinner with him and talked about... His business relies on film clients who come to him with a movie that needs mixing and sound effects and sound design. So we talked about that and my husband was acquiring a business. He purchased a retail shop in our neighborhood around the same time too. So there was like a lot of this around me where I had just a lot of conversations about this and I decided to do it. I decided that like the fear was not a good enough reason to not do it. And my alternate path to be quite frank was to leave podcasting because I just couldn't see where my next step was going to be. Gretta Cohn:And so I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. When I say that I saved money before starting the business, I saved $7,000. Like this is not an enormous coffer of like startup money, but it was enough to pay for an office space and to pay for myself for a couple of months to just see what would happen. And I gave extremely early notice at Midroll and I started to look for clients before I left. So I set it up so that by the time I finally left Midroll in the end of March of 2017 and walked into my office, my new office for Transmitter Media, on the 3rd of April of 2017, I already had clients. So this also gave me that added security of like, "I'm not just walking into this empty pit of like who knows what? Like I have work to do." Chris Erwin:Look, that's just like an amazing transition story, but a couple of things stand out. One it's like double entrepreneur household. A lot of couples that I talk to will say, one will start a new venture business that's risky while other has like W2 salaried income. But your husband had just bought a local retail shop in the neighborhood. You were launching Transmitter Media. So you were smart about mitigating risk of landing of clients in advance. Yeah, it's a lot to take on. And the second thing I heard that I think is really interesting is you felt that there was no path for you to stay in podcasting unless you started your own business. So it's either get out and do- Gretta Cohn:It felt that way. Chris Erwin:Yeah. Get out and do something totally different or commit and go deeper with this incredible network and skillset that you've built up for a decade and a half and start your own thing. You committed to it. And yeah, whether it was meager savings of $7,000, it was enough. And you had the confidence. And I think in the early days, confidence is everything that you need. Tell us about what is Transmitter Media or what was it at that point? Gretta Cohn:Transmitter Media was born as a full service creative podcast company, meaning primarily working for clients who needed podcasts production. And it's really 360 ideation. There's like a paragraph that explains what they want the podcast to be and then we figure it out from there. Like it's quite rare that someone comes in the door and they have like a fully fleshed out idea for a show that has all the episodes outlined and the guests and then this and then that. So it's really starting with a kernel of an idea, figuring out how to make it, what it needs, what's the format and executing it all the way up to launch and continued production. And I think that I saw what Pineapple Street was doing. I respect Jenna and Max from Pineapple Street so much. Gretta Cohn:And it felt like the right model, essentially doing what film production companies do or in a way kind of like what advertising agencies do. You have clients, your clients have a story that they want to tell and as a production company, you figure out how to tell it and how to tell it really well. And I think that for me, having a focus on craft was really important quality over quantity and taking the time to really figure out creatively, what does something need was how I stepped into it. Chris Erwin:Clearly as the industry is growing, in terms of more audio listenership, more brands wanting to figure out the space and still early, I think in 2019, the ad market for audio was like 750 million. So you started the company is like two to three years before that, when you look at the total advertising landscape, which is like over, I think, 600 billion globally. But brands are leaning in, they want to figure it out and you have a knack for audio storytelling, and then you commit. And so who are some of the early clients you work with? I think they were Walmart and Spotify. And what did those first early projects look like and had you had experience working with brands before? Or was it like, "All right, I have a skillset, but I kind of got to figure this out on the fly too."? Gretta Cohn:So it was Walmart, Spotify and TED I think were the three sort of major clients at the very beginning. I hadn't worked directly with brands. I understood working with other media institutions. I understood working with hosts. I also understood developing new shows because that's what my team did at Midroll, Stitcher, Earwolf. Before I left, an entire year of just coming up with ideas and piloting them and throwing them at the wall and kind of running them through PNLs and doing all of that. And so I understood all of that. So we have worked directly with brands, but with Walmart, it was running through an advertising agency full of really great creative people and so we were interfacing more with them. And I think that I learned through them a little bit more about how to work with a client like Walmart. Gretta Cohn:But I think also that everyone we were working with at that time was also trying to figure it out for themselves in a brand new way. So we've now been working with TED for over three and a half years, but at the time the show that we developed with them, WorkLife with Adam Grant, I think was their first sort of step into the sort of slate of podcasts that they have now. They had TED talks daily. It was sort of concurrently like I know what the steps to take and the people that I am making these podcasts for don't, they've never done it. And so I think I learned a lot in those first few projects about how to deliver, how to communicate what we're doing clearly. But it's not like I hadn't already done that before. Like I had the skills, it's just was like refining them and putting them into this really particular box. Chris Erwin:Yeah, just a little bit of a different application. Makes sense. Gretta Cohn:Yeah, exactly. Chris Erwin:When we were talking about having to build a development team at Midroll and Earwolf that you said that you had like a unique sense of how to identify good people. So then you start building your own team at Transmitter and it seems that you've built a pretty special team there. So what was your, like when you think about, if I need great people to make Transmitter a success, what type of people were you looking for and what has like your culture become at your company? Gretta Cohn:I love my team so much. I agree. I agree I think they're really special. I think independent thinkers, people who have a really unique creative spark, people who surprise me. Right. I think that what I learned in doing all this interviews at Midroll was like, I prepare a lot for interviews, kind of much like you prepared for this. I would do deep dives. I would listen to a lot of work from the people who were coming into... had applied for the roles. I also like over the years, there are certain producers who I'll just kind of keep in touch with, or follow their work and be excited by their work and hope that one day they might like to come work at Transmitter. And so I also am really keen on people who have a collaborative spirit. So an independent thinker who's down to collaborate, who doesn't necessarily need to put their fingerprints all over everything and it's like cool if their fingerprints kind of merge with other people's fingerprints and we've got this really sort of group dynamic where we're really, everyone is contributing towards something. Gretta Cohn:And people own projects, people own stories, people own episodes, but ultimately, I think that we have a very collaborative team environment. And we're also a group of people who like to celebrate our successes, even like the teeniest tiniest ones. And so we spend a lot of time like talking about the things that go well and I think that creates a lot of pride in work. And I'm interested in working with people who have that same sense of craft as I do. It's not necessarily about perfection, but it's about doing really good work, making something sound as good as it can possibly be. We have an episode that on Monday I got an email about, saying, "This is in its final edit. I'm not looking for any big edit changes. I'm only looking for a notes on music." And I listened to it and I was like, "Ah." Chris Erwin:Is this from a client? Gretta Cohn:"How did they get editorial note?" Chris Erwin:Yeah, was this a client email or internal? Gretta Cohn:No, it's internal. I have a big editorial note and here's why, and I know that you thought you were almost done, but it's going to be so much better because of this. And typically as a group, we come to that agreement very quickly that it's going to be better and our goal is to make work that sounds very, very good. Chris Erwin:I think that's how you build a great company and also become successful and are fulfilled in that. Like yesterday's win or yesterday's excellence is today's baseline and you just keep upping the threshold. My team calls me out for doing that all the time, but I always say, "Yeah, I hired you guys because men and women, you're incredible and I'm going to hold you big." And that makes for a fun work environment. And it's all in our mutual best interests. So I like hearing you say that Gretta and you just talked about celebrating wins often. What is like a recent win that you guys celebrated, big or small? Gretta Cohn:I mean, earlier today we recorded an interview where the host was in a studio in DC, our guests was in her home under a blanket fort in New Jersey. We had a little bit of a technical mishap before it started. One of the newer producers on our team was managing that. And I know that that could have been a situation where she got so stressed out that she could have been paralyzed by the overwhelming sort of urgency of overcoming this technical mishap, but she was calm and she kept us informed of what she was doing and she figured it out and the interview started late and it went long, but that was fine. And you got to give someone a thumbs up for that. Like that was hard and you figured it out. Gretta Cohn:And another recent win is we are about to launch season two of our podcast, Rebel Eaters Club and we have a promotions team working for us this time, we're making new artwork and we've got the episodes of the season in production. It's just exciting for me when all the pieces start to come together and we're like a month away from launch and it's not done and it will get done. But right now it's just this like ball of energy and that feels very exciting. Chris Erwin:This is your first owned and operated podcast where- Gretta Cohn:Yes. Chris Erwin:... your business has helped create audio stories for a variety of different brands and marketers and publishers and now you're investing in your own IP, which is really exciting. And so what is the general concept of Rebel Eaters Club for people who want to check it out? Gretta Cohn:Rebel Eaters Club is a podcast about breaking up with diet culture. Chris Erwin:Ooh. Gretta Cohn:Yeah. Our host is, her name is Virgie Tovar, and she's sort of one of the leading voices on breaking up with diet culture because it's extremely harmful. It is a huge industry. It's a debilitating thing that is, fat discrimination is something that's like not very often discussed, but such a huge sort of point of discrimination in our culture. And I have learned so much from this podcast, it's funny, it's a weird,

Sino nga ba si Gordon Ramsay? Pinsan ni Dick Gordon? o Tito ba sya ni Derek Ramsey? Si Gordon Ramsay ay world renowned chef - three michelin starred, highest paid, and richest. Meron syang restaurant chains all over the world, super sikat na television shows and best selling author ng mga culinary books. Ngunit hindi dito nagsimula ang buhay ni Gordon - lumaki sya ng mahirap lamang. In this episode we share with you our newfound fascination for this man as we stumbled upon him on Netflix sa show nyang "Hell's Kitchen". Join us as we reflect on the lessons that we learned from this wonderful person.

Jack Ridl was walking with his 7-year-old daughter when she said "with" was the most important word because people always have to be with something, someone, or themselves. When she added that it meant everyone has to makes sure they have a good "with," Jack's perception of the world changed. We talk about how a simple and profound concept has since shaped his life, health, and poetry.  Additional Resources  Jack Ridl ridl.wordpress.com on Facebook  Saint Peter and the Goldfinch by Jack Ridl (Wayne State University Press)   My Brother—A Star My mother was pregnant through the first nine games of the season. We were 7- 2. I waited for a brother. My father kept to the hard schedule. Waking the morning of the tenth game, I thought of skipping school and shooting hoops. My cornflakes were ready, soggy. There was a note: "The baby may come today. Get your haircut." We were into January, and the long December snow had turned to slush. The wind was mean. My father was gone. I looked in on my mother still asleep and hoped she'd be OK. I watched her, dreamed her dream: John at forward, me at guard. He'd learn fast. At noon, my father picked me up at the playground. My team was ahead by six. We drove toward the gym. "Mom's OK," he said and tapped his fist against my leg. The Plymouth ship that rode the hood pulled us down the street. "The baby died," he said. I felt my feet press hard against the floorboard. I put my elbow on the door handle, my head on my hand, and watched the town: Kenner's Five and Ten, Walker's Hardware, Jarret's Bakery, Shaffer's Barber Shop, the bank. Dick Green and Carl Stacey waved. "It was a boy." We drove back to school. "You gonna coach tonight?" "Yes." "Mom's OK?" "Yes. She's fine. Sad. But fine. She said for you to grab a sandwich after school. I'll see you at the game. Don't forget about your hair." I got out, walked in late to class. "We're doing geography," Mrs. Wilson said. "Page ninety-seven. The prairie." That night in bed I watched this kid firing in jump shots from everywhere on the court. He'd cut left, I'd feed him a fine pass, he'd hit. I'd dribble down the side, spot him in the corner, thread the ball through a crowd to his soft hands, and he'd loft a star up into the lights where it would pause then gently drop, fall through the cheers and through the net. The game never ended. I fell into sleep. My hair was short. We were 8 and 2.         for my mother and my father Jack Ridl First published in The Journal/Ohio State University Subsequently published in Saint Peter and the Goldfinch (Wayne State University Press)   Jack Ridl, Poet Laureate of Douglas, Michigan (Population 1100), in April 2019 released Saint Peter and the Goldfinch (Wayne State University Press, 2019).  Jack’s Practicing to Walk Like a Heron (WSUPress, 2013) was awarded the National Gold Medal for poetry by ForeWord Review./Indie Pub. His collection Broken Symmetry (WSUPress) was co-recipient of The Society of Midland Authors best book of poetry award for 2006. His Losing Season (CavanKerry Press) was named the best sports book of the year for 2009 by The Institute for International Sport, and The Boston Globe named it one of the five best books about sports. In 2017 it was developed into a Readers Theater work. Winner of The Gary Gildner Prize for Poetry, Jack has been featured on public radio (“It’s Only a Game with Bill Littlefield,” “The Story with Dick Gordon,” and Garrison Keillor’s “The Writer’s Almanac.”) Then Poet Laureate Billy Collins selected his Against Elegies for The Center for Book Arts Chapbook Award. He read in NYCity with Billy Collins and Sharon Dolin at Christmas after 9/11. He and Peter Schakel are co-authors of Approaching Poetry and Approaching Literature, and editors of 250 Poems, all from Bedford/St. Martin’s Press. With William Olsen he edited Poetry in Michigan in Poetry (New Issues Press). He has done readings in many venues including being invited to read at the international Geraldine R. Dodge Poetry Festival, and was one of twelve people in the arts from around the U.S. invited to the Fetzer Institute for their first conference on compassion and forgiveness. In 2014, Jack received the “Talent Award” from the Literacy Society of West Michigan for his “lifetime of work for poetry literacy,” and The Poetry Society of Michigan named him “Honorary Chancellor,” only the second poet so honored. His poem “Remembering the Night I Dreamed Paul Klee Married the Sky” was selected by Naomi Shihab Nye and featured in The New York Times Sunday Magazine for November 3, 2019. Following the presidential election in 2016 he started the “In Time Project,” each Thursday sending out a commentary and poem. Christian Zaschke, the NYC based U.S. correspondent for the leading German Newspaper Sueddeutsche  Zeitung, wrote a feature about his work. Jack and his wife Julie founded the visiting writers series at Hope College where he taught for 37 years. The students named him both their Outstanding Professor and Favorite Professor, and in 1996 The Carnegie (CASE) Foundation named him Michigan Professor of the Year. Nine of his students are included in the anthology Time You Let Me In: 25 Poets Under 25 edited by Naomi Shihab Nye. More than 90 of Jack’s students have earned an MFA degree and more than 90 are published authors, several of whom have received First Book Awards, national honors. In retirement Jack conducts a variety of writing workshops, welcomes readings, holds one on one sessions, etc. For further information about Jack and these activities, check out his website at www.ridl.com.

Apollo 12 forever lives in the shadow of the mission before it, but it shouldn't. Pete Conrad, Dick Gordon and Al Bean made plenty of their own history, with some terror and plenty of laughs along the way.

Steve Geppi: Owner of Diamond Comics- Shares stories about Dick Gordon after recent passing by The Bat Around

Dick Gordon opened the tunnel to Intrepid, saw his companions floating in a dirty cloud of moon dust, and slammed the hatch closed. He called out, “You guys ain't gonna mess up my nice clean spacecraft!”

Dick Gordon opened the tunnel to Intrepid, saw his companions floating in a dirty cloud of moon dust, and slammed the hatch closed. He called out, “You guys ain't gonna mess up my nice clean spacecraft!” The post Space Rocket History #256 – Apollo 12 – Leaving the Moon first appeared on Space Rocket History Podcast.

Dick Gordon opened the tunnel to Intrepid, saw his companions floating in a dirty cloud of moon dust, and slammed the hatch closed. He called out, “You guys ain’t gonna mess up my nice clean spacecraft!”

Episode 7: Remembering Apollo Astronaut Dick Gordon Dick Gordon passed away in November 2017, and author and volunteer Jake Schultz had the honor of recording Gordon’s oral history few months prior to learn about his experiences as an astronaut. In this episode, Gordon talks spaceflight, corvettes, and football. He recalls the differences between the Gemini and Apollo missions. Gemini’s Titan II rocket was an ICBM (intercontinental ballistic missile) designed to get you into orbit as fast as possible at altitude and then shut down. The Saturn V rocket on the Apollo mission, however, was a different kind of ride. “It shook, rattled and rolled,” Gordon describes. Gordon, a Seattle native, also fondly recalls bonding with his crew—Pete Conrad and Alan Bean—over their three red Corvettes and taking on the role of the Executive Vice President of the New Orleans Saints after his space career. Get a taste of what it took to put a man on the Moon in our Apollo exhibit(https://www.museumofflight.org/Exhibits/Apollo) and stay tuned for info about Destination Moon: The Apollo 11 Mission, an exhibition from the Smithsonian Institution Traveling Exhibition Service and the Smithsonian’s National Air and Space Museum in Washington, D.C. This traveling exhibit comes to our Museum in 2019. Host: Sean Mobley Producer: Justin Braegelmann Webmaster: Layne Benofsky Content Marketing Manager: Irene Jagla

Pete Conrad flies Gemini XI to new heights as Dick Gordon works on his space cowboy techniques.

Discussed in 98. Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders.

Discussed in 98. Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders.

Beginning this summer, the Modern Hotel and RadioBoise will host Modern Campfire Stories, produced by Christian Winn. On Monday nights throughout the summer and fall, hear the best writers Idaho has to offer. June 16, 2014 features J. Reuben Appelman and Matthew R.K. Haynes ++++++++++++++++++++++++ Matthew R. K. Haynes is an assistant professor of English at College of Western Idaho. He was a State of Idaho Writing Fellow in 2010, named Honors Professor of the Year in 2005 and 2011. He earned his M.A. in Fiction and M.F.A. in Creative Nonfiction from Boise State University. His first novel, Moving Towards Home, was published 1999. Subsequently, his work has appeared in several anthologies and journals including SOMA Literary Journal, O’iwi, Native Literatures, Fringe and Yellow Medicine Review. He was been a finalist for the Faulkner Award in Nonfiction and Writer’s Digest Award in Fiction. His collection of multi-genre writing, titled Shall We Not Go Missing, has been chosen for the Wayne Kaumuali’i Westlake Monograph Series, and is forthcoming from Kuleana Press. READING: I will be reading short short fiction for a new working collection, which are in, or about, Hawai'i. The collection began with the idea: why do we go to Hawai'i? The genesis story attempts to answer this question when a couple leave for Kona to celebrate their second honeymoon after a renewal of vows. Maybe people go to Hawai'i to see a new version of their lover, or a better version of themselves. But, can that version/illusion maintain beyond the "power" of the islands? Is Hawai'i the geographical version of buying a dog, buying a house, having a kid, renewing a vow? Each story connects to the next, by character. For the Modern, I'll be reading a batch that address what it means to want, and how that might be different than what it means to desire, and how, if at all, either can lead to a state of receiving, having, accepting. ++++++++++++++++++++++++ J. Reuben Appelman has spent the past ten years working as a film writer, scripting and producing documentaries such as Jens Pulver: Driven (Warner Bros.) and Playground, a film about the child sex trade, Executive Produced by George Clooney. All of last year he hosted The Writers Block radio show on Boise’s KRBX, interviewing writers, artists, politicians, reporters, ex porn stars, and other manner of people with a story to tell. His writing projects and research, focused on issues related to commercial sexual exploitation, child endangerment, and related law enforcement issues, have earned him a spot as a guest lecturer on the issue of Human Trafficking for the Honor’s College at Boise State University. His work has been featured by National Public Radio literary reviewer, Andrei Codrescu, American Public Media’s “The Story, with Dick Gordon,” and by the glossy arts quarterly, BOMB Magazine, which featured Appelman’s poetry collection, Make Loneliness, as an international Editor’s Pick. He has received multiple writing grants, including a prestigious State of Idaho Writing Fellowship for Investigative Writing. He currently works full time as a fraud investigator for the medical insurance industry. Project Description: In 1977, a man fitting the description of a suspected serial killer tried to abduct Appelman from a shopping mall outside of Detroit. He fled and told no one. In his late thirties, the memory of that near abduction sent him on a five-year mission to solve a decades-old cold case whose police files told the story of ongoing cover-ups, moneyed confidence men, child pornography rings, and high-level corruption. He worked with surviving family members, original task force cops from the 1970s, and a variety of anonymous sources who came out of the shadows. The deeper he dug into the case, the closer it hit to home. At some point, he looked around the casket of a failed marriage and there was nothing left on its walls but the photos of four dead kids nobody but Appelman seemed to be thinking about anymore. 37 Winters is the story of his hunt for their killer. ++++++++++++++++++++++++ About The Series: Produced by Christian Winn, who also produces Storyfort, the literary add-on to this year’s Treefort Music Fest, who invites writers from around Idaho to read their work. Original fiction, creative nonfiction, poetry, screenplays and more will be offered from Boise's rich literary community.

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about theoretical and real-world problems of the distinction between strong and weak artificial life. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Happy New Year. I want to share an interview that I did with Dick Gordon of American Public Media's The Story, one of my favorite interview shows and a program from which I draw a lot inspiration. I share how my friendship with a counselor at the Boys and Girls Club of Hollywood introduced me to photography and changed my life. My story is shared in the second half of the show. for a direct link to the audio file.

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Tom Barbalet talks with Liz Swan, William R. Buckley and Dick Gordon about how to engineer a solution to the value problem. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon and Tom Barbalet talk with Bruce Damer about his recent EvoGrid tour and where the EvoGrid is currently. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Bruce Damer, Dick Gordon and Tom Barbalet talk with Mark Bedau on wet artificial life and a number of additional topics. This is the live internet radio format for the podcast at 8pm Pacific on Friday every-other-week. For more information, http://www.biotacast.org/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biotacast.org/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biota.org/podcast/

Dick Gordon, Jeffrey Ventrella, Gerald de Jong and Tom Barbalet talk about two dividing topics - religion and spiders. This is the live internet radio format for the podcast at 8pm Pacific on Friday weekly. For more information, http://www.biotacast.org/

Tom talks about the FLOSS Weekly interview and a rush chapter for Dick Gordon's book.

Tom talks about the FLOSS Weekly interview and a rush chapter for Dick Gordon's book.

Similar to the last Mailout, Tom discusses Biota Live and the Dick Gordon book project.

Similar to the last Mailout, Tom discusses Biota Live and the Dick Gordon book project.

Following the initial success of Biota Live, Tom discusses the back-to-back episodes coming up this weekend, the release of Noble Ape 0.687, the XML changes for the file i/o in the Simulation and the book with Dick Gordon and Bruce Damer.

Following the initial success of Biota Live, Tom discusses the back-to-back episodes coming up this weekend, the release of Noble Ape 0.687, the XML changes for the file i/o in the Simulation and the book with Dick Gordon and Bruce Damer.

Tom returns to talk about appearing on ShrinkRapRadio LIVE, the SciPhi Show, a new book project with Bruce Damer and Dick Gordon, and the ongoing Noble Ape Simulation as a library project.

Tom returns to talk about appearing on ShrinkRapRadio LIVE, the SciPhi Show, a new book project with Bruce Damer and Dick Gordon, and the ongoing Noble Ape Simulation as a library project.

The second season of "The Mojo Mom Podcast" debuts with guest Karen Maezen Miller, author of "Momma Zen." First, Amy and Sheryl discuss fall premieres and Amy's status as #1 public radio geek. They recommend the podcast the new show from WUNC, "The Story with Dick Gordon." Dick Gordon takes the time to explore the stories of people who acutally experience the news, rather than the same old pundits who make the rounds on most talk shows. "The Story" is being rolled out nationally on public radio stations, but you can listen to it now, free, by podcast. Links relevant to this week's Mojo Mom Podcast are: Karen Maezen Miller's website, www.MommaZen.com "The Story with Dick Gordon" website, www.TheStory.org To subscribe to the podcast of "The Story" go to the Advanced menu on iTunes, select "subscribe to poscast" and paste in the podcast's URL: http://www.thestory.org/archive/podcast.xml