Podcast appearances and mentions of emily botein

Even before becoming Big Freedia, Freddie Ross was known around New Orleans. Her "signature call"—an operatic bellow that she lets out when I ask to hear it—was legendary in the city. "They'd be like, 'Oh that's Freddie in the club'.... The signature call comes very loud. And proud." Freedia came out to her mom as gay when she was 13, and soon came out to her classmates as well. She tells me she "had to do what every other gay kid had to do: fight for their life, and let people know that you are not no joke." She eventually started performing as part of New Orleans' queer bounce music scene, and became a local celebrity.  Then, in 2005, Freedia got shot. "What the motive was, I don't know to this day still," she says. After finally mustering the courage to start performing again, Freedia also moved into a new place, to get a fresh start. Hurricane Katrina hit about a week later. She and her family were together at her duplex during the storm, where the water rose to the second floor. They cut a hole in the roof to signal for help. Days after being evacuated, Freedia made her way to Houston, where she lived for two years.  In Houston, Freedia met her boyfriend, Devon. After years of dating men who weren't openly gay, Freedia says Devon's openness about their relationship has made a difference. "When your love grows for somebody and y'all get closer you wanna...feel more appreciated, and you wanna feel loved," she says. Freedia eventually returned to New Orleans, where her career continues to expand. “A lot was happening after Katrina. I mean money was slinging everywhere,” Freedia tells me. “You know everybody had FEMA checks, girl!” I talk with Freedia about what's happened in her life in the years since she returned to her hometown: publishing a memoir, starring in a reality TV series, and losing her beloved mother to cancer.  * This interview is from 2015 and part of a series about New Orleans on the 10th anniversary of Hurricane Katrina. Big Freedia in New Orleans, holding her high school graduation photo. (Rush Jagoe) The lot where Big Freedia's house stood, before Hurricane Katrina. (Emily Botein) Sitting on the porch swing with Big Freedia. (Katie Bishop) Big Freedia performs her song "Excuse" before she and over 300 dancers set the Guinness World Record for most people twerking simultaneously:  Big Freedia: Queen of Bounce Season 4 Trailer:

The series ends with a final test for the Jaguars at the city championship. After the final point has been scored, members of the team try to assess their success. And what about the success of the merger? Students and coaches look at how the integration played out across John Jay's athletics program, and ask: was it all worth it? “Keeping Score” is a co-production of WNYC Studios and The Bell. This four-part series will appear in the United States of Anxiety feed on Thursdays in June.  Connect with us at keepingscore@wnyc.org. For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn.  For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon. Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones. Special thanks to Atiqa Chowdhury, Delsina Kolenovic, Giana Ospina, Adrian Uribarri, Mike Barry, Theodora Kuslan, Andrea Latimer, Kim Nowacki, Dalia Dagher, Jennifer Houlihan Roussel, Michelle Xu, Rachel Leiberman, Miriam Barnard, Andrew Golis, Christopher Werth, and the entire team at The United States of Anxiety.

The series ends with a final test for the Jaguars at the city championship. After the last point has been scored, members of the team try to assess their success. And what about the success of the merger? Students and coaches look at how the integration played out across John Jay's athletics program, and ask: was it all worth it?For stats, photos, bonus audio and more, check out our Keeping Score page.Want exclusive content from Miseducation? Join us on Patreon.* * *“Keeping Score” is a co-production of WNYC Studios and The Bell. Connect with us at keepingscore@wnyc.org.For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn. For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon.Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones. Special thanks to Atiqa Chowdhury, Delsina Kolenovic, Giana Ospina, Adrian Uribarri, Mike Barry, Theodora Kuslan, Andrea Latimer, Kim Nowacki, Dalia Dagher, Jennifer Houlihan Roussel, Michelle Xu, Rachel Leiberman, Miriam Barnard, Andrew Golis, Christopher Werth, and the entire team at The United States of Anxiety.

What does it mean to lead a team in an anti-racist way? After getting strong feedback from Mariah and other players, Coach Mike Salak decides to change his tactics. But as the girls volleyball practices lead into tournaments, it's clear that who gets to play continues to be a divisive issue.  “Keeping Score” is a co-production of WNYC Studios and The Bell. This four-part series will appear in the United States of Anxiety feed on Thursdays in June.  Connect with us at keepingscore@wnyc.org. For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn.  For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon. Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones.

What does it mean to lead a team in an anti-racist way? After getting strong feedback from Mariah and other players, Coach Mike Salak decides to change his tactics. But as the girls volleyball practices lead into tournaments, it's clear that who gets to play continues to be a divisive issue. For stats, photos, bonus audio and more, check out our Keeping Score page.Want exclusive content from Miseducation? Join us on Patreon.* * *“Keeping Score” is a co-production of WNYC Studios and The Bell. Connect with us at keepingscore@wnyc.org.For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn. For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon.Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones.

Mariah Morgan, a junior at Park Slope Collegiate and setter on the girls varsity volleyball team, was an early proponent of the merger – she helped lobby for it as a member of the Campus Council. But her optimism is tested when practice starts. To understand the building's complicated history, she explores how Millennium came to be at John Jay in the first place, and why the campaign to merge the athletics programs began. “Keeping Score” is a co-production of WNYC Studios and The Bell. This four-part series will appear in the United States of Anxiety feed on Thursdays in June.  Connect with us at keepingscore@wnyc.org. For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn.  For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon. Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones. Special thanks to Andy Lanset, Norman Scott, Gwynne Hogan, and Afi Yellow-Duke. 

Mariah Morgan, a junior at Park Slope Collegiate and setter on the girls varsity volleyball team, was an early proponent of the merger – she helped lobby for it as a member of the Campus Council. But her optimism is tested when practice starts. To understand the building's complicated history, she explores how Millennium came to be at John Jay in the first place, and why the campaign to merge the athletics programs began.For stats, photos, bonus audio and more, check out our Keeping Score page.“Keeping Score” is a co-production of WNYC Studios and The Bell. This four-part series will appear in the United States of Anxiety feed on Thursdays in June. Connect with us at keepingscore@wnyc.org.For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn. For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon.Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown and Isaac Jones. Special thanks to Andy Lanset, Norman Scott, Gwynne Hogan, and Afi Yellow-Duke.

The John Jay Educational Campus, a large brick building in Park Slope, Brooklyn, houses four high schools: Cyberarts Studio Academy, the Secondary School for Law, Millennium Brooklyn, and Park Slope Collegiate. Each school is its own separate universe, but the students yearn to connect. When the administration announces that the athletics programs will merge, they ask what it will take for the building to live up to its new motto: “We Are One.” “Keeping Score” is a co-production of WNYC Studios and The Bell. This four-part series will appear in the United States of Anxiety feed on Thursdays in June.  Connect with us at keepingscore@wnyc.org. For WNYC: Alana Casanova-Burgess, Jessica Gould, Joe Plourde, Jenny Lawton, Karen Frillmann, Emily Botein, Wayne Schulmeister, and Andrew Dunn.  For The Bell: Mariah Morgan, Lauren Valme, Renika Jack, Noor Muhsin, Thyan Nelson, Jacob Mestizo, Taylor McGraw, and Mira Gordon. Fact-check by Natalie Meade. Music by Jared Paul – with additional tracks by Hannis Brown, Isaac Jones, and "Con Anima" by Dee Yan-Key. Special thanks to Afi Yellow-Duke, Rebecca Clark-Callender and Tracie Hunte.

The Experiment is coming to an end. For our final episode, we contemplate our strange, sometimes beautiful, often frustrating country. We go back to some of the people we met and fell in love with while making the show, and ask them how their version of the American experiment is going. A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Alyssa Edes, Gabrielle Berbey, Julia Longoria, and Tracie Hunt, with editing by Michael May and Emily Botein. Fact-check by Sam Fentress. Sound design by David Herman. Transcription by Caleb Codding.

At 19 years old, Aséna Tahir Izgil feels wise beyond her years. She is Uyghur, an ethnic minority persecuted in China, and few of her people have escaped to bear witness. After narrowly securing refuge in the United States, Aséna's now tasked with adjusting to life in a new country and fitting in with her teenage peers.  This week on The Experiment, Aséna shares her family's story of fleeing to the U.S., navigating newfound freedom, and raising her baby brother away from the shadows of a genocide.  This episode's guests include Aséna Tahir Izgil and her father, Tahir Hamut Izgil, a Uyghur poet and author. This episode of The Experiment originally ran on August 19, 2021. A transcript of this episode is available. Further reading: “One by One, My Friends Were Sent to the Camps,” “Saving Uighur Culture From Genocide,” “‘I Never Thought China Could Ever Be This Dark,'” “China's Xinjiang Policy: Less About Births, More About Control” Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Julia Longoria, with help from Gabrielle Berbey and editing by Katherine Wells and Emily Botein. Fact-check by Yvonne Rolzhausen. Sound design by David Herman, with additional engineering by Joe Plourde. Translations by Joshua L. Freeman. Music by Keyboard (“Over the Moon,” “Mu,” “Water Decanter,” and “World View”), Laundry (“Lawn Feeling”), Water Feature (“Richard III (Duke of Gloucester)” and “Ancient Morsel”), Parish Council (“New Apt.”), and H Hunt (“C U Soon), provided by Tasty Morsels. A translation of Tahir Hamut Izgil's poem “Aséna” is presented below.  Aséna By Tahir Hamut Izgil Translation by Joshua L. Freeman   A piece of my flesh torn away. A piece of my bone broken off. A piece of my soul remade. A piece of my thought set free.   In her thin hands the lines of time grow long. In her black eyes float the truths of stone tablets. Round her slender neck a dusky hair lies knotted. On her dark skin the map of fruit is drawn.   She is a raindrop on my cheek, translucent as the future I can't see.   She is a knot that need not to be untied like the formula my blood traced from the sky, an omen trickling from history.   She kisses the stone on my grave that holds down my corpse and entrusts me to it.   She is a luckless spell who made me a creator and carried on my creation.   She is my daughter.

Almost 30 years ago, a fed-up Manhattan-family-court judge named Judith Sheindlin was sitting in her chambers when she got a call from a couple of television producers. They pitched her the idea for a TV show with Judy at its center.  The result was Judge Judy, one of the most popular and influential television series ever made. Over its decades-long run, it beat out The Oprah Winfrey Show in ratings, led to the explosion of court TV, and influenced how large swaths of Americans think about crime and justice.  The Experiment's Peter Bresnan has been watching Judge Judy with his mom ever since he was a kid. But recently, he began to wonder how the show managed to become such a force in American culture, and what impact it's had on the thousands of litigants who stood before Judy's TV bench. What he found was a strange story about what happens when the line between law and entertainment starts to blur.  A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode of The Experiment was produced by Peter Bresnan with help from Salman Ahad Khan. Editing by Jenny Lawton, Julia Longoria, Emily Botein, and Michael May. Fact-check by Will Gordon. Sound design by Joe Plourde with additional engineering by Jen Munson. Transcription by Caleb Codding.

During World War II, wherever American troops were sent, they left the canned meat known as SPAM in their wake. When American GIs landed overseas, they often tossed cans of SPAM out of trucks to feed hungry people. Producer Gabrielle Berbey of The Experiment podcast is familiar with that story: It's how her grandfather first came to know and love SPAM as a kid in the Philippines. But 80 years later, SPAM no longer feels American. It is now a staple Filipino food: a beloved emblem of Filipino identity. Gabrielle sets out on a journey to understand how SPAM made its way into the hearts of generations of Pacific Islanders, and ends up opening a SPAM can of worms.Thanks to our friends at The Experiment from WNYC Studios and The Atlantic. This episode was produced by Gabrielle Berbey and Julia Longoria with help from Peter Bresnan and Alina Kulman. Editing by Kelly Prime, with help from Emily Botein, Jenny Lawton, Scott Stossel, and Katherine Wells. Fact-check by William Brennan and Michelle Ciarrocca. Sound design by David Herman with additional engineering by Joe Plourde. Transcription by Caleb Codding. Special thanks to Noella Levy and Craig Santos Perez. You can listen to the rest of “SPAM: How The American Dream Got Canned” series here.The Sporkful production team includes Dan Pashman, Emma Morgenstern, Andres O'Hara, Johanna Mayer, Tracey Samuelson, and Jared O'Connell.Transcript available at www.sporkful.com.

James Sulzer has always loved building things. As a rehabilitation engineer, he spent years creating devices that he hoped would help patients recover from serious brain trauma such as strokes. And he believed strongly in the potential of rehab technology—that with the right robot, he could relieve a whole array of brain injuries.  But then, one spring day in 2020, there was a horrible accident. And suddenly James had to apply everything he knew about science and rehabilitation to help fix his own family. The Atlantic senior editor Daniel Engber spent months talking to James, following him as he used his scientific knowledge to try to find meaning in tragedy.  Further reading: “A Peer-Reviewed Portrait of Suffering” A transcript of this episode will soon be made available. Please check back.  Apply for The Experiment's summer internship. Applications will be accepted through March 25, 2022. Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by ​Peter Bresnan with help from Julia Longoria and Alyssa Edes. Editing by Emily Botein. Reporting by Daniel Engber. Fact-check by Yvonne Rolzhausen. Sound design by Joe Plourde. Transcription by Caleb Codding.

As Putin invaded Ukraine last month, the Atlantic writer Franklin Foer found the Russian leader's justification for violence uncanny. Putin referred to the “Nazification” of Ukraine—a distortion of history at best. But Franklin was told a similar story his whole life from his grandmother. This week, The Experiment tells the story of the Holocaust survivor Ethel Kaplan, and traces Franklin Foer's own journey—how he once came to believe Putin's myth, and his journey to Ukraine to debunk it. Further reading: “It's Not ‘The' Ukraine,” I Want You to Know We're Still Here: A Post-Holocaust Memoir. A transcript of this episode will soon be made available. Please check back. If you or someone you know is considering suicide or self-harm, please get help. The National Suicide Prevention Lifeline is 800-273-8255. And if you're outside the U.S., you can visit findahelpline.com to find resources for your country. Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Salman Ahad Khan and Julia Longoria, with editing by Emily Botein. Reporting by Franklin Foer and Esther Foer. Fact-check by Sam Fentress. Sound design by Joe Plourde. Transcription by Caleb Codding. Special thanks to Andy Lanset and Roberto De La Noval.

Who are the people who make modern-day SPAM possible? You can find clues on the streets of downtown Austin, Minnesota. On weekend nights, across the street from the SPAM Museum, a Latin dance club fills with Spanish-speaking patrons. A taco truck is parked outside the Austin Labor Center. There's a Sudanese market and an Asian food store. A new generation of workers has flooded the town for the chance to package some of America's most iconic meat, and for many the town is a model of the American dream. But soon a mysterious disease spreads through the slaughterhouse where SPAM is made, complicating this idyllic picture of new immigrants in the American heartland.  A transcript of this episode will soon be made available. Please check back.  This episode is the last in a new three-part miniseries from The Experiment—“SPAM: How the American Dream Got Canned.” Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Gabrielle Berbey and Julia Longoria. Editing by Kelly Prime, Emily Botein, and Katherine Wells, with help from Scott Stossel. Special thanks to Alina Kulman.  Fact-check by Will Gordon. Sound design by David Herman with additional engineering by Joe Plourde. Transcription by Caleb Codding.

During World War II, wherever American troops spread democracy, they left the canned meat known as SPAM in its wake. When American GIs landed overseas, they often tossed cans of SPAM out of trucks to the hungry people they sought to liberate. That's how producer Gabrielle Berbey's grandfather first came to know and love SPAM as a kid in the Philippines. But 80 years later, SPAM no longer feels American. It is now a staple Filipino food: a  beloved emblem of Filipino identity. Gabrielle sets out on a journey to understand how SPAM made its way into the hearts of generations of Pacific Islanders, and ends up opening a SPAM can of worms. This episode is the first in a new three-part miniseries from The Experiment—“SPAM: How the American Dream Got Canned.” A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Gabrielle Berbey and Julia Longoria with help from Peter Bresnan and Alina Kulman. Editing by Kelly Prime, with help from Emily Botein, Jenny Lawton, Scott Stossel, and Katherine Wells. Fact-check by William Brennan and Michelle Ciarrocca. Sound design by David Herman with additional engineering by Joe Plourde. Transcription by Caleb Codding.

On January 6, 2021, William J. Walker was head of the D.C. National Guard. He had buses full of guardsmen in riot gear ready to deploy in case Donald Trump's “Stop the Steal” rally turned dangerous. But when rioters violently stormed the Capitol building, the Guard was nowhere to be found. Walker says he was forced to wait for three hours before his superiors allowed him to send in his troops. “My soldiers were asking me, ‘Sir, what the hell is going on?'” Walker says. “‘Are they watching the news? Are they watching what's going on at the Capitol?' And I had no answer. I don't recall ever being in that position, where I did not have an answer for my soldiers.” Now, almost one year later, Walker is the sergeant-at-arms of the U.S. House of Representatives—the first Black man to ever hold that office. The Experiment's correspondent Tracie Hunte and producer Peter Bresnan visit Walker in his new office at the Capitol to ask him about what happened on January 6, and what he's doing to make sure it never happens again. Further reading: “The Man Who Could Have Stopped an Insurrection,” “Trump's Next Coup Has Already Begun,” “Are We Doomed?,” and “What the GOP Does to Its Own Dissenters” A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Tracie Hunte and Peter Bresnan with help from Alina Kulman. Editing by Emily Botein and Jenny Lawton with help from Julia Longoria. Fact-check by William Brennan. Sound design by David Herman with additional engineering by Joe Plourde. Transcription by Caleb Codding. Music by Keyboard (“Over the Moon,” “Water Decanter,” “Mu,” and “Small Island”), Arabian Prince in a UK World (“The Feeling of Being on a Diet”), Water Feature (“Ancient Morsel”), Laundry (“Laundry”), and Column (“Aerolove”) provided by Tasty Morsels. Additional audio from C-SPAN, The Untouchables, the FBI, and Forbes.

Hollywood has a long history of “passing movies”—films in which Black characters pass for white—usually starring white actors. Even as these films have attempted to depict the devastating effect of racism in America, they have trafficked in tired tropes about Blackness. But a new movie from actor-writer-director Rebecca Hall takes the problematic conventions of this uniquely American genre and turns them on their head. Hall tells the story of how her movie came to life, and how making the film helped her grapple with her own family's secrets around race and identity. A transcript of this episode will soon be made available. Please check back.  Further reading: “Netflix's ‘Passing' Is an Unusually Gentle Movie About a Brutal Subject” Apply for The Experiment's spring internship. Applications will be accepted through November 19, 2021. Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Tracie Hunte and Peter Bresnan with help from Alina Kulman. Editing by Emily Botein, Julia Longoria, and Jenny Lawton. Special thanks to B.A. Parker. Fact-check by Will Gordon. Sound design by David Herman with additional engineering by Joe Plourde. Transcription by Caleb Codding.

Just as the Navajo researcher Rene Begay started to fall in love with the field of genetics, she learned that the Navajo Nation had banned all genetic testing on tribal land. Now she is struggling to figure out what the future of genetics might look like, and whether the Navajo and other Indigenous communities should be a part of it.  Further reading: “Race, Genetics, and Scientific Freedom,” “Return the National Parks to the Tribes,” “​​The Search for America's Atlantis,” “Elizabeth Warren's DNA Is Not Her Identity” A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Peter Bresnan and Julia Longoria, with help from Tracie Hunte and Alina Kulman. Editing by Jenny Lawton and Emily Botein. Fact-check by Michelle Ciarrocca. Sound design by David Herman, with additional engineering by Joe Plourde. Transcription by Caleb Codding. Special thanks to Pauly Denetclaw.  Music by Keyboard (“Ojima,” “Staying In,” and “Being There”), Naran Ratan (“Jam for Bwengo”), Parish Council (“It's Purple, Not Blue,” “Durdle Door,” and “Scented Letters”), R McCarthy (“Contemplation at Lon Lon”), and Column (“スキャン ｢Scan｣”), provided by Tasty Morsels. Additional audio from the National Institutes of Health's All of Us Research Program.

The satire site The Babylon Bee, a conservative Christian answer to The Onion, stirred controversy when some readers mistook its headlines for misinformation. In this episode, The Atlantic's religion reporter Emma Green sits down with the editor in chief, Kyle Mann, to talk about where he draws the line between making a joke and doing harm, and to understand what humor can reveal about American politics. Further reading: “Who Would Jesus Mock?” A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Gabrielle Berbey and Julia Longoria, with editing by Emily Botein and Katherine Wells. Fact-check by Michelle Ciarrocca. Sound design by David Herman, with additional engineering by Joe Plourde. Transcription by Caleb Codding.

Here in the United States, 19-year-old Aséna Tahir Izgil feels as though she's a “grandma.” Aséna is Uyghur, an ethnic minority being imprisoned in labor camps by the Chinese government. The pain she witnessed before escaping in 2017 has aged her beyond her years, she says, making it hard to relate to American teenagers. “They talk about … TikToks … clothing, malls, games, movies, and stuff,” she says. “And then the things I think about [are] genocide, Uyghurs, international policies … all the annoying adult facts.” For years, the Chinese government has been persecuting her people, but few have escaped to bear witness. This week on The Experiment: Aséna shares her family's story of fleeing to the U.S. to escape genocide, adjusting to newfound freedom, and trying to deal with the grief and guilt of being a refugee.   This episode's guests include Aséna Tahir Izgil and her father, Tahir Hamut Izgil, a Uyghur poet and author. Further reading: One by One, My Friends Were Sent to the Camps, Saving Uighur Culture From Genocide, ‘I Never Thought China Could Ever Be This Dark,' China's Xinjiang Policy: Less About Births, More About Control A full transcript of this episode will soon be made available. Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Julia Longoria, with help from Gabrielle Berbey and editing by Katherine Wells and Emily Botein. Fact-check by Yvonne Rolzhausen. Sound design by David Herman, with additional engineering by Joe Plourde. Translations by Joshua L. Freeman.

Hate crimes in the United States have reached their highest levels in more than a decade, prompting bipartisan support for legislation to combat them and increased resources for law enforcement. But the recent COVID-19 Hate Crimes Act has spurred resistance from an unexpected source: activist groups that represent the people these laws are meant to protect. This week on The Experiment, our correspondent, Tracie Hunte, investigates the 150-year history of legislating against racist violence in the U.S. and asks: Have we been policing hate all wrong?   This episode's guests include Jami Floyd, WNYC's senior editor for race and justice; Saida Grundy, an assistant professor of sociology and African American studies at Boston University; Jason Wu, a co-chair of the LGBTQ advocacy group GAPIMNY; Jeannine Bell, a professor of law at Indiana University's Maurer School of Law; and Sunayana Dumala, the founder of Forever Welcome. As The Experiment podcast keeps growing, we're looking for new ways to tell stories and better serve our listeners. We invite you to visit theatlantic.com/experimentsurvey to share your thoughts with The Atlantic and WNYC Studios. Further reading: “Calling the Atlanta Shootings a Hate Crime Isn't Nearly Enough” A transcript of this episode will soon be made available. Please check back.  Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. Editing by Katherine Wells, Emily Botein, and Jami Floyd. Special thanks to Kai Wright. Fact-check by William Brennan. Sound design by David Herman and Hannis Brown.  Music by Arabian Prince in a UK World  (“The Feeling of Being on a Diet”), Keyboard (“Ojima”), Water Feature (“In a Semicircle or a Half-Moon”), and Nelson Bandela (“311 Howard Ave 25 5740”), provided by Tasty Morsels and Nelson Nance. Additional music by Joe Plourde and Hannis Brown. Additional audio from PBS, the Obama White House, CBS News, NPR, and CNN.

Today we're thinking about Pack Creek Ranch in southern Utah and an incredible archive of material, gathered by river guide and environmental activist Ken Sleight, that was consumed by fire in early June, 2021. The archive held over 50 years of photographs, writings, and correspondence chronicling Ken Sleight's years of guiding on the Colorado River, his fight to stop the damming of Glen Canyon and the filling of Lake Powell in the 1950s and 60s, and his close friendship with Edward Abbey, author of The Monkey Wrench gang. Ken is the inspiration for Abbey's character Seldom Seen Smith. In honor of Ken Sleight and all who are out there working to save our planet we share again “Cry me a River” – the dramatic stories of three pioneering river activists—Ken Sleight, Katie Lee, and Mark Dubois and the damming of wild rivers in the west. Katie Lee, born in 1917, a former Hollywood starlet, ran the Colorado River through Glen Canyon long before it was dammed, and in 1955 was the 175th person to run the Grand Canyon. An outspoken conservationist, singer and writer, she spent her life fighting for rivers. Mark Dubois, co-founder of Friends of the River, Earth Day and International Rivers Network, began as a river guide who opened up rafting trips to disabled people in the 1970s. Dubois protested the damming and flooding of the Stanislaus River by hiding himself in the river canyon and chaining himself to a rock as the water rose in 1979. We thank producer, river activist and “Keeper,” Martha Ham for her inspiration, her work on this story, and for chronicling Ken Sleight's life and world on the river. This piece is part of Stories from the Heart of the Land, a series featuring intimate stories from around the world about the human connection to land and landscape, produced by Atlantic Public media and supported by The Nature Conservancy. Special thanks to Jay Allison and Emily Botein.

In the years leading up to the horrific Tulsa massacre of 1921, the Greenwood district was a thriving Black metropolis, a city within a city. Buoyed by money from Oklahoma's oil boom, it was home to the original Cotton Club and to one of the first Black-owned daily newspapers in the United States, the Tulsa Star. The Star's founder and editor was A. J. Smitherman, a lawyer and the Alabama-born son of a coal miner. He addressed his eloquence and his ire at local nuisances like prostitution and gambling halls, as well as the gravest injustices of American life. The Radio Hour's KalaLea is the host of “Blindspot: Tulsa Burning.” She looks in this story at how Smitherman documented Greenwood at its height, and how he tried to prevent its destruction.  “Blind Spot: Tulsa Burning” is a six-part podcast co-produced by the History Channel and WNYC Studios, in collaboration with KOSU and Focus Black Oklahoma. The team includes Caroline Lester, Alana Casanova-Burgess, Joe Plourde, Emily Mann, Jenny Lawton, Emily Botein, Quraysh Ali Lansana, Bracken Klar, Rachel Hubbard, Anakwa Dwamena, Jami Floyd, and Cheryl Devall. The music is by Hannis Brown, Am're Ford, Isaac Jones, and Chad Taylor. The executive producers at the History Channel are Eli Lehrer and Jessie Katz. Raven Majia Williams is a consulting producer. Special thanks to Herb Boyd, Kelly Gillespie, Shelley Miller, Jodi-Ann Malarbe, Jennifer Lazo, Andrew Golis, Celia Muller, and Andy Lanset. Maurice Jones was the voice of A. J. Smitherman. Additional voices: Terrance McKnight, Dar es Salaam Riser, Javana Mundy, John Biewen, Jack Fowler, Tangina Stone, Emani Johnston, Danny Wolohan, and Jay Allison.

In the years leading up to the horrific Tulsa massacre of 1921, the Greenwood district was a thriving Black metropolis, a city within a city. Buoyed by money from Oklahoma's oil boom, it was home to the original Cotton Club and to one of the first Black-owned daily newspapers in the United States, the Tulsa Star. The Star's founder and editor was A. J. Smitherman, a lawyer and the Alabama-born son of a coal miner. He addressed his eloquence and his ire at local nuisances like prostitution and gambling halls, as well as the gravest injustices of American life. The Radio Hour's KalaLea is the host of “Blindspot: Tulsa Burning.” She looks in this story at how Smitherman documented Greenwood at its height, and how he tried to prevent its destruction.  “Blind Spot: Tulsa Burning” is a six-part podcast co-produced by the History Channel and WNYC Studios, in collaboration with KOSU and Focus Black Oklahoma. The team includes Caroline Lester, Alana Casanova-Burgess, Joe Plourde, Emily Mann, Jenny Lawton, Emily Botein, Quraysh Ali Lansana, Bracken Klar, Rachel Hubbard, Anakwa Dwamena, Jami Floyd, and Cheryl Devall. The music is by Hannis Brown, Am're Ford, Isaac Jones, and Chad Taylor. The executive producers at the History Channel are Eli Lehrer and Jessie Katz. Raven Majia Williams is a consulting producer. Special thanks to Herb Boyd, Kelly Gillespie, Shelley Miller, Jodi-Ann Malarbe, Jennifer Lazo, Andrew Golis, Celia Muller, and Andy Lanset. Maurice Jones was the voice of A. J. Smitherman. Additional voices: Terrance McKnight, Dar es Salaam Riser, Javana Mundy, John Biewen, Jack Fowler, Tangina Stone, Emani Johnston, Danny Wolohan, and Jay Allison.

Lecrae Moore came up in a Christian culture deeply entwined with politics: Evangelicals were Republicans, and Republicans were evangelicals. As a Black college student, he found a sense of belonging in Bible study. His mentors and community were predominantly white and very conservative, but that didn’t really bother him. He found success as an artist and built a career in the white evangelical world. Over time, though, he began to notice how much politics influenced his church culture. He was inspired by Barack Obama’s election, but felt unable to share that with his evangelical audiences. He was disturbed by the killing of 17-year-old Trayvon Martin, but faced backlash on social media for saying so. He started writing lyrics about race and the hypocrisy he saw among Christians, who he felt paid lip service to diversity but didn’t form substantive relationships with other communities. When he saw how strongly the evangelical world was going to champion Donald Trump, he decided to speak out. He lost money and fans, friends and mentors. And he almost lost his faith. White evangelicals have arguably never been more powerful as a political force in America than they are now, but political victory has a human cost. People of all kinds of backgrounds have felt gutted by Christian support for Trump. Among Christians, the Trump era’s legacy might be fracture, not unity. This week on The Experiment: the story of an evangelical artist who found his voice and lost his church. Further reading: The Unofficial Racism Consultants to the White Evangelical World, How Trump Lost an Evangelical Stalwart, The Tiny Blond Bible Teacher Taking On the Evangelical Political Machine Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Katherine Wells and Alvin Melathe, with reporting by Emma Green. Editing by Julia Longoria, and Emily Botein. Fact-check by William Brennan. Sound design by David Herman. Transcription by Caleb Codding. Music by Ob (“Mog” and “Wold”), water feature (“richard iii (duke of gloucester)”), Keyboard (“My Atelier”), Laundry (“Lawn Feeling”), Norvis Junior (“Overworld 7636” and (“Grim Reapers Groove 94”), and Nelson Bandela (“311 Howard Ave 25 5740” and “Auddi Sun 09 Lop Lop 722”), provided by Tasty Morsels and Nelson Nance. Additional music performed by Lecrae, courtesy of Reach Records, arranged by The Orchard (“Dirty Water” and “Take Me as I Am”). Additional audio from Real Life With Jack Hibbs, Matthew Phan, C-SPAN, ABC News, and Roland S. Martin.

These days, everyone assumes that this is just a fact of life: Evangelicals are Republicans, and Republicans are evangelicals. The powerful alliance culminated in the 2016 election of Donald Trump, tying the reputation of Christianity in America to the Trump brand—maybe permanently. It wasn’t always like this. One man—a political operative from Georgia named Ralph Reed—devised a plan to harness the energy of young Christians and turn them into America’s most powerful voting bloc, one church mailing list at a time. Decades later, when Donald Trump came on the political scene, Reed knew he would be big—and convinced his fellow evangelicals that they should give him a shot. Trump’s election was everything Reed spent his entire career fighting for: a president who was anti–abortion rights, listened to evangelical leaders, and advocated for Christians who felt pushed out of the public square. But Reed’s victory had a cost. Many, many Christians have come to feel that their church cares more about politics than Jesus. They have spoken out. They have grieved. And some of them have left. This week on The Experiment, we have the first episode in a two-part series: Meet the man who turned a disparate group of evangelicals into America’s most powerful voting bloc and invented the evangelical political brand. Then join us next week for Part 2, when we’ll look at the human cost of political victory—a cost that might ultimately be very high. Further reading: “A Christian Insurrection” Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Katherine Wells and Alvin Melathe, with reporting by Emma Green. Editing by Julia Longoria, Tracie Hunte, and Emily Botein. Fact-check by William Brennan. Sound design by David Herman. Music by Parish Council (“Looking for Tom Putt,” “Leaving the TV on at Night,” “Mopping”), Ob (“Ere”), Keyboard (“Staying In”), R McCarthy (“Big Game”), H Hunt (“Journeys”), and Infinite Bisous (“Brain”); provided by Tasty Morsels. Additional music by Lorne David Roderick Balfe (“Petrify (b)”). Additional audio from Warner Bros. Pictures, Access Hollywood, C-SPAN, UCLA’s communications-studies department, and The 700 Club.

Dating shows often push contestants to extreme measures in pursuit of love. Reality-show producers will impose fake deadlines, physical obstacles, and manufactured drama to create the juiciest spectacle. But on TLC’s 90 Day Fiancé, a high-stakes and wildly popular reality show, the producers didn’t need to dream up a deadline: It’s a requirement of the rigorous U.S. visa-application process.  The show follows real-life couples pursuing a K-1 visa—the “fiancé visa”—which allows a U.S. citizen’s foreign partner to enter the U.S. legally, but only for 90 days, the deadline by which they must get married. The show documents the complications of those emotionally charged 90 days, when two people from different countries, cultures, and sometimes races have to decide whether their relationship is real. “From the very moment that the federal government became involved in immigration, you see the influence of biases of race as it’s intersecting with class and sexuality,” says Felicity Amaya Schaeffer, a professor of feminist studies and critical race studies at UC Santa Cruz. Be part of The Experiment. Use the hashtag #TheExperimentPodcast, or write to us at theexperiment@theatlantic.com. This episode was produced by Tracie Hunte and Gabrielle Berbey, with editing by Katherine Wells, Julia Longoria, and Emily Botein. Fact-check by William Brennan. Sound design by David Herman.

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,

The COVID-19 pandemic has been devastating to theater in the United States. Broadway and regional theaters are dark, and Shakespeare festivals across the country have cancelled their seasons. So it wasn’t a surprise when The Public Theater decided, for the first time in 66 years, that they couldn’t offer free Shakespeare in Central Park. But what they did instead made one of their scheduled productions—"Richard II," directed by Saheem Ali—more accessible to more people than ever before. The Public joined forces with New York’s public radio station, WNYC. Together, they created something that hasn’t been done before: a four-night serialized program that combined a presentation of "Richard II" with expert analysis and stories from cast members to contextualize the play in these unusual times. Director Ali worked hand-in-hand with WNYC producers Emily Botein, Matt Collette, and Isaac Jones to overcome massive challenges, like having twenty-six actors appear from twenty-six different locations and getting it all done in a compressed, 12-week period. We talk to Ali and Botein about just how they addressed those hurdles to create their radio production of "Richard II"—which you can listen to now as a podcast. Ali and Botein are interviewed by Barbara Bogaev. Saheem Ali is the director of The Public and WNYC’s radio production of "Richard II." Ali has directed nearly 25 plays, mostly in New York, over the past 10 years. He has his fingers crossed for two productions—in New York and in Berkeley—in 2021. Emily Botien is Vice President for On-Demand Content at WNYC public radio in New York, where she oversees national programs including “Death, Sex & Money.” From the Shakespeare Unlimited podcast series. Published September 15, 2020. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Weeping Made You Break the Story Off” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.

Ana puts on her hot pink visor, Chris gets heatstroke, and the Garcias say goodbye. Follow @ScatteredPodcast for updates on the show, old photos of the fam back in Cuba, and more. Our theme song is "Please Won't Please" from This is How You Smile by Helado Negro. Additional song: "Cuando Salí de Cuba" performed by Celia Cruz. Courtesy of Craft Recordings, a division of Concord Music Group, Inc. Written by Luis Aguilé.  Special thanks to Lillian Guerra, Rachel Hynson, Emily Botein, Celia Muller, Janna Freed, Tobin Low, the entire Death Sex and Money team, Mark Szuchman, and Carrie Kahn. Ernesto Chavez, Suzie Lechtenberg, Julia Longoria, Katie Bishop, Megan Cunnane, Soren Wheeler, Raymond Guillemette, Edward Lattimer, and Carmen Cusido.

With Paula Szuchman and Emily Botein. Paula (Vice President of On Demand Content, WNYC Studios, USA) and Emily (Vice President of On Demand Content, WNYC Studios, USA) dive into their pioneering engagement strategies. WNYC podcasts like Death, Sex & Money and Nancy have built loyal audiences not just with great stories and conversations that speak to their listeners, but from great stories and conversations that allow their listeners to speak to each other.

You've pitched your story; you've collected tape; you've gone through your edits; you're ready to track. But how should you sound when you lay down your narration? What words to emphasize? What tone to take? Watch and listen while Emily Botein leads the way, as producers get "tracked" in real time by coaches with different styles and approaches to voicing. This session includes the brave trackers: Jesse Dukes, John Biewen, and Colette Kinsella. See acast.com/privacy for privacy and opt-out information.

A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch a story. AIR’s Pitch Panel puts producers directly in front of editors, selling their stories with a little help from hosts, WNYC’s Emily Botein and Katie Bishop. Recorded at the 2016 Third Coast Conference. See acast.com/privacy for privacy and opt-out information.

A bonafide Third Coast tradition, this session pulls back the curtain on one of the most difficult and important skills every producer needs to master: how to pitch a story. AIR’s Pitch Panel puts producers directly in front of editors, selling their stories with a little help from hosts, WNYC’s Emily Botein and Katie Bishop. Recorded at the 2016 Third Coast Conference. See acast.com/privacy for privacy and opt-out information.

Emily Botein is the Vice President for On-Demand Content of WNYC. "I feel like as a producer, the whole goal is to have someone become more human, reveal something more personal, say something surprising. So it's your job to make an unrealistically good situation — everything has to be perfect for the host, you want the host to be super comfortable, whatever the host likes. And stupid things, from like what they want to drink, to how they want the mic positioned, to where they want to sit, to anything. It's like you want to make a heightened version of life because you're trying to create a moment. You're not just trying to go gather a story. Something is supposed to happen on the tape. So you need to do everything possible to think about what can happen, and how can you try to trigger it."

For our first episode of Only Human, our host, Mary Harris, shares her own story of when her health changed her life. A couple of years ago, my husband and I had just decided to try for a second kid when something really unexpected happened. Something felt off in my left breast. “Is that a lump?” my husband asked.   “No way,” I said quickly. I’d just gotten a breast exam at my OB’s office, and I was 35. It seemed impossible that what we’d felt was anything to worry about. A mammogram, an ultrasound, and a biopsy later, we learned how wrong we were. I had breast cancer. Then, a few weeks later, as I was getting ready for a lumpectomy, we learned something else. We’d managed to get pregnant.   After just four hours of labor, Stella was born with a head full of black hair. "More than me, actually," observed Mary. (Howard Harris) It was what we wanted. But the timing? Terrible. As I went through surgery and got ready for chemo, I taped the conversations I was having — with my husband, Mark, and my five-year-old son, Leo, and with doctors I consulted. A note about this story: getting a cancer diagnosis during pregnancy is rare, but doctors think there will be more patients like me. Women are having babies later, and cancer is getting diagnosed earlier. More and more, these trendlines intersect. My hope is that by hearing my story, other women who find themselves in this situation will realize that something that seems impossible might not be.   Do you have a "health confession" to share with us?  Leave a comment below, email us at health@wnyc.org, or leave us a voicemail at (803) 820-WNYC, and we might use your story on the show. Special thanks this week to Jad Abumrad, Emily Botein, Theodora Kuslan, Delaney Simmons, Sahar Baharloo, and Lee Hill. //