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3 episodes with rachel price
4 episodes with rachel price
3 episodes with rachel price
In dieser Folge sprechen Fabi und Anne über ein Waschbär in der Bäckerei, Hunting Souls und The Reappearance of Rachel Price.
On this episode of Currently Reading, Meredith and Kaytee are discussing: Bookish Moments: booktube and libraries enabling our hobbies Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: how to finish a book well The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) . . . . 1:35 - Our Bookish Moments Of The Week 4:08 - Megwithbooks on Youtube 6:29 - Blackwell's UK 6:35 - Our Current Reads 6:43 - All Along You Were Blooming by Morgan Harper Nichols (Kaytee) 9:04 - Oscar Wars by Michael Schulman (Meredith) 13:13 - Whalefall by Daniel Kraus (Kaytee) 15:25 - Orbital by Samantha Harvey 16:00 - Into the Drowning Deep by Mira Grant 17:08 - The Tainted Cup by Robert Jackson Bennett 17:27 - A Drop of Corruption by Robert Jackson Bennett (Meredith, releases April 1, 2025) 21:57 - Lunar New Year Love Story by Gene Luen Yang (Kaytee) 24:28 - American Born Chinese by Gene Luen Yang 25:23 - The Reappearance of Rachel Price by Holly Jackson (Meredith) 26:26 - A Good Girl's Guide to Murder by Holly Jackson 28:37 - Deep Dive: How To Finish A Book Well 38:12 - StoryGraph 39:45 - Currently Reading Patreon (to get the tracker Kaytee mentions) 46:52 - Meet Us At The Fountain 46:56 - I wish it was more socially acceptable to be nosy in people's reading lives. (Kaytee) 48:49 - I wish everyone would schedule a reading retreat this year. (Meredith) Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. February's IPL comes to you from Fables and Fairy Tales in Marinsville, Indiana! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business. All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!
Norah and Lena discuss fantasy and mystery! Hear their takes on: Powerless & Reckless by Lauren Roberts, Friday Barnes by R. A. Spratt, The Reappearance of Rachel Price by Holly Jackson, and The Naturals by Jennifer Lynn Barnes.
It's time to wrap up the Summer-Fall Books & Bites Bingo reading challenge! On this episode, we discuss books published in 2024. Our picks include a suspense novel that is also an immersive alternate reality game, a National Book Award-winning adaptation of an American classic, and a YA mystery by a bestselling author. Michael's PickWe Used to Live Here by Marcus KliewerEve Palmer answers the door on a cold, snowy night to a family wanting to know if they can take a quick look around since the father, Thomas, used to live there as a child. Eve, still waiting for her partner to get home, reluctantly invites them in. As they're touring the house, Thomas's daughter goes missing. Eve and Thomas begin their search in the basement, and that's when Eve notices some disconcerting things.We Used to Live Here is part of an ever-evolving immersive alternate reality game that allows you to hunt clues and decipher messages in web code, message boards, and social media accounts long after you've finished the book.Pairing: A hot dish of Totchos (Loaded Tater-Tot Nachos)Carrie's PickJames by Percival EverettThis National Book Award-winning novel retells Mark Twain's The Adventures of Huckleberry Finn through the point of view of Jim, the enslaved man who travels down the Mississippi River with Huck. While the novel pays homage to the original, it also challenges some of Twain's nineteenth-century conventions and deepens Jim's humanity. The risks Jim--who prefers to be called James--faces on this journey, his love for his family and for Huck, all make for a compelling, suspenseful read.Pairing: Grilled Catfish with Tomato Blackberry Salsa, a dish that combines the two foods most readily available to James and Huck.Jacqueline's PickThe Reappearance of Rachel Price by Holly JacksonIn this YA mystery, 18-year-old Bel Price was just two years old when her mother, Rachel, disappeared. Now, a struggling British documentary filmmaker is making a film about her disappearance.One evening, Bel sees a woman who looks just like her mother stumbling around in front of her house. At first, Bel thinks it's the actor playing Rachel during a reenactment scene, but the woman claims she is the real Rachel. Bel thinks the woman is lying and works to uncover the truth.Pairing: A salty, sweet, rich recipe for peanut butter cookies.
16 Jahre nachdem Bels Mutter auf mysteriöse Weise verschwand, taucht sie wieder auf und erzählt eine mehr als obskure Geschichte.
This week the girls dive into their top spooky season book recommendations! From ghostly tales that will haunt your dreams to psychological thrillers that keep you guessing, they share their favorite reads that are perfect for the chillier months—or any time you crave a good thrill/scare. Whether you're looking for a new addition to your bookshelf or the perfect story for a dark and stormy night, this episode has you covered. Get ready to turn the pages… if you dare! Today's Sponsors: ROOLEE Use code READ for 15% off your entire order at www.roolee.com BOOK OF THE MONTH Use code PUMPKIN to get your first book for $5! www.bookofthemonth.com BOOKS MENTIONED: Wayward Pines by Blake Crouch Run by Blake Crouch Then She Was Gone by Lisa Jewell A History of Wild Places by Shea Ernshaw The Grace Year by Kim Liggett Serpent and the Wings of the Night by Carissa Broadbent One Dark Window by Rachel Gill The Natural Series by Jennifer Lynn Barnes A Good Girl's Guide to Murder by Holly Jackson Five Survive by Holly Jackson The Reappearance of Rachel Price by Holly Jackson Stalking Jack the Ripper by Kerri Maniscalco Masters of Death by Olivie Blake Mindf**k Series by S.T. Abbey The Only One Left by Riley Sager Layla by Colleen Hoover Gone Girl by Gillian Flynn The Silent Patient by Alex Michaelides
Update lecture des derniers mois: - The reappearance of Rachel Price, Holly Jackson - Taming 7, Chloe Walsh - Funny Story, Emily Henry - The Right Move, Liz Tomforde - Une vie, Simone Veil - The Dixon Rule, Elle Kennedy - Play Along, Liz Tomforde - The Serpent and the Wings of Night, Carissa Broadbent - Just for the Summer, Abby Jimenez - Caught Up, Liz Tomforde - Wild Love, Elsie Silver - Out on a Limb, Hannah Bonam-Young
**WARNUNG** Die heutige Geschichte enthält sehr plastische Darstellung von Gewalt und Mord. 00:01 - 6:55 Min.: Begrüßung und Update 6:56 Min. - Ende: Geschichte ,,Blutkerzen" Teil 1 von Oliver Kohl Liebe Hörerherzchen, weiter geht's mit einer neuen Hörergeschichte. Diesen Monat kommt sie von Oliver. Er ist Thrillerautor und wenn ihr mehr von ihm lesen möchtet, lohnt sich auf alle Fälle ein Besuch auf seiner Website https://oliver-kohl.com Diese Geschichte werde ich aufgrund ihrer Länge in 2 Teile aufsplitten; der zweite erscheint dann Ende des kommenden Monats. Danke an der Stelle für eure Einsendungen. Bitte macht gern weiter damit :-D Wenn ihr mir eure Geschichten für den Podcast schicken mögt, damit ich sie vertone, immer her damit: kontakt@pia-liest.de Geräusche von freesound.org Musik von Myuu https://www.youtube.com/user/myuuji Veröffentlichungen mit meiner Stimme, die erschienen sind: -,,Das schwarze Element" Teil 2 von Nicole Böhm, erschienen bei Lauschmedien, überall hörbar, wo ihr Hörbücher streamen könnt -,,Saved Dreams" (Whitestone Hospital Teil 4) von Ava Reed, erschienen bei LYX Audio, hörbar überall, wo es Hörbücher gibt -,,Oonas Traum" (Bloodsong Teil 2) von Isabell May, erschienen bei Oetinger Audio, erhältlich überall, wo es Hörbücher gibt -,,Die Chroniken der Seelenwächter Band 33 - Ist Liebe genug?" von Nicole Böhm, erschienen bei Lauschmedien, exklusiv auf Audible. -,,The Reappearance of Rachel Price" von Holly Jackson, erschienen bei ONE Audio, Lübbe Audio Wenn ihr mich unterstützen möchtet, schreibt mir doch gerne eine (möglichst nette :D ) Bewertung bei itunes bzw. Apple Podcast oder bewertet den Podcast bei Spotify oder im Podcastplayer eurer Wahl. Auch Weiterempfehlungen an Freunde, Bekannte und Verwandte helfen sehr. Je mehr Hörerherzchen, desto besser! Und wenn ihr mich monetär unterstützen möchtet, könnt ihr mir einen Betrag eurer Wahl an danke@pia-liest.de schicken. Auch darüber freue ich mich sehr. Danke dafür übrigens auch an Kristina und Katharina Theresia, die mich im vergangenen Monat auf diese Weise unterstützt haben.
As we all know here at My Take, Holly Jackson does not miss and in this episode Maya breaks down her newest release, The Reappearance of Rachel Price. Sierra Madre Golf https://sierramadregolf.com/?ref=mayag or use Code MAYAG Subscribe to the My Take newsletter that comes out every other friday: https://mytake.aweb.page/p/5c793f97-1177-42ff-a0a9-5c9f3b7313b1 My Take also has a Patreon, where every month there will be fun bonus content, including a book club, so it would mean the world if you could support us there! Connect with Maya: Instagram: https://www.instagram.com/_mytake/?hl=en Patreon: https://www.patreon.com/mytakepod Website: https://mytakepodcast.weebly.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/my-take/support
Welcome to our official first episode of the summer season, bookish besties! Prep your carts + your beach bags because we've got some READS for you! Join Han + Steph for this rundown of our top picks for summertime 2024. Rom-coms, women's fiction, thrills + chills… We've got you BOOKED! We've linked the full list below—and please let us know! What are YOU reading this summer?! Find us on Instagram (@bookedsolidpod, @hannahbooksit, @stephanienmack)! Please leave a review or drop us a note anytime! We're so thankful you're here! TODAY'S SOLID BOOKS: The Rom-Commers by Katherine Center Summer Romance by Annabel Monaghan Expiration Dates by Rebecca Serle Kill for Me, Kill for You by Steve Cavanaugh The Silent Patient by Alex Michaelides A Happier Life by Kristy Woodson Harvey Sylvia's Second Act by Hillary Yablon Killers of a Certain Age by Deanna Raybourn Nightwatching by Tracy Sierra She's Not Sorry by Mary Kubica Local Woman Missing by Mary Kubica Listen for the Lie by Amy Tintura The Reappearance of Rachel Price by Holly Jackson A Good Girl's Guide to Murder by Holly Jackson Love Overboard by Shannon Sue Dunlap One-Star Romance by Laura Hankin The Last Word by Taylor Adams The Anxious Generation by Jonathan Haidt* Love Her Well Kari Kampakis The Paradise Problem by Christina Lauren Seven Summers by Paige Toon 28 Summers by Elin Hildebrand The Swan Song by Elin Hildebrand (*Correction: The Anxious Generation is the book Steph meant to name in the episode; not The Anxious Child. Our apologies!)
Rachel Price is a Principal Information Architect at Microsoft and teaches Information Architecture at the School of Visual Concepts in Seattle. She was a guest on The Informed Life in 2019, discussing the role of structure in improvisation. Today's conversation focuses on a subject that's on a lot of information architects' minds: how to responsibly design AI-powered systems.See full show notes at:https://theinformed.life/2024/06/02/episode-141-rachel-price/
It's time for the girls to discuss their April book club book - The Reappearance of Rachel Price by Holly Jackson! Tune in to see what they rated the book, what shocked them the most, and their fan casts for if this book ever made it to the big screen. For those of you who may have not read this one, catch you in May when the IRWSR book club reads Funny Story by Emily Henry! SHOP OUR MERCH Don't forget to follow along on IG and TikTok!
Welcome to Tortured Professional Book Girl. This week, Kayla is obviously obsessed with Taylor Swift's new album, The Tortured Poets Department. After that, she discusses three recent reads. The April Book Club pick is Right on Cue by Falon Ballard. The book club episode will be out on 5/2. On this episode, Kayla talks about: Wild Love by Elise Silver The Reappearance of Rachel Price by Holly Jackson Bye, Baby by Carla Lovering As always, the reviews are spoiler-free. Thank you for listening! Buy the books Kayla covered here: https://bookshop.org/shop/professionalbookgirl Follow Professional Book Girl on Instagram: https://www.instagram.com/professionalbookgirl/ Follow Kayla on Instagram: https://www.instagram.com/kayreadwhat/Watch on YouTube: https://www.youtube.com/@professionalbookgirlpod
Today, on Hook of a Book, I review The Reappearance of Rachel Price, by Holly Jackson! This is a 5-star thriller book written by the same author as the A Good Girl's Guide to Murder trilogy! I couldn't put it down. Email me: hookofabookpodcast@gmail.com. Goodreads username: Ellie Mano --- Send in a voice message: https://podcasters.spotify.com/pod/show/Ellie-Mano/message
John Charles in conversation with Holly Jackson
Join this week as Mikayla, Reggie, and Kennedy discuss Bride by Ali Hazelwood for IRWSR March Book Club book! They talk about their favorite and least favorite parts of the book, what they rated the book. They also talk about who they picked as a fancast. They also announce the Book Club for the month of April, The Reappearance of Rachel Price by Holly Jackson Follow on Tik Tok Follow on Instagram
BOTM: Use the code PASTEL and get your first book (hardcover or audio) for $5.00 and free shipping at bookofthemonth.com. In today's episode, our stack of books is tied together with the common theme of loss. You can be lost in space, lost in the shuffle, lost in thought...these books explore being lost and found in lots of different ways! We will also share a Book in Hand. We're lost without you!Featured BooksAfter Annie by Anna Quindlen (LP)Raft of Stars by Andrew J. Graff (LP)The Five-Star Weekend by Elin Hilderbrand (LH) Like A Mother by Mina Hardy (LH) Books in Hand49 by Agnes Lee (LH) Books Mentioned in This EpisodeMiller's Valley by Anna QuindlenStill Life With Bread Crumbs by Anna Quindlen Lots of Candles, Plenty of Cake by Anna QuindlenBlessings by Anna Quindlen One True Thing by Anna QuindlenTrue North by Andrew J. GraffAll We Were Promised by Ashton LattimoreThe Reappearance of Rachel Price by Holly JacksonHello Beautiful by Ann NapolitanoAdditional Books That Go Along With Our StackAll the Forgivenesses Elizabeth HarbingerDon't Cry for Me by Daniel BlackHouse of Salt and Sorrow by Erin A. CraigWays to contact us:Follow us on Instagram - @thebookbumbleFacebook: Book BumbleOur website: https://thebookbumble.buzzsprout.comEmail: bookbumblepodcast@gmail.comHey Friends, please rate and review us!
Emma and Joe return for their monthly round up of books they're most looking forward to in the upcoming month! Settle in for a long list of great books due to release in April 2024. Author interviews: Just for the Summer by Abby Jimenez A Short Walk Through a Wide World by Douglas Westerbeke Joe's Picks: A Magical Girl Retires by Park Seolyeon Kill Her Twice by Stacey Lee The Black Girl Survives in This One Edited by Desiree S. Evans & Saraciea J. Fennell Women! In! Peril! by Jessie Ren Marshall Ocean's Godori by Elaine U. Cho The Harrowing by Kristen Kiesling Henry Henry by Allen Bratton The Age of Magical Overthinking by Amanda Montell The Last Boyfriends Rules for Revenge by Matthew Hubbard We're Never Getting Home by Tracy Badua Emma's Picks: Funny Story by Emily Henry She's Not Sorry by Mary Kubica The Rule Book by Sarah Adams How to End a Love Story by Yulin Kuang The Husbands by Holly Gramazio The Darkness Rises by Stacy Stokes Darling Girls by Sally Hepworth The Book That Broke the World by Mark Lawrence The Reappearance of Rachel Price by Holly Jackson Taming 7 by Chloe Walsh Readers can sample and borrow the titles mentioned in today's episode on OverDrive.com or in Libby. Library friends can shop these titles in OverDrive Marketplace. Looking for more bookish content? Check out the Libby Life Blog! We hope you enjoy this episode of the Professional Book Nerds podcast. Be sure to rate, review and subscribe on Apple Podcasts, Spotify, or wherever you listen! You can follow the Professional Book Nerds on Instagram, Twitter, and TikTok @ProBookNerds. Want to reach out? Send an email to professionalbooknerds@overdrive.com. We've got merch! Check out our two shirts in The OverDrive Shop (all profits are donated to the ALA Literacy Clearinghouse). Learn more about your ad choices. Visit megaphone.fm/adchoices
We are Traci and Ellie, two bookish friends who read in any spare minute that we have. This week we are sharing our March Madness of Spring 2024 new releases! To shop the books listed in this episode, visit our shop at bookshop.org. Literally Reading: House of Flame and Shadow (Crescent City #3) by Sarah J Maas The Women by Kristin Hannah Open the Book: Funny Story by Emily Henry A Novel Love Story by Ashley Poston Just for the Summer by Abby Jimenez The Paradise Problem by Christina Lauren The Familiar by Leigh Bardugo God of the Woods by Liz Moore The Sicilian Inheritance by Jo Piazza The Paris Novel by Ruth Reichl The Reappearance of Rachel Price by Holly Jackson Darling Girls by Sally Hepworth Table for Two by Amor Towles I Cheerfully Refuse by Leif Enger The Rule Book by Sarah Adams This Summer Will Be Different by Carley Fortune Lies and Weddings by Kevin Kwan Margo's Got Money Troubles by Rufi Thorpe
Highly anticipated spring book releases. Check out Aardvark Book Club https://aardvarkbookclub.com/ US listeners – get your first book for $4+tax (free shipping) using code TALKBOOKISH at checkout Join my Patreon https://www.patreon.com/talkbookishpodcast Follow me on Instagram https://www.instagram.com/talkbookishpodcast/ Talk Bookish to Me merch https://www.bonfire.com/store/talkbookishpodcast/ Books Mentioned This Could Be Us by Kennedy Ryan Expiration Dates by Rebecca Serle Bye, Baby by Carola Lovering Slow Productivity: The Lost Art of Accomplishment Without Burnout by Cal Newport Murder Road by Simone St. James Annie Bot by Sierra Greer Good Half Gone by Tarryn Fisher Where Sleeping Girls Lie by Faridah Àbíké-Íyímídé The Trail of Lost Hearts by Tracey Gravis Graves The Reappearance of Rachel Price by Holly Jackson The Rule Book by Sarah Adams Just for the Summer by Abby Jiminez The Age of Magical Overthinking: Notes on Modern Irrationality by Amanda Montell One of Us Knows by Alyssa Cole Darling Girls by Sally Hepworth Funny Story by Emily Henry This Summer Will Be Different by Carley Fortune The Paradise Problem by Christina Lauren The Main Character by Jaclyn Goldis The Last Murder at the End of the World by Stuart Turton --- Send in a voice message: https://podcasters.spotify.com/pod/show/talk-bookish-to-me/message Support this podcast: https://podcasters.spotify.com/pod/show/talk-bookish-to-me/support
This week we read “Pucking Around: A Why Choose Hockey Romance (Jacksonville Rays Book 1)” by Emily Rath Recent med school graduate Rachel Price's dream comes true when she lands a fellowship with a new NHL team, the Jacksonville Rays, as a physical therapist. However, she's only in Florida for a day before she comes face to face with Jake, the mystery man from her one night stand two months ago. It turns out Jake is one of the Jacksonville Rays. Both of them will do anything to pick up where they left off two months ago, but it turns out, he's not the only one interested in Rachel. His best friend, and team equipment manager, Caleb, likes her, too. And Ilmari, the brooding goalie, also wants to be with Rachel. Things heat up between Rachel and the guys, but they keep themselves a secret. The public would never be accepting of their relationship. Their careers, lives, and futures are on the line. How did we rate it? What did we think? Find out on this episode of diktok. https://www.instagram.com/diktokpod/
In this week's episode we congratulate some of the greats in the culture who received their Phd's & D.Litts this week. Any chance we can make peace between Rachel Price & NCW or Akeem & Trinidad Killa? We review the first Tobago Carnival. New song review of Fay Ann Lyons' Upgrade & much more!Enjoy!
Join Kamz and Rachel Price Sitman, Founder and Community Builder of XCollective, a professional growth community providing career coaching, networking & negotiation tips in the Web3 space, as they discuss how to secure the Web3 job and pay of your dreams. Join them on an adventure as they pave the road from job search to acquisition. They cruise through understanding the benefits of working in Web3, especially for women, and most importantly, how to ensure you're being compensated fairly.Rachel shares the scoop on:
#110 – Most of us appreciate our volunteers more than they even know it. We thank them, throw an appreciation party, and maybe even write them a note from time to time - but how can we make sure we are communicating how appreciative we are of our volunteers? In today's episode of the podcast, we sit down with our friend Rachel Price to discuss ways we can make appreciation ideas FUN! We hope you enjoy episode 110 of the Lead Volunteers Podcast and share it with a ministry leader you know who may find this beneficial for their ministry context! If you would like to gain INSTANT access to the bank of resources mentioned in today's episode, check out leadvolunteers.com and get started today! Follow us on Facebook and Instagram!
On this episode of because we hear the becauses of Rachel Price, Quad City area Youth Advocate. Rachel has worked in the youth development field for over six years, where her passion is creating a supportive and safe environment for all youth to thrive.Rachel was born and raised in West Virginia, where she also attended college and received a Bachelor's in English. Rachel and her husband and Because.. host Marc Zyla, also from West Virginia, moved to the Quad Cities six years ago and are proud to call the community their second home. Rachel, a former competitive rower, enjoys kayaking, hiking, and exploring the Midwest with her husband and two rescue dogs, Dolly and Roxie. Support the show (https://qcsymphony.secure.force.com/donate/?dfId=a0n5d00000SJXSBAA5&)
It's a new year, which means it's the perfect time to bring a new guest to The Jazz Session. While this musician is new to the podcast, she is certainly not a new or unknown entity to jazz musicians and educators the world over. Vocalist Dominique Eade is a musicians' musician, having recorded with Dave Holland, Fred Hersch and Ran Blake, and performed with Bill Frisell and Anthony Braxton. Dominique's relationship with the New England Conservatory of Music dates back to 1984, having both graduated from the program and gone on to found and oversee the Jazz Vocal Program, which boasts alums including Roberta Gambarini, Aoife O'Donovan, Michael Mayo, and Lake Street Dive's Rachel Price. Show Notes: Tracklisting: - Open Letter (feat. Jed Wilson) - When The Wind Was Green (feat. Fred Hersch) - If I Were A Bell - Moon River (feat. Ran Blake) - I'm Hans Christian Andersen Dominique's past students mentioned in conversation: https://www.aubreyjohnsonmusic.com/ http://www.saraleib.com/ https://www.saraserpa.com/ https://www.sofiamusic.com/ https://www.michaelmayomusic.com/ http://sarahjarosz.com/ Visit http://www.dominiqueeade.com/home.html for more information. Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.
It's a new year, which means it's the perfect time to bring a new guest to The Jazz Session. While this musician is new to the podcast, she is certainly not a new or unknown entity to jazz musicians and educators the world over. Vocalist Dominique Eade is a musicians' musician, having recorded with Dave Holland, Fred Hersch and Ran Blake, and performed with Bill Frisell and Anthony Braxton. Dominique's relationship with the New England Conservatory of Music dates back to 1984, having both graduated from the program and gone on to found and oversee the Jazz Vocal Program, which boasts alums including Roberta Gambarini, Aoife O'Donovan, Michael Mayo, and Lake Street Dive's Rachel Price. Show Notes: Tracklisting: - Open Letter (feat. Jed Wilson) - When The Wind Was Green (feat. Fred Hersch) - If I Were A Bell - Moon River (feat. Ran Blake) - I'm Hans Christian Andersen Dominique's past students mentioned in conversation: https://www.aubreyjohnsonmusic.com/ http://www.saraleib.com/ https://www.saraserpa.com/ https://www.sofiamusic.com/ https://www.michaelmayomusic.com/ http://sarahjarosz.com/ Visit http://www.dominiqueeade.com/home.html for more information. Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.
It's a new year, which means it's the perfect time to bring a new guest to The Jazz Session. While this musician is new to the podcast, she is certainly not a new or unknown entity to jazz musicians and educators the world over. Vocalist Dominique Eade is a musicians' musician, having recorded with Dave Holland, Fred Hersch and Ran Blake, and performed with Bill Frisell and Anthony Braxton. Dominique's relationship with the New England Conservatory of Music dates back to 1984, having both graduated from the program and gone on to found and oversee the Jazz Vocal Program, which boasts alums including Roberta Gambarini, Aoife O'Donovan, Michael Mayo, and Lake Street Dive's Rachel Price. Show Notes: Tracklisting: - Open Letter (feat. Jed Wilson) - When The Wind Was Green (feat. Fred Hersch) - If I Were A Bell - Moon River (feat. Ran Blake) - I'm Hans Christian Andersen Dominique's past students mentioned in conversation: https://www.aubreyjohnsonmusic.com/ http://www.saraleib.com/ https://www.saraserpa.com/ https://www.sofiamusic.com/ https://www.michaelmayomusic.com/ http://sarahjarosz.com/ Visit http://www.dominiqueeade.com/home.html for more information. Theme music by The Respect Sextet Follow The Jazz Session on Twitter, Instagram and Facebook Subscribe to The Jazz Session's YouTube Channel Support The Jazz Session by becoming a member at Patreon. For $5 a month you'll get a weekly bonus episode called Track of the Week, plus early access to every show. For $10 a month you get all that plus an extra monthly bonus episode of “The Insider”, a spin-off interview series where Nicky chats to jazz industry insiders (broadcasters, artist agents, label heads, journalists) about the nuts and bolts of the business.
Do świata Żuław Vice wkracza nowa postać - Rachel Price - patolog sądowa, współpracująca z policją i posiadająca własny zakład pogrzebowy: "Saeculum Mortuary". Tym razem została wezwana do bardzo dziwnego trupa, w którym zaszyta została wiadomość i torebka kokainy. O wiadomości dowiedziano się jednak w klubie Pałałeło i Hayley Wolf wraz z Coreyem Osbournem i krukiem Haroldem - wyruszyli aby odebrać to co do nich należy. Spotkanie skończyło się wystrzałowo, a to dopiero pierwsza połowa zdarzeń. Posłuchajcie sami, a będziecie świadkami twardych negocjacji. Hayley Wolf - Grażka Corey Osbourne - Groshu Rachel Price - Maika
Topics: Treefort, Boise, Fall, Seattle, KEXP, Music Major, Lake Street Dive, Rachel Price, Chong The Nomad, Smokey Brights, Tres Leches, Shaina Shepherd, Delvon Lamarr Organ Trio, MTN Bike, Covid, Mask Mandate, Dune, El Kora Shrine, Mardi Gras, Street Fever,...
Conversations about Information Architecture Dan Brown talks with Rachel Price about the Lens of Metadata Feasibility
No guest in this episode. Instead, I answer listener questions. If you have a question you'd like me to address on the show, please email me at live@theinformed.life or tweet to @informed_life. Listen to the show Download episode 67 Show notes The Informed Life episode 17: Rachel Price on Improvisation The Informed Life episode 65: Sarah Barrett on Architectural Scale A brief history of information architecture (pdf) by Peter Morville Information Architects by Richard Saul Wurman David Macaulay Alexander Tsiaras Why Software is Eating the World by Marc Andreessen (WSJ paywall) Dave Gray The Information Architecture Institute How to Make Sense of Any Mess by Abby Covert Information Architecture: For the Web and Beyond by Louis Rosenfeld, Peter Morville, and Jorge Arango The Information Architecture Conference World IA Day Information Architects Facebook group UX Design Information Architecture LinkedIn group Mags Hanley's Information Architecture Masterclasses Jorge Arango's Information Architecture Essentials workshop Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the transcript A question from Vinish Garg The first question comes from Vinish Garg. And I apologize if I have mispronounced that. Vinish is based in Chandigarh, and he writes, "the design agencies with around a hundred plus headcount have big and experienced teams in user research, interaction, design, and UX design. But many of them don't have an information architect. How do they see the need of a specialist IA and make space for this role?" And he adds a postscript, he says "those who have an IA, I spoke to many of them, but they are doing wireframes or card sorting without really understanding anything of taxonomy or findability. This is misplaced IA." All right. So, let me take the question first. Information architecture in general has withered as a job title. In the last 20 years, we've seen fewer and fewer people signing up to become information architects in organizations, not just in internal design teams, but also in agencies. In fact, I don't know many organizations that still have internal information architects. One notable exception — and I'm just calling it out because we've had two of their folks in the show — is Microsoft. Rachel Price and Sarah Barrett, both former guests of The Informed Life, are information architects within Microsoft. So, that's an example of an organization that still has the role internally. But I think that the more common scenario is that there is someone with another job title. It might be a UX designer or interaction designer or something like that, is tasked with structuring the system somehow. Sadly. I think that the even more common scenario is that no one does this explicitly at all, and they're just basically painting screens. I suspect that is the more common scenario. And it's a shame, because information architecture is very important, especially if you're dealing with a large complex system that presents a lot of information to end users. I want to comment a bit on the postscript. I think that it may be the case that there are people who, as Vinish points out, are practicing what they call information architecture, but they're doing it very superficially. And I encounter this most often in the confusion that people have between site maps and information architecture. I've seen folks draw up an outline in the form of a site map and basically call it a day. A site map is a useful artifact for communicating structural intent, but there's much more to information architecture than making a site map. And for many interactive systems, a site map might not even be the most appropriate artifact to communicate intent. Site maps tend to be very hierarchical, which is something that is more appropriate for some systems than others. I expect that, given the waning of information architecture, as I was saying earlier, much of what is practiced today under the rubric of information architecture is kind of cargo cult IA, where folks go through the motions of doing something like putting together a site map without understanding the reasoning behind the decisions they're making or why they're even making the artifact at all. And this is not something that's unique to IA. There are a lot of other areas of practice, other disciplines, where folks adopt the superficial trappings of the practice without really understanding the foundations. And in the case of information architecture, the foundations have to do with making meaningful distinctions. So, setting things aside in categories that are recognizable to the users of the system, that allow them to relate to the information in the system in meaningful ways, with the goal of ultimately making the system easier to use by making information easier to find and understand. Now, Vinish asked specifically about the context of agencies. I don't know much about the Indian market, but here in the U.S., the role of agencies in the design process has also waned as compared to 20 years ago. A lot of the work is happening internally in organizations, and that might be part of the reason why the role has waned as well. Because I think that people think about information architecture — if they think about it at all — when there's a major system change, when there's a redesign or a new product is being built and not so much during the day-to-day operations of the system. Again, there are exceptions. I called out Rachel and Sarah, who are part of a team that has ongoing responsibilities, because it's such a large system where so much content is produced. But in many cases, folks only need to do this sort of thing when they're making a major change, when they're implementing a new system or redesigning a system, as I said before. Which would lead me to expect that it is a role that would be more appropriate for design agencies, if, for no other reason, because design agencies do deal with more projects at the beginning their life, as opposed to the operational phase of the project. But alas, as Vinish points out, the role has also been waning in agencies as well. I don't know how they see the need for IA specialists. I don't know that they'd see the need for IA specialists. I believe that more likely they are experiencing the pain of not having an information architect in the team. Peter Morville has written of the "pain with no name" in reference to information architecture, this idea that people in the team might know that there's a problem, but they don't know how to name it. And they don't know that I'm more careful distinction making our structuring of the information in the environment might be part of the solution. And the net result is that frankly, information architecture isn't as popular as it used to be. And that may be a failing on the part of us who practice IA. We simply haven't been very good at explaining why it's important, why it's needed and why teams should consider having folks look after this stuff. That said, I know that there are people doing it out there. They just don't have the job title information architect — or at least that's what I would like to be the case. A question from Jose Gutierrez The next question comes from Jose Gutierrez; I think Jose is writing from Costa Rica. He writes, "I'm curious about what subjects does IA impact, but people normally don't associate with." These days, most people who think about information architecture — at least the few that do — think of it in relation to user experience design or digital design. But when I first learned about information architecture, I did so through Richard's Saul Wurman's 1996 book Information Architects. The impression that I got from that book was that IA was much, much broader. The very cover of the book has three definitions of what information architects are, and the first one says, "the individual who organizes the patterns inherent in data, making the complex clear." There's nothing in there about digital anything. We encounter patterns inherent in data and complexity in many different parts of reality, not just in digital systems. In fact, while the book touches on digital design, it's remit as much broader. It profiles folks like author David Macaulay, who has produced a series of wonderful books that explain how things work, or Alexander Tsiaras who works in medical imaging. And there's also cartography and illustration and yep, also some digital design, like structuring websites and that sort of thing, which is what we today, mostly associate with information architecture. And this isn't surprising because as software has eaten more of the world — to use Marc Andreessen's memorable phrase — more and more of our information is digital, and we experience more of the information that we deal with in digital environments. But structuring information to ease findability and understandability is much older than computers. I remember seeing a presentation many years ago by Dave Gray on the history of the book as an artifact, which really opened my eyes to this. Before there were books, we would write down information in things like scrolls. And what we know of as books — the form of a book, what is called a codex — was an innovation. It allowed for greater portability and random access to the information in the book, because you didn't have to unroll the whole thing to get to a particular section. Those were all innovations, right? But the very first codexes didn't have things like page numbers or tables of contents or indices or any of those things, and those were all innovations that allowed readers to find information more easily in books. I think that those are examples of information architecture, and they are many centuries old. So, any time that you're trying to make things easier to find and understand — whether it be in a book or a built environment or a medical image, or an app — Information architecture can help. As I said, in response to Vinish's question, I consider the essence of information architecture to be about making more meaningful distinctions. And this is something that applies to all sorts of aspects of reality. In fact, part of the intent for launching this podcast was precisely because I think that information architecture manifests in so many different fields. And I'm very interested in hearing from folks about how structuring, categorizing, organizing information more mindfully helps them get things done. A question from Elijah Claude Finally, here's a question from Elijah Claude. And again, I hope that I am pronouncing your name properly. I believe that Elijah is writing from Atlanta. He writes, " what are some of the best ways to learn good information architecture outside of school and work. In other words, how do you do personal projects where you can practice real information architecture? Great resources for IA books, podcasts, videos, et cetera." This question has two parts. So, there's a part that has to do with learning IA. And there's another part that has to do with practicing IA in our everyday lives. I must note upfront that I personally don't like to draw hard lines between life, work, school and all these things. I think that you can practice information architecture at any time. Information architecture is as much a mindset as it is a practice. And it's a mindset that has to do with looking beneath the surface of things to the way that things are organized and structured, and the ways in which we create shared meaning in how we organize and structure things in our world. That sounds a little abstract, so I'll give you an example. When we moved into the house that we're currently living in, my wife and I had a conversation about where we were going to store the various objects in our kitchen. So, we had boxes with things like plates and cutlery and food items, spices, and such. There are many categories of food items. There are dry foods, and there are big bulky foods that take up a lot of space, things like sacks of flour, rice and stuff like that. And here we are in this new house with a different layout than the one that we're used to, and many places in which to put things. And we had to coordinate where we were going to store things. Because if not, we would make it very difficult for each other to find things when we need them. And that's something that happened somewhat organically. We had an informal conversation saying, "Hey, maybe the cutlery can go in this drawer. And maybe this cabinet close to the stove would be perfect for things like spices and so on." Some things were obvious where they should go, others less so — and the arrangement has evolved over time. Over the time that we've been living here, we've occasionally moved things and found better ways to organize our kitchen. So, it's an ongoing thing and we talk about it. I think that it would be different if either one of us was organizing the kitchen for ourselves as individuals. When you must consider that at least one other person is going to be sharing the place with you, then you must take into consideration how they are going to be able to navigate the environment to find the stuff that they need. And I consider that to be an information architecture challenge. I'll give you another example. And funny enough, this one also has to do with our kitchen. Recently, we discovered that we have a minor problem. This is something that has emerged in the pandemic. It used to be that before the pandemic, I would often work outside of the house. And of course, with the arrival of the pandemic, more of us have been working from home. And as I've started working from home — and I tend to wake up very early — I would find that some days I would feed Bumpkin, our dog. I would feed bumpkin. And then, later in the morning, my wife, who normally feeds Bumpkin, would come along and would feed him not knowing that that I had already fed him. Bumpkin can be very insistent if he's hungry. So, if he comes knocking on my home office door, I will feed him because that's what gets him to stop knocking. And my wife and I have been prototyping a system to let each other know if Bumpkin has eaten or not. I wrote two sticky notes, one that said, "Bumpkin has eaten breakfast" and the other one said, "Bumpkin has eaten dinner." And we put it up on the cabinet where we keep his food. And the idea was that every time that she or I fed him a meal, we would place the appropriate sticky on the outside of the cabinet door. And that kind of worked for a while. But the glue the sticky started wearing out after switching them around so many times. So, we tried something else. We tried another sticky, this one on the refrigerator door with a checkbox. And one checkbox says, "Bumpkin has eaten breakfast" and the other checkbox says, "Bumpkin has eaten dinner." And we have a little magnet that we move between them. And what we discovered with that new prototype is that the sticky is much more resilient, because we're not moving it around, but it's in the wrong part of the environment because we're normally not looking in the refrigerator when we're feeding Bumpkin. So, we often forget to move the magnet. And I'm now thinking about the third rev of this thing, which would combine the two. And this will probably involve putting some kind of magnetic board on the door where we keep the dog food. And I consider all of these to be information architecture problems. On the one hand, clarifying the distinction between what was the last meal that Bumpkin had eaten, that's information architecture. And another is the location of this marker in the environment. Like I said, we were having a lot more traction when we had the sticky on the door that had the dog food in it than when we put it on the refrigerator door. And the only reason why we did it, there was a completely technical reason, which is that the fridge is already magnetized. So, these are examples of information architecture or architectural thinking at play in real-world problems — admittedly a very simple one. But it's not unusual. It's not unusual for us to apply that kind of mindset to organizing the real world. It's how we make sense of things. It's how we structure our environments so that we can get things done. And it doesn't just happen in information environments, it happens in physical environments as well. So, that's with regards to the practice question. The learning question is a bit tougher, because as I have said in the previous questions in this episode, interest in information architecture has waned over the last 20 years. So, resources are less plentiful than they used to be. The Information Architecture Institute, which was the preeminent place that I would point people to who wanted to learn about IA has seized operations. It feels to me like the discipline is in something of a state of transition. I am sure that there is a robust future for information architecture, but it's hard for me right now to point to any one definitive resource and say, this is what you should check out. There are books. That is the first thing that I recommend that folks check out. And Elijah, given the fact that you asked about non-work or school related contexts, the number one book that I would recommend for you, if you haven't seen it already, is Abby Covert's How to Make Sense of Any Mess, which is a primer on information architecture. It's a beautiful book in that it really articulates the core issues that transcend digital in a very useful way. Another book — and this one is, alas, a bit self-serving — is the fourth edition of the polar bear book, Information Architecture: For the Web and Beyond. And I say it's self-serving because I had the great privilege of having been invited to coauthor the fourth edition alongside the original authors, Lou Rosenfeld and Peter Morville. And that book is more specific to digital information environments, but I still think that it's one of the best places to learn about IA. There are also conferences. The two most prominent are the Information Architecture Conference and World IA Day. Both of those happen in the spring. The IA Conference is global. It usually happens in one city and folks fly from all over the world — or at least they did in the before times. The last two years, it's been virtual because of COVID. But it's more global, and it's a central gathering for IAS and the IA-curious. If you are interested in learning more about IA, I would recommend that you participate in the IA Conference. World IA Day is more of a localized initiative. It's a single day event and many cities participate around the world. It's driven by the communities in those cities. So again, super local. And it's a great way to meet people who are interested in information architecture in your own community. So, those are two events that I recommend: the IA Conference and World IA Day. There's also social media. There is at least one group on Facebook that is dedicated to information architecture. I know that there are also groups in LinkedIn. I haven't participated much in either of those, but I know that they exist. If that's what you prefer, you have those options. And then there are also courses. I know that Mags Hanley has a course on information architecture and by the way, a little bit of a spoiler: Mags is an upcoming guest of the show. We don't get in depth into her course, we talk about other subjects, but I know that Mags has a course that she does online and that may be worthwhile checking out. And then I have a workshop that I've done several times called Information Architecture Essentials, which is designed to introduce folks to the discipline. And I'm in the process of turning that into an online course as well. And by the way, if you are interested in that, I would love to hear from you, because I'm in the process of crafting that now. I'm also interested. If you have suggestions for folks like Elijah who want to find out more about information architecture. I would love to learn about other resources I might've missed, so please do get in touch. Closing So, there you have it, the first listener question episode of the show. I have other questions that folks sent in, but we didn't get a chance to get to them. So, I might do this again. Please do reach out if you enjoyed this episode, if you think I should do another one, and most especially, if you have a question yourself that you would like me to answer on the show. You can find contact information on the show's website at theinformed.life. That's also where you can find show notes and a transcript for this episode. For now, I want to thank Vinish, Jose, and Elijah for their questions. And thank you for listening. As a reminder, please rate or review the show in the Apple Podcasts app or in the Apple podcast directory. This helps other folks find it. Thanks!
If she preaches it, she has to practice it and that is one of the things that Jodi strongly devotes her time to; which is getting into the word of God. This week Jodi's guest is Rachel Price who is a Bible Study teacher and has tremendous insight and applications that we can use to get more into the word and help us study without it becoming overwhelming or stressful. Peace is not the absence of problems, but the presence of God. And in order to get closer to God, you've got to get into his word!You can always reach Rachel for more tips and wisdom at www.rachelprice.com
Several interviews from a couple of back-to-back conferences featuring former Focus on the Family and Truth Project leader Del Tackett on a new evangelistic program called "The Engagement". Additionally, interviews with Glen Gilzean (Central Florida Urban League), Tim Head (Executive Director of the Faith and Freedom Coalition), and popular speaker and coach Rachel Price.
Sarah Barrett is a principal IA Manager at Microsoft. She's been writing compellingly about information architecture in Medium, and in this conversation, we focus on her most recent posts, which deal with how architectural scale affects our perception of information environments. Download episode 64 Show notes Sarah R. Barrett @documentalope (Sarah Barrett) on Twitter Known Item (Medium publication) Microsoft Learn MSDN docs.microsoft.com World IA Day Breadcrumb navigation Rachel Price Websites are not living rooms and other lessons for information architecture by Sarah Barrett Understanding Architectural Scale: Tabletops and landscapes by Sarah Barrett Microsoft Bob The Informed Life episode 17: Rachel Price on Improvisation Some show notes may include Amazon affiliate links. I get a small commission for purchases made through these links. Read the transcript Jorge: Sarah, welcome to the show. Sarah: Thank you for having me. This is so exciting. Jorge: Well, I'm excited to have you here. For folks who might not know you, would you mind please introducing yourself? About Sarah Sarah: Sure. My name is Sarah Barrett and I lead the information architecture team for Microsoft's Developer Relations organization. So, in addition to the kind of stuff that you might think of as standard developer relations, like advocates going out and doing talks about Microsoft technologies and that kind of thing, we also have a huge web presence. So, we publish Microsoft Docs, developer.microsoft.com Learn, which is a training and kind of like micro-learning platform. All of the information about Microsoft certifications, a Q & A site, a whole bunch of other stuff. So, it's really everywhere where we're not trying to sell you stuff; we're just trying to teach you how to use all of Microsoft technical products. It's a really fun, huge problem. And we've got a good-sized information architecture team for information architecture teams, which tend to be small. So that's really exciting. Before that, I was a consultant and I worked with a lot of different companies looking into how they solve their information architecture problems. But I wanted to go in-house somewhere, so I could actually sit with a problem and work with people in order to make it happen rather than just creating some shelfware, which everybody does, no matter how good your work is because organizations just aren't ready for it. So, I've been in house there for about three and a half years. It's been a really fun challenge. Jorge: That's great. I think I'm going to be revealing my age here by saying that at one point, I had an MSDN subscription where I would get these big boxes full of CDs, basically. And I'm guessing that with the advent of the internet, those things are no longer distributed on CDs and your team looks after the organization of all that content. Is that right? Sarah: Yeah. So, I mean, the funny thing about information is that it did not arise with the internet, as you know. This stuff has been around for a really long time. And even you know, a tech company like Microsoft is newer than many others, but like all of that information about MSDN did not go away. And MSDN TechNet, which was kind of IT pro side... originally, they would mail you physical CDs, and that was kind of the gold standard. Then all that stuff got put on websites. There was msdn.com. And we just finished migrating all of msdn.com over onto Docs - docs.microsoft.com. A lot of that information is still stuff that we're half-heartedly organizing and trying to find a place for because that history is so long. Jorge: From my brief experience with it, I get the sense that it is a massive amount of content. And it's also content that is undergoing constant revisions, because it deals with the documentation that developers need in order to use Microsoft's products and platforms, correct? Sarah: Yeah. So, it's a funny thing, because I sort of feel like if you were to go to docs.microsoft.com, which is the main thing we publish, you'd look at it and go, "somebody does the IA for this?" Like, it doesn't look like there's a lot of IA there — which, I promise you, we do! And we're even good at it. It's just a huge... it's a huge problem. It's a huge space. It's an enormous ecosystem of things. And a lot of the work we do is really around strategy and policy and winning hearts and minds and that kind of thing. It's been a long process. And yeah, because it is so big, so many different teams at the company publish to it, it's really more of a platform than a product. The way you talk about websites as places and emergent places rather than products or services or something like that, is extremely true for us, because it is something that lots of people are creating in an ongoing way all together, in perpetuity. And it changes constantly. So, a lot of what we do is try to adjust rules, try to incentivize different behaviors, create standards and structures around what people do rather than just architecting a site and saying, "cool, it's architected. There's your IA! It's done." There's no room for that in our work. Jorge: What I'm hearing there is that you are more the stewards of the place than the people who are structuring the nitty gritty content. Is that fair? Sarah: Absolutely. You know, we create guidelines for how you structure a table of contents or the kinds of things you put in navigation. We don't actually do any of it for you if you're a publisher on our platform. How websites are not living rooms Jorge: Well, that sounds super interesting, exciting, and necessary, I would imagine, especially in such a large distributed system. I've been wanting to have you on the show for a while, but what prompted me to reach out to you was a post you published to Medium called, "Websites are Not Living Rooms and Other Lessons for Information Architecture." I was hoping that you would tell us a bit about this. What do you mean by "websites are not living rooms?" Sarah: This article that you're talking about came out of a workshop I put together for World IA Day, when you and I last met in Switzerland. And the idea of the workshop really arose out of this work I was doing at Microsoft, which is so different from the consulting I was doing before. I often found, as a consultant, people are very ready to treat you as an expert. And oftentimes when you come in as part of a consultancy or an agency, some project sponsor or kind of some champion for there even being an information architecture problem that needs to be solved by a consultant, has done so much legwork for you in convincing everybody that this is a problem, in convincing everybody that information architecture is a thing. You know, somebody has done so much of that work. And so, everybody's very primed to treat you like an expert and accept the basics of what you're telling them when you come in in that context. When I started at Microsoft, I was the only information architect. There are more of us now, but at the time it was only me. And in retrospect, like I still can't figure out why they hired me, because I spent the first, probably 18 months I was there going to meetings with extraordinarily nice and talented people who I adore... but going to meetings with them and then being like, "I don't see why you have to have breadcrumbs. I don't see why things in the navigation all have to go to the same website. Why?" And it was... it wasn't hostile, but it was a challenge to explain the first principles of everything that tend to be true about information architecture. Like, "yes, you ought to have breadcrumbs on every page." Like, "yes, the steps in the breadcrumbs should go to pages where you can get to the subsequent breadcrumbs!" Very nitty gritty details like that, where I had never had to explain how breadcrumbs worked before because usually we all just have such a shared mental model about them. And one of the things that comes out of this so frequently, and the example I use in the article actually comes from my colleague Rachel Price, from her consulting days where people often come with a very simple idea of how they feel like it should just work. And those ways, like, "why can't we just..." so frequently comes from an experience in the real world, where I think the example that Rachel has is she was working on a product that was for college students. And the product manager was like, "why can't it just be a dorm room? And my backpack is on the floor and my wallet is in my backpack. And if I need to change something about my payment, I go in the backpack and I get my wallet. Why can't it just work that way?" And as an information architect, like I know in my bones that the answer is, "it can't. That will not work!" But it's really actually very hard to explain why, other than like, "that's weird and we tried it in the nineties! But it won't work." And so, a lot of this article is about like, okay, why does that idea of structuring something like physical space — why does it feel so appealing? Why does it seem so easy? And then why is won't it work? Why is it a red herring? Jorge: And what you're talking about here, I want to unpack it for the folks who are listening, is the idea that you can structure a digital system in ways that mimic the ways that we structure our physical environments, where we do things because, hey, we're used to operating in a living room or an office or what have you, why can't we just have the same affordances and signifiers, but presented in a two dimensional screen somehow. Is that right? Sarah: Yeah. And it seems like it ought to work, but it really doesn't. And it's because... and the point I'm making in the article is that there are implicit rules to how physical spaces work and I'm actually working on the next article in this series to unpack some of those more. I'm trying to get it published this week as we record it. But I have a two-year-old, so we'll see how that works. There are implicit rules to how these spaces work in the real world. And it's easy to mimic the look and feel of a physical space without actually following those implicit rules. So, we need to unpack what the implicit rules are. Jorge: The example that you bring up in the article is one that... again, I'm going to reveal my age by saying this, I remember being on the market, which is Microsoft Bob. And there might be a lot of folks in the audience who are not familiar with Microsoft Bob. How will you describe It for someone who hasn't seen it? Sarah: It wasn't the only one of these kinds of products. I think there were a lot of them in the early days of software and the internet. We didn't have this one, but I remember the very first computer I used that accessed the internet... it had other things that were like this. But it was basically that Microsoft was trying to sell the idea of an operating system and a personal computer to a home market. And in order to make it more accessible and appealing, they tried to structure the desktop, or like the operating system, as if it were a house. And so, the idea was that your accounting would be in a checkbook that was on a little drawing of a desk, which was in a study. And if you wanted to look at your contacts, that was in a Rolodex on the desk. If you wanted to do something that wasn't in a study or an office context, you would go to a different room, and that would be there instead. And it has some weird rooms. I've never actually used it, so I've only been able to kind of piece it together from stuff on the internet. But there's like a barn or something — it gets very strange! There are obviously parts of it that are just silly, where, you know... why do you need that room? But there are also parts of it that just, again, they don't follow the rules of how architectures are going to work, so it's not going to work. And it provides a kind of fun counterpoint to realistic requests and objections that you do get doing this kind of work. Metaphors Jorge: We use the desktop and file folder metaphor in interacting with our… let's call them personal computers as opposed to mobile devices. And that is a metaphor; it's not inherent to the underlying technology. Why would you say that the desktop and file folder metaphor works whereas the architectural metaphor doesn't work as well? Sarah: Yeah. I think there are a couple of things going on. This is very much like the subject of the next article that I'm working on. Which is that I would argue that our brains understand space at different scales. And we understand what I call tabletops, but you could also call a desktop or something like that in a very different way than we understand larger scale physical space, like a room, a house, a city, and then you even get into a nation and understanding that scale of space, which is huge. We understand those things in very different ways, and a lot of the ways that the personal computer and like the notion of the desktop have evolved to work mirror the ways our brains expect tabletop-like spaces to function. Tabletop-like spaces, I think in general... you can see them all at once or at least see how you would get to all of their pieces at once. And they consist of small moving parts. In a very similar way to how, if you're working at an analog desk, you can just have your stuff around you and you see it in your peripheral vision and you can affect most of the things around you. This is very different to how larger scale spaces work, where you can't see them all at one time and you have to construct a mental model of that space by moving around it and stitching those pieces together over time. There's a whole neuro-biological component to this where we have certain kinds of cells called place cells that fire in certain kinds of circumstances that tell you, “Ah, this is a new place." And that doesn't happen when a small object moves around you on a tabletop. It does happen when you move from room to room. And so when we're in more operating system-like experiences or more app-like experiences, you know? You and I are talking to each other on Zoom right now. That really functions like a tabletop. Everything's right there. I could open stuff up, but it works more like drawers or something like that. It's not at all like something like Microsoft Docs or the BBC's website or any other kind of like large, content-based website, which is really much more like a landscape where you have to kind of move around from place to place and reconstruct a picture of it. And so, the big argument there — and this is something that I work with my designers on a lot — the big argument there is you have to be really clear about what you're building so you know what kinds of rules to use, because those things are actually really different. And most of the time we just kind of go, "eh, it's sort of like an app, right?" Like, "what is this app like?" And it's like, "Oh, its website-like." We know that Zoom and the Wall Street Journal don't and shouldn't work the same way, but we have a hard time articulating why. And for me, it's that difference in architectural scale and how our brains understand it. Agency Jorge: I find that idea super intriguing. I'm wondering if you could elaborate or give us examples of how something like the Wall Street Journal would differ from something that is more... I don't know, a communication tool like Zoom. Sarah: Yeah. So gosh, I wish I'd opened the article up, because I haven't thought about this a couple of days, but they vary in some kind of predictable ways. One is the scale of the things around you. Something like Zoom tends to have a lot of little pieces or I use Keynote as an example too. The reference, in the real world that you're using as metaphors, tend to be smaller and the actual elements in the interface tend to consist of a lot of little things. Whereas in a more landscape-like environment, you're dealing with a few big things. In a real-world landscape, those are buildings. Those are landmarks. They are mountains that are far away, as opposed to like objects that you have on a table around you. And we have a similar scale with the tabletop kind of apps versus landscape-y websites. You also get different degrees of agency. I have a lot of say over exactly what Zoom does. Perhaps not as much as one might like, but I can customize something about it, and I would expect that customization to persist. I can rearrange things. There's not a lot of expectation that I can do anything to gov.uk, other than maybe put my information in a form. I'm not going to do a lot of customization. It's not going to remember a lot of details from time to time. We also talk about kind of how you interact with the thing. The best way to learn something like Zoom, even if they put an overlay on it, is just to kind of poke at stuff. You know, turn that on and off and see what it does. You move things around you, open up settings. It really rewards interaction. Whereas with a large content-based landscape-like website, you have to move around. You're walking around and looking at stuff. You're moving from page to page and forming that mental model rather than poking at stuff to see what it does. There are a few different things like that. And then they come with different expectations too. There's a real expectation of intimacy with tabletops or with app-like experiences, even if they are a web apps. You kind of expect that it's yours in some way, and you don't expect that kind of of more websites that seem more like public goods. And we run into funny situations with that, like with things like Twitter, which I would argue functions like a tabletop, even though it's kind of a web app. You can experience it as an actual app too, but it's mine. I don't go anywhere. I just push buttons and do things on it and my stuff is there. And there all kinds of stories about people getting wildly upset about a new line showing up or a design change happening. I remember how much everybody freaked out when they went from 140 to 280 characters. You tend not to get such a feeling of ownership and people being so concerned about changes in websites that feel like public accommodations. You know, people have lived their lives in docs. They spend tons of time there. They don't tend to care very much about the exact details of the design or something like that. Because it doesn't feel like theirs. Jorge: If I might reflect that back to you, this principle of understanding the scale at which we're working seems to have something to do with the degree of agency that you have over the thing that you're interacting with. And the more granular the level of control that you have with the thing that you're interacting with, the more... I'll use the word intimate, maybe the more like personalized... it's something that you use as opposed to something you inhabit, in some ways. Is that right? Sarah: Very much so, yeah. And I think it's really like, "does your brain think that this is a place or not?" We don't expect places for the most part to be only for us that no one else could ever get into. It's an easy jump to be like, "ah, yes. Other people are here too. This is not just only for me." Whereas something at a much smaller scale... like, I don't expect other people to be messing around with my nightstand. Or my desk at work. Even though theoretically they could, but it's my stuff and I left it there. And there's that greater expectation of control and of intimacy. Naive geography Jorge: Great. So, I don't know if to call these principles or just things to be mindful of when doing this kind of work. You've mentioned scale as one of them, and you've already said that there's another post coming out specifically on that. In the post that is currently published, you mentioned three other principles, if we might call them that. And I was wondering if you could, recap them for our listeners. So, scale is one. A second here you say, "leverage the principles of naive geography." What does that mean? Sarah: I came across a really interesting article a few years ago that is by geographers for geographers, which is like not a field I'd thought about at all. And I was looking into the idea of cognitive maps and cognitive mapping with the idea of like, "oh, do people have like complex maps in their heads that they navigate and are those things the same in the real world and the digital world?" And the answer is, for the most part, no, we don't have maps that have any integrity to them. There are a couple of exceptions, but this was the theory for a while, and it's been pretty disproven. It's not a thing we have. We do, however, have representations of ways to get places in our head. I distinguished between the kind of tabletop more small-scale and the landscape more large-scale because we don't need these representations and we don't form them for small scale experiences. If you can rely on everything you need being in your peripheral vision, your brain doesn't bother remembering where everything is. Because it can get that kind of continuous sensory input. But for these larger-scale experiences where you have to construct a representation over time, and you have to reason against that to figure out where you're going. We construct those representations. And the interesting thing about it is that we're very good at it. I talk about that a little bit in this article with all kinds of cultural traditions that rely on remembering things by relying on how good humans are at remembering places and how to get between places. We're very good at it. But like more interestingly to me, we also make a lot of mistakes while we do it and we make those mistakes in predictable ways. So, one of the principles of naive geography that I think is just fascinating is that for the most part, when we remember things, we remember the earth as flat and square. We're very bad at remembering or estimating depths and heights in comparison to lengths and widths and distances and that kind of thing. Our brains really smoosh everything down. We also, for instance, think about distance in terms of time, not absolute distance. And so, they have eight of these or something like that. And the idea was that naive geography is how everybody understands geography and makes geographic calculations, even if they are not geographers. And they compare it to the idea of naive physics, which is that you can tell what's going to happen when you throw a ball without being a physicist. Like we can figure that out. The same way as we can give directions, we can make judgments and we can reason based on distances without being a geographer. And we're good at it, but we're also bad at it in these kinds of known ways. And I found that almost all of those ways are relevant for digital spaces as well as physical spaces. So, we go into exactly how those work and how you can apply them to your designer information architecture work. Wayfinding Jorge: Another principle here says, "check your wayfinding." That sounds like it's related to this concept of naive geography. What's the distinction here between wayfinding and what we've been talking about so far? Sarah: Yeah. I think of it as, naive geography is what humans do. And developing wayfinding principles or instantiating those way-finding principles in our designs, is what we as information architects do. Basically, it's great to know that people's brains mislead them in this standard way that we can predict, but you have to turn that into something that we can use because nobody I work with cares as much about neuroscience as I do, you know! Or geography, or cognitive mapping, or any of these things. We have to change it into guidelines and principles that I can give to product designers and developers and that kind of thing. And so, for wayfinding, it's really bringing it out of the more esoteric and theoretical space of like landscapes and tabletops and whatever is happening with cognitive geography and this kind of thing into like, "okay, what does that mean?" It's very simple stuff that I largely adapted from museum exhibit design, where it's like, "hey, you need to make sure people have landmarks. You need to pave paths so they know where to go." And we tie that back to the principles of naive geography to figure out why. I tend to illustrate this with grocery stores because I find that they have great wayfinding and it is way more accessible than a lot of the other examples people use like airports, especially with none of us have been in an airport for a year. And grocery stores make a lot of complex things very findable. I often have conversations with stakeholders where they're like, "well, no wonder nobody can find anything. We have 200 products!" And like the average grocery store has something like 800,000 SKUs, and you never are surprised that you can find your brand of maple syrup or be sure it's not there. Which is like the gold standard of wayfinding as far as I'm concerned. So, you can use the structure well enough to be sure that something doesn't exist. "Oh, that's so findable, it's great!" So, we talk about the specific things that you need to check that you're doing in your experience to make sure people can use those naive geographic skills they have. Jorge: And that's a learned skill, right? Knowing to expect something to be there and realizing that it isn't because of its absence is something that you have to pick up. This weekend, I took my kids to Barnes and Noble. They were wanting to buy some books and as convenient as it is to do it online, it's still quite pleasurable to browse through the shelves. And I was explaining to them how the books are organized alphabetically by the author's last name on the shelves. And that came up in the context of looking for a specific book and realizing that it wasn't there because the author's name wasn't on there. That's kind of what we're talking about here. Sarah: Yeah, absolutely. Jorge: This example of the grocery stores is also useful in that perhaps we understand these organization schemes at different levels of granularity. Once we understand how a grocery store is organized, we can find our way from the very highest level of the organization scheme all the way down to a specific product. And, at the highest level, the distinction that sticks in my mind is this phrase that I've heard used for people looking to eat healthier. They say, "shop the perimeter." Shop the edges of the grocery store, because that's where the fresh foods are kept. Whereas all of this stuff in the middle is processed foods. And that's a very high-level distinction that once you understand it, you can navigate that environment differently. Sarah: Yeah, that's also a great example of being able to reason based on a structure, rather than on content. Which is another gold standard of doing information architecture, I think. If somebody can understand the structure and your wayfinding and experience well enough that they can go, "hmm, I'm going to go around the edges!" Rather than saying, "I'm going to go to the lettuce and then I will go to the chard!" You know, that's what we dream of creating for our users. Standard elements Jorge: I want to move on to the last of the principles that you present in the article. It says, "use standard elements intentionally." What do you mean by 'standard elements'? Sarah: Occasionally, I get comments or people worrying that our information architecture isn't innovative enough that we're not doing anything surprising or introducing anything brand new. And I feel very strongly that your architecture is not the place to surprise people. Like, there are actual architects out there building very innovative homes that no one wants to live in. And I have no interest in doing that. I really want us to use the oldest, most standard, most expected way of doing things. I think the example of the grocery store is another great way here. There's a lot of benefit to not innovating in the layout of a grocery store. There probably is some benefit in innovating a little bit around the edges or in some details, but you gain a lot from making it legible and making it expected for people. And so, that one is really about... okay, given these things that we expect to have: we expect to have global navigation, we expect to have metadata on content, we expect to have titles and breadcrumbs... how do we unpack what each of those things is doing for us and make sure that between the suite of those elements we are using? Because you never use just one, you use lots of them together. Between all of those elements, we are presenting a coherent, complete view of the wayfinding people need. And this comes up a lot for us in things like design reviews, where the group will decide that we really don't need a content-type label on that card. And I'll say, "okay, the thing that that is doing for us is this thing!" Like, it is fulfilling this wayfinding need. How else are we going to do that? Because if you want to take this label off, I have to pick up the slack somewhere else. Whereas if somebody says, "oh, hey, I think we don't actually need..." I don't know, "we don't use breadcrumbs on this page or something." I can say, "okay, cool." Because actually that same need for being able to zoom out or being able to orient yourself relative to a landmark is actually being taken care of in these three other ways on the page already. So, if we lose that one, it's okay. It can help you make decisions about those trade-offs with design elements. It can also help you check the things that you absolutely need to be coherent with each other, that you need to be consistent because they're trying to do the same thing. And if they give people two different sets of information, that's worse than not having it at all. Jorge: It's an exhortation to be mindful about not just the elements you're using, but why they're there, right? Sarah: Yes, and all of this is really because, again, I had ideas about what I was doing as an information architect and I didn't have great answers for the little granular-wise. And so this is a result of my exploration of, okay, well, why? Why do we need them to work that way? And so, I'm sharing it with everybody else. Jorge: I'm wondering how thinking this way has affected your own work? Sarah: So much of information architecture is in the people and not the models. And so, my work has been about gaining allies and building relationships and getting people on board, and a good explanation that you can be confident about that doesn't rely on, "just trust me!" goes a really long way. Being able to break it down and decide where I make trade-offs and where I can accept more dissent, where I can encourage that and really learn from it versus where I really need to double down and say, " no, we need this." That's made a huge difference in my ability to get things done and to just build better experiences. Closing Jorge: Well, that's great. I'm very excited to see the upcoming posts in the series. It sounds like you're well ahead with the one about scale. Where can folks follow up with you to keep up to date with what you're writing and sharing. Sarah: Yeah, you can find me on Twitter @documentalope, or you can find everything I and my colleague Rachel Price write at a Medium publication called "Known Item." Jorge: Fantastic. And I have to call out that Rachel is a previous guest in the show as well. And I'll link to the conversation we had in the show notes. It's been so great having you on the show, Sarah. Sarah: Thank you so much. It's been fun. Jorge: Thank you.
Rachel Price provides us with the "Five Ps" of time management to help us choose wisely how to spend and invest our time.
Sarah Barrett is Principal Information Architecture Manager and Rachel Price is Senior Information Architect at Microsoft. Together they have used OOUX to untangle, among others, the insane complexity of Microsoft's technical library, Microsoft Docs, as well as Microsoft Learn, which provides interactive learning paths and certifications for beginners and pros alike. In this episode of the podcast, Sophia, Sarah, and Rachel discuss how to think like a library scientist, how being conventional can be a virtue, and why accessibility is good for everyone, not just the differently-abled. Enjoy! LINKS: Connect with Sarah on Twitter: @Documentalope Keep up with Sarah on her website: sarahrbarrett.com Connect with Rachel on Twitter: @r_audrey Read Sarah's article about getting to structured content at Microsoft: How We Did It: Getting To Structured Content Check out more from both of them on their Medium Publication: Known Item Senior Information Architect position at Microsoft: Senior Information Architect --- Support this podcast: https://anchor.fm/ooux/support
Rachel Price Vorbe ap prezante "Cet Homme, Mon Père" --- Send in a voice message: https://anchor.fm/carelinthemorning/message
Simmy De Trini, also known as Rhea-Simone Auguste, is a Trinbagonian comedian who, in the past 3 years, has gone from novice to breakout star. In this compact episode, she pays homage to fellow female local comic icons, Rachel Price and Nikki Crosby, has credited comedy as saving her life, and has named Wanda Sykes as her favorite and most relatable comedian. As well as speaking about her experiences with domestic violence and body shaming along with lending her advice on both matters, Simmy also dispenses guidance for up and coming comedians. You can follow her on Facebook: https://www.facebook.com/SimmyTheTrini or email her: simmyree@gmail.com Create the day YOU deserve!!! Listen. Share. Inspire. Subscribe Social Media Links: Email: 868andbeyond@gmail.com Facebook: https://www.facebook.com/868andbeyond/ Instagram: https://www.instagram.com/868andbeyond/ Twitter: https://twitter.com/is868andbeyond Special thanks to One Man Symphony for the music and effects. You can view more of their work and also download/support them at this link: https://onemansymphony.bandcamp.com/ --- Send in a voice message: https://anchor.fm/868andbeyond/message
Simmy De Trini, also known as Rhea-Simone Auguste, is a Trinbagonian comedian who, in the past 3 years, has gone from novice to breakout star. In this compact episode, she pays homage to fellow female local comic icons, Rachel Price and Nikki Crosby, has credited comedy as saving her life, and has named Wanda Sykes as her favorite and most relatable comedian. As well as speaking about her experiences with domestic violence and body shaming along with lending her advice on both matters, Simmy also dispenses guidance for up and coming comedians. You can follow her on Facebook: https://www.facebook.com/SimmyTheTrinior email her: simmyree@gmail.com Create the day YOU deserve!!! Listen. Share. Inspire. Subscribe Social Media Links: Email: 868andbeyond@gmail.com Facebook: https://www.facebook.com/868andbeyond/ Instagram: https://www.instagram.com/868andbeyond/ Twitter: https://twitter.com/is868andbeyond Special thanks to One Man Symphony for the music and effects. You can view more of their work and also download/support them at this link: https://onemansymphony.bandcamp.com/
Susan talks with speaker, author, and ministry leader, Rachel Price, about how God called her to serve in ministry leading her to her current role as Children's Ministries Pastor. God Girl NationGod Girl Nation Community
Did you lose a friend and/or teammates during the transition out of being on a sports team? Our guest this week, Rachel Price, discusses the loss and rekindling of her friendship with Brooke at the University of Iowa. With honest communication and vulnerability, Rachel & Brooke share their story to help you navigate your own teammate relationships!Rachel Price is a marketing and social media professional who doubles as a fitness trainer and balanced lifestyle blogger. You can follow along with Rachel on Instagram @rachelmarie.ig and on her website www.balancebyrachel.com We discuss: Balanced LifestyleLoss of teammate friendshipsThe importance of open communicationRekindling friendshipsRunning and fitness after no longer being on the XC and Track teams at IowaAnd much more!Sponsored by BetOnline.AgPromo Code: MYPOD100
Children's Ministries Pastor, Author, International Conference Speaker and Consultant Rachel Price joins the show and shares some brilliant information regarding effective time management. Rachel is featured in the books The Invitation, a 52 week devotional written by a team of Godly women, and Stronger: Increase Your Personal Depth and Wisdom from the Kidmin Nation Library. Pick up your books or learn more at rachelprice.com --- Send in a voice message: https://anchor.fm/kidminrocks/message Support this podcast: https://anchor.fm/kidminrocks/support
In conversation with singer-songwriter Rachel Price. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/turniton/message Support this podcast: https://anchor.fm/turniton/support
My guest today is Rachel Price. Rachel works as a Senior Information Architect at Microsoft and teaches Information Architecture at the School of Visual Concepts in Seattle. Her background is in music, and in this episode we talk about how structures can serve as a foundation for improvisation. Listen to the full conversation https://theinformeddotlife.files.wordpress.com/2019/09/the-informed-life-episode-17-rachel-price.mp3 Show notes Rachel Price on LinkedIn Rachel Price on Twitter School of Visual Concepts Magic Eye optical illusions The Informed Life Episode 11: Lisa Welchman on Governance Improvisation: Methods and Models by Jeff Pressing (PDF) Free Play: Improvisation in Life and Art, by Stephen Nachmanovitch New York Times iOS app Screen Time on iOS How to Use App Limits and Downtime in iOS 12 Kind of Blue by Miles Davis Read the full transcript Jorge: Rachel, welcome to the show. Rachel: Thank you for having me. Jorge: Well, it's really great having you here. For folks who don't know who you are, would you introduce yourself, please? Rachel: Sure. So I'm Rachel Price. I am a senior information architect at Microsoft out here in Seattle. I'm also an instructor at the School of Visual Concepts here in Seattle. And then on top of that all I'm a musician. I'm actually a Jazz saxophonist. Jorge: Wow, that's awesome. What are you teaching? Rachel: So right now I teach information architecture at SVC, which is part of a UX certificate program. So I'm teaching really introductory students the world of IA in about six weeks, one night a week. It's a whirlwind. Jorge: That's fantastic. I'm very curious to know what you tell them. Like, how do you introduce information architecture? Rachel: Oh, man. I try to really focus on one really huge concept in many many different ways over the weeks, and that concept is teaching them how to see the world as an information environment and kind of see past that surface level of how many beginning students think of UX or design as just kind of the visual level. So the very first thing we start with is breaking experiences down into information objects. Admittedly, I use a lot of your quotes and I put your head in a tiny little bubble on a lot of screens to help kind of contextualize a lot of the stuff we're doing. But we practice just breaking places and things down into kind of information objects that make them up and the metaphor I use that whole time is like those… Do you remember those Mind's Eye puzzles, where you kind of have to cross your eyes or like look past the puzzle to see the 3D image pop out? Jorge: Yes, I do. Rachel: Yeah. So what I tell my students who are trusting me that all it will all make sense at some point is that we're learning how to kind of look past the surface of things like websites and apps and most of the things we end up building as UX designers and see kind of what's under that service and see those objects really start to pop out. So we do a lot of exercises around developing that vision. And if by the end of six weeks that were the only thing I accomplished with them is their ability to see information objects in the wild, then I'm super happy about that. Jorge: I had not thought of this metaphor with those puzzles. I'm curious. I haven't seen those in a long time, that was… If my memory serves, that was around the early to mid-90s, no? Rachel: I think so. I remember… I feel like I was about, yeah, 10 or 12 when I was playing with them. So far, I haven't had anyone look at me completely confused about what I mean by that but I imagine as I keep teaching I might find a generational gap there. Jorge: So are we talking… Are these like college level students? Rachel: Students who are trying to switch careers. So maybe they finished an undergraduate degree a year or two or five ago and have decided they really want to get into UX design. The School of Visual Concepts has a lot of different programs to help people get into different types of careers. I think it actually started as a way to help people get into artistic careers. I'm not quite sure if that's where they started, I should have reviewed that before starting this sentence. But really it's for people who are interested in exploring different avenues of creative expression. And then also I know they have this UX certificate. Because as you know in Seattle, we have a glut of UX jobs open and there is just a lot of room for new people to enter the field. And so SVC is one of the schools that's trying to kind of do right by students and help them get prepared for that. Jorge: I can easily see how this subject that you're teaching there connects to your job. Just judging from your title, senior information architect. But I'm wondering, you also mentioned that you're a musician, and I was wondering how, if any, that connects. Rachel: That's such a good question and it's frankly one I've been trying to answer for several years now. So I graduated — my undergrad, the music degree — playing jazz saxophone. And like many others in my generation, I graduated right into the recession so… And even not in a recession, you know, being a musician doesn't always pay bills unless you're one of the elite, right? And so, I ended up to kind of help pay my rent, I ended up working in SEO for digital marketing agencies and from there I decided I wanted to pursue my Masters in Library Sciences. So I moved out to Seattle to get my Masters in Library and Information Sciences and discovered IA and became an IA. So the question is really where's the connection? And I've been trying to answer that for quite some time and I think in the last year I've started seeing this pattern where I've been doing a lot of thinking about improvisation and how the ways we learn improvisation as Jazz musicians, there's a framework to it. There are ways to learn improvisation, you know people tend to think it's just this free-for-all or you're either really good at it or you're not and it's just this unpredictable kind of chaos, and the reality is that's not actually true. Improvisation is patterns unfolding over time. And when I started to think about improvisation as this pattern unfolding, seeing patterns everywhere, making connections, developing skill sets so that you can make decisions on the fly, it started to become really clear to me that there's a pretty strong relationship between that kind of thinking and the kind of thinking that we do in IA or UX. I don't think it's any coincidence a lot of people in this field are also musicians. Jorge: Yes, I've had a previous guest on the show — Lisa Welchman — who is also a musician and funny enough, this subject of improvisation within a framework came up as well there. So there is something there. Now, hearing you talk about it, it reminded me when I was a student, I was… I studied architecture, and one of the very first things that I learned, the very first semester I was in school, and which kind of blew my mind, was the notion that creativity thrives on constraints. Rachel: Absolutely. Jorge: I'm wondering if you can elaborate on this theme of improvisation within a framework as it relates to music. Rachel: Yeah, so, I mean there's all flavors of improvisation, you know. Performing musicians prefer different kinds. There is totally free improv, which is completely… Well, mostly outside of a framework beyond call and response, and it's like having a totally open conversation with no goal or theme in mind. But there are more traditional forms of improvisation, when you play over like a set of chord changes, right? The chord changes are the heart of a song. Song has a melody, which is the string of notes that is kind of the core theme of the song, like Twinkle Twinkle Little Star, you know, you've got this melody going on. And then under the melody, you've got chord changes, which is just a progression a series of chords that the pianist is playing or the guitar player is playing that set the context for the boundaries of the song and how the song feels and generally how it sounds. When you improvise, you're playing over those chord changes. And what that means is that there's this framework that you're playing inside of, of notes that'll go really well, notes that will be really crazy and dissonant, you've got guide tones in the chords, which are like these little milestones and landmarks for you to land on that really set the context for the notes that you're choosing, you've got song forms, which tell you where you are in a song and how many times it's repeating and that sort of thing. So the improvisation is really making a series of choices about what note to play at a given time, but it's in reaction to a bunch of other input. There's a theory of improvisation in terms of the cognitive aspects of improvisation, I believe was developed by Jeff Pressing in the 80s. That is pretty straightforward. It's improvisation is some sort of sensory input goes into the central nervous system at that point if the player uses all these connections in their head, schemas that they know really well, patterns that they know really well, kind of tools or tricks that they know really well, they make connections. They make a snap decision about what to play. Then they actually play it and then the whole loop starts over again. So now they've created sensory input for someone else or for themselves, and it's just this recruitment repeating cycle of iteration. And so I think that that way of thinking about — it's not necessarily like constraints, things you can't do — but it's this framework of things that are guiding you and giving you context around maybe what makes the most sense or what would sound really cool or what sounds really bizarre if that's what you're trying to do. And so it's this idea that improvisation is not happening in a vacuum, right? There's all sorts of input going into it. Beyond just the notes are choosing to play. Jorge: How does that play out with information architecture work? Rachel: I think this can apply in a lot of different ways. The way I'm currently focusing on it, to me, a really direct parallel is how we talk to people and how in IA a lot of that boils down to user research. Right? It became pretty clear to me when I start thinking about this that when we do user research and were interviewing people, it's this kind of abstract situation or… Not abstract, but kind of ambiguous, right? We don't necessarily know what's going to happen when we talk to people. We don't really know what their mental models are going to be. We don't know how they're going to answer questions, if they're going to understand us. It can be this challenging experience. But so much rides on it because so much of the decisions we make as IAs needs to be based on what people need for my structures and how they understand the world that we're building for them. And so what I'm working on now without giving the whole thing away is actually this is a talk I'll be giving at EuroIA is, how we can use improvisation techniques that jazz musicians use — because they have all these tools and tricks of the trade — and actually employ those to become better research facilitators. I think a lot of what we know about research facilitation today kind of relies on you have this palette of question types, you can ask which is really helpful you've got all these things you can do to prepare for the research, but it's really really hard to practice being comfortable in a conversation with a total stranger which is itself an act of improvisation. You know, I think we're all improvisers when we talk to people and then when you're in a research setting and you're interviewing people, you're improvising with a lot of pressure on you to get the right information and ask the right questions and that can be really heavy feeling. So I think using improvisation, this improvisation framework is a way to think about how we interview people whether that's users. It could be interviewing stakeholders. It could be working through a tough meeting with your team. I think these are all really applicable things. Jorge: When you mentioned user research and this notion of improvisation… I've been in user research sessions where the researchers go in with a script for what they want to ask folks, and some researchers want to be very by the book and stick to the script. Right? And that would be, in my mind, using this analogy, it would be something like playing a piece of classical music where it's all written out for you. Whereas you could also use the script as kind of tent poles or points that you want to hit if you get the time. Like it's a theme that you want to focus on but but that opens up… I guess it's a style where it opens up to more kind of freeform conversation. Rachel: Yeah, I think that thinking of it as a… Like, I think of script as kind of chord changes, right? They're landmarks you're going for and you need to get there eventually, but feeling confident enough to improvise the path between those landmarks is what leads to a more productive, natural, fun conversation for both the researcher and the participant. And I think that's where… I'm not going to remember this quote perfectly, but there's a really great book called Free Play and in it they talk about how improvising with others creates these moments where this other thing gets treated in this third place that neither one of you would have done individually. And that third place, If I'm really going to stretch the metaphor, I don't think it's that far of a stretch, like that third place in music is really equivalent to that deeper level of understanding while talking to others, while doing a user research interview or whatever interview you're doing. So being able to improvise comfortably so you can get to that third place of creation, I think it's really the goal. Jorge: I love this idea of thinking about these conversations as an opportunity to create something new rather than go down some kind of prescribed path. Rachel: Yeah. Because even in classical music, right? The most wonderful classical performers are not just reading off the page, you know? There's a lot of embellishments that happen, a lot of phrasing that they choose to do in their own unique way that really brings a piece to life. And so even if you've got this pretty well scripted script, or set of objectives that you're being really strict about, that's fine. It's the path getting through those, I think that really is what brings research alive. Jorge: One of the reasons that I wanted to talk with you is precisely because I think you're a very thoughtful on these issues, and I'm wondering how if any this way of thinking about it has affected the way that you manage your own information. Rachel: It totally has. This coincides pretty directly with another kind of principle I've been working under for about the last year or so, which is that of radical simplification of the structures I put in place. Right? And so there's a big parallel between this idea of having this super scripted thing that you need to get through versus having landmarks that you need to hit. And I don't know necessarily how I'm gonna get through those, to how I manage the information in my life. I'd say until about a year ago, I really architected how I managed information and how I organized everything both in my personal life and in my projects and at work and all this other stuff. And I realized that by structuring everything to the nth degree, I actually wasn't helping myself anymore. It was really a reaction to stress and anxiety and this idea of like, “If I can just control every little thing, then everything will be fine.” And I realized it was actually backfiring, having that really intense amount of structure was just making the burden heavier. And so I started experimenting with this idea of simplifying, really really simplifying my structures, so that there is more room for creativity and improvisation in almost everything I was doing. I really realized that by structuring things so heavily, It just wasn't giving me any space to do good work or just be and relax and exist in this beautiful world. Jorge: I'm wondering if you can give us an example of how loosening up the structures can has led you to opening space for improvisation and creativity. Rachel: Yeah. So one concrete example is one that I've actually heard from a lot of people, where I used to make these really long, structured to-do lists because I just wanted to monitor my progress on everything, I wanted to feel like I was making progress on stuff and really keep track of every little thing that was going on. What I realized was having those long to-do list was actually just stressing me out even more. I felt like I always had so much to do. When I started shortening my to-do lists, I realized it's not because I suddenly had less to do, It's that I was really forcing a prioritization of what it was I needed to do. So, that's a pretty common one that we hear a lot, is this shortening that to do list. The other thing that I've tried to do is really just… I think I've been calling it like throttling my intake, and just be very selective about the type of information and the channels of information that I'm willing to take in. Because when you create space… You have a finite finite amount of brain space, at least I do. And when you just let anybody or anything fill that space then they'll fill it and it'll be max to capacity. And I realized what I was doing as I wasn't saving any space for myself, which means quiet time, time to be bored, time to sit quietly and just think about something. And so by really throttling my intake what I mean is, I have been practicing checking my email less frequently. I've turned off all notifications on my phone. My phone shuts down all my access to my apps at like 8 o'clock every night. So to help me throttle my intake. I do those short to-do lists. I don't check the news as frequently, and I really get curious when I am trying to pick up some information, if I'm doing it by habit or if I'm doing it intentionally. And if I'm doing it my habit I ask you know, what what am I hoping to get out of taking in this information at this moment? Like why am I doing this? Why am I checking New York Times app for the fifth time? What am I hoping to get out of this? And so that's been a really big part of this kind of experiment and just opening up space for other things that are not about digesting information. Jorge: You mentioned turning off the… I think you said the phone's ability to check email after a certain time. Are you first of all, are you an iPhone or an Android User? Rachel: Yeah, iPhone. Jorge: So are you using like Apple's native… Rachel: Yeah. Yeah, whatever they're calling it. I don't think it's the Do Not Disturb, but it basically… Oh, Screen Time. So I have my down time. There's a there's a part of that called Downtime and then there's a part called app limits and so I've got my Downtime set to start It looks like at nine o'clock at night. So it just shuts all my apps… It like grays out all of my apps and if I try to open one, it asks me. It says hey, “You're supposed to be in down time right now. Like, are you sure you want to do this?” And then usually I say, “You know, what? No, I actually don't really need to look at this right now.” This was an anxious reflex to some thought I had. Now I'm not going to open this because I know I really need to. Or the app limits, you know, I set some limits on social media because I get really sucked in and I waste a lot of time that way and it generates a lot of bad feelings for me. So I have my phone kind of helping me throttle some of that. Be my buddy. It's my buddy and reminding me that, “At one point, you said you didn't want to do this. I'll totally let you do this, but I'm just going to check first. ” Jorge: Yeah, it's somehow you have to opt yourself back into something that you said that you'd committed to not do, right? Rachel: Yeah, or even if you think of it, the way my screen is laid out… I love working. I get in a state of flow, I really enjoy it and that's great. It's a sign that I love my field, I love my job. The problem is that I'm not really great at managing that love of flow when I really do actually want to be doing other things, like at night. Right? I've been really lucky that I've never been in situations with any job I've had where people are pressuring me to work at night or on the weekends or anything like that, but I have a personal tendency to do it because I really enjoy it. So the thing that I'm trying to do is maintain that delicate balance of doing what I love but also I need a little help retaining space for other things that I love that maybe are not so pleasant in my life. You know, like sometimes I need help being reminded to play my instrument or to just sit quietly and not open my email and see if anyone needs my help. Jorge: I don't know too much about jazz, but one of the one of the things that I understand about improvisational jazz — and I think you hinted at this earlier — is a notion that when you're playing your instrument along with a group of other players, with a band say, and all of you have achieved a certain level of mastery over the instruments, you can get into these states of flow where you can improvise over certain structures. In hearing you talk about how you're setting up your personal information environments to wall off your personal time, I'm wondering how, if any, you've found ways of opening up those spaces for you to play along with others to collaborate with other people. Rachel: Yeah, that's a really great question. So if you think of a combo, a group of jazz musicians who are playing something together. They've all agreed at some point on the scenario, right? Like are we playing this particular song are we just free improvising in some particular style? You know, what other kind of the boundaries of what we're trying to do together? And then they move forward and play together. And I think that that really makes a lot of sense. And how I approach collaborating with teammates or with students or with co-presenters at workshops and all this thing is like, what's our shared goal here? What's this scenario we're in? What's the framework? And are there constraints we are working in? And now let's dive in, play together. And you'll you know, if you are an avid jazz listener and you go to live shows, there are definitely moments when some jazz musicians are… They really want to be the star, you know, and you can totally tell they're not really playing by the rules. They're not collaborating super well, and it totally happens because we're all human beings. And so there's also a little in how we collaborate in our work too; there are times when you've got different levels of people who are and are not playing along. And so you learn how to just keep communicating the goal, right? And keep just trying to contribute to that shared improvisation and and you keep iterating and you keep getting feedback from others about how that's going and then at some point you reach the end of the song and and whatever happens happened and you kind of move on from there. Jorge: I remember reading something about the Miles Davis album Kind of Blue. Rachel: Uh-huh. Jorge: Where… And I might be totally off on this, but I think I read this somewhere, that when that album was recorded they basically did all songs in one take, or what you hear on the album is the first take, and there was no music written out. It's just Miles Davis came in with the chord progressions, and he just gave them to the players and said, “This is what we're doing.” And that album essentially captures their improvisations and that's what comes to mind when you're describing this. Rachel: Yeah, totally that idea that chord changes are enough is so cool. Right? It's this idea that this pretty spare framework is just enough context to allow people to communicate with each other meaningfully with some shared intention, but with enough freedom for these incredible unpredictable moments to happen as well. Jorge: Just to bring it all back back together because we are kind of nearing the end of our time together here, I feel like our conversation today has been a little bit of an improvisation like that. Rachel: Yeah. Jorge: In that we had a little bit of a structure. Like I told you well, you know, we're going to be talking for about around 30 minutes, and these are more or less the themes we're going to be touching on. But really the the conversation itself has been emergent and I've learned a lot just from our brief time together, so I wanted to thank you for that. Rachel: Oh, absolutely. You're welcome. It's been really fun talking about this and seeing if the idea falls flat or not. Quite transparently, you know, this is the thing I've been thinking about for a couple months now and I think it has some legs and it's not just me. So it's been really fun to show some of these ideas the light of day and see how well they fare. Jorge: You were mentioning that you're going to be presenting this later this year. Where would be the best place for folks to follow up with you, see what you're up to look into your presentations and such? Rachel: Yeah. So my LinkedIn and Twitter are where I plan to post everything once it's ready. And those are really the only two channels I keep an eye on. And you'll notice, not surprisingly I don't tend to speak much on this. I do a lot of listening. But I'll be publishing decks and an extra materials there when they're ready. Jorge:I'm going to include those in the in the show notes. So thank you for your time, Rachel. This has been great. Rachel: Yeah. Thank you so much.
Featuring Brooklyn's stars of gypsy jazz The Showdown Kids + brand new music from Camila Meza and also Jon Batiste (feat. Rachel Price); a little tase of the legends Horace Silver, Jimmy Reed, Tom Waits, and Stan Getz; and finally J Boogie and Gang Starr.
This week, Felicia is chatting with Rachel Price and Kate Burge of Spincycle Yarns. Spincycle Yarns is a very unique yarn company as they create small batch mill-spun yarn, spun from fibre that they hand dye so the yarns look and feel like handspun! You have probably seen Spincycle Yarns featured in such designs like Andrea Mowry's The Shiftcowl and Nightshift shawl among many others. Join Felicia, Rachel, and Kate as they chat about all things colour and spinning! "...the first time we ever hung out it was Easter Sunday and we went to my... house... and we had... a pound of fibre and we're like 'Alright, let's go crazy and dye it' and we did and it was like so much fun and we just... I don't know like as opposed to crafting by yourself, when you find your crafting soulmate to work with it's so much more fun." - Kate Burge on meeting her best friend (and future business partner) Rachel Price In this episode, we talk about: 1:21 Rachel and Kate introduce themselves 3:05 Rachel and Kate chat about how they started spinning yarn 4:32 What made Rachel and Kate make the decision to go into business together? 7:03 How do you go from selling handspun yarn to production dyeing and spinning? 9:33 Sport Weight vs Fingering Weight: What's the difference and does it really matter? 11:43 Where Spincycle Yarns sources its fibre from and how they choose what fibre goes into their millspun yarns 15:30 Can yarn construction techniques be experimented with when you have your own mill? 17:34 How many colourways is Spincycle Yarns producing right now? 20:32 How do Rachel and Kate draw the boundaries between work and play when running a yarn business? 26:36 Felicia asks Rachel about how she learned how to weave in Harrisville 30:07 Do Rachel and Kate teach textile arts to the public? 32:35 What changes have Rachel and Kate seen in the knitting world over the years? And the fun of collaborating with Andrea Mowry 40:10 Where to find Rachel and Kate online! Also you can find Spincycle Yarns at Knit City in Vancouverthis year at the Starlight Knitting Society booth! 43:32 Felicia's Final Notes and Giveaway! Here's Where You Can Find Spincycle Yarns: Website: www.spincycleyarns.com Instagram: @spincycle_yarns Enter the Giveaway for 2 Free Skeins of Spincycle Yarns: If you want to get your hands on Rachel and Kate's beautiful yarn, enter our contest to win 2 free skeins of their brand new colourway: Castaway! Thank you so much to Rachel, Kate, and the hardworking Spincycle gang for making this giveaway possible! Click here to enter the giveaway » Thanks for Listening! Thank you so much for joining us this episode! If you enjoyed this episode, please share it with your fellow fibre art friends. And if you like what we're doing here, please leave a rating and review on iTunes for the show. We read each and every email and bit of feedback, whether it's on Instagram, Twitter, or Facebook, so we welcome your comments. Thank you all so much for your continued support of our show! Until next time, enjoy colour! Music Credits: Playbook of Happiness – by RimskyMusic Click to subscribe on iTunes Subscribe on Stitcher Radio Subscribe on Spotify
This week, Alexis sits down with her college friend turned health and fitness blogger, Rachel Price! The two chat about blogging and social media, entrepreneurship, moving in with a significant other, the realness of post-college confusion, and so much more. This week's challenge is to switch up your workday tunes—S/O Camila Cabello!
Diagnosed with T1D in her 20s, Rachel Price admits she was in denial at first, insisting to her doctors there was nothing wrong. Now, she’s an advocate who stays positive but realistic. Rachel has three children and started a business called DiaBeTees selling t-shirts and other products with fun diabetes sayings and catchy slogans. Join the Diabetes Connections Facebook Group! In our Community Connection this week, Dan Haddin is off for Teach for America, but not before creating some fantastic diabetes song parodies. Stacey plays his latest - a funny appeal to Nick Jonas. Click to watch "Diabetic Like You (Sucker Parody)" Sign up for our newsletter here And in Tell Me Something Good, a day camp milestone and a hiker sets out to make his mark. --- 00:00 Tease/Open: What's this week's show about? 1:50 Welcome: Stacey talks about JDRF Children's Congress coming up and talks about CWD Friends for Life later in July as well as her family's plans for the rest of the summer. 5:45 Stacey's interview with Rachel Price 32:40 Community Connection: Hear Dan Haddin's T1D Sucker Parody 36:45 TMSG: Inspired by Isabella: Isa goes to gymnastics day camp, Mike Joyce will hike the Appalachian Trail and Cami is excited (and worried) about her son heading off to college. Learn about Inspired by Isabella Follow Mike's journey on the AT 41:30 Stacey talks about the presentations she's doing at Friends for Life later this month and hints at something new coming up outside the podcast... stay tuned! ----- Use this link to get one free download and one free month of Audible, available to Diabetes Connections listeners! ----- Get the App and listen to Diabetes Connections wherever you go! Click here for iPhone Click here for Android
The week: A conversation with Rachel Price of Lake Street Dive and her musical moonlighting partner, the fabulous Vilray. The complicated history of the n-word with Smith College’s Elizabeth Pryor, who’s father Richard Pryor, had his own interesting relationship to the n-word. Looking into the influence of indigenous people on rock & roll with UMass Professor Emeritus Ron Wellburn, who’s featured in the rock doc, Rumble, being screened at The Shea. A preview of next week’s ridiculous publicity stunt fundraiser-The Cancer Connection Campout.
The lead singer of Lake Street Dive, Rachel Price, has one of the best voices going right now. If you haven't heard her sing, you should. We're talking about two songs from their latest album today.
Live from Edinburgh Yarn Festival, Sophie is joined by guest host Bristol Ivy - who has an exciting Pom Pom Press announcement! This episode also includes an interview with the fabulous gals behind Spincycle Yarns. Thanks to our sponsors Erika Knight.
Cuban artists have been very productive this past decade, producing stunning and surprising works against a backdrop of political and economic transformation as well as continuing scarcity on the island. Planet/Cuba: Art, Culture and the Future of the Island (Verso, 2015), Rachel Price’s thoughtful approach to this cultural scene, pays special attention to conceptual and performance art that moves from the very local to the global. Her focus on artistic vocabularies centered on trees, marabou, and water as well as the symbolic and real significance of time and surveillance brings together a provocative array of artists that have a lot to tell us about the everyday both in Cuba and on our shared planet. This marvelous book acquaints readers with unforgettable artists and their work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cuban artists have been very productive this past decade, producing stunning and surprising works against a backdrop of political and economic transformation as well as continuing scarcity on the island. Planet/Cuba: Art, Culture and the Future of the Island (Verso, 2015), Rachel Price’s thoughtful approach to this cultural scene, pays special attention to conceptual and performance art that moves from the very local to the global. Her focus on artistic vocabularies centered on trees, marabou, and water as well as the symbolic and real significance of time and surveillance brings together a provocative array of artists that have a lot to tell us about the everyday both in Cuba and on our shared planet. This marvelous book acquaints readers with unforgettable artists and their work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cuban artists have been very productive this past decade, producing stunning and surprising works against a backdrop of political and economic transformation as well as continuing scarcity on the island. Planet/Cuba: Art, Culture and the Future of the Island (Verso, 2015), Rachel Price’s thoughtful approach to this cultural scene, pays special attention to conceptual and performance art that moves from the very local to the global. Her focus on artistic vocabularies centered on trees, marabou, and water as well as the symbolic and real significance of time and surveillance brings together a provocative array of artists that have a lot to tell us about the everyday both in Cuba and on our shared planet. This marvelous book acquaints readers with unforgettable artists and their work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Cuban artists have been very productive this past decade, producing stunning and surprising works against a backdrop of political and economic transformation as well as continuing scarcity on the island. Planet/Cuba: Art, Culture and the Future of the Island (Verso, 2015), Rachel Price’s thoughtful approach to this cultural scene, pays... Learn more about your ad choices. Visit megaphone.fm/adchoices
Cuban artists have been very productive this past decade, producing stunning and surprising works against a backdrop of political and economic transformation as well as continuing scarcity on the island. Planet/Cuba: Art, Culture and the Future of the Island (Verso, 2015), Rachel Price’s thoughtful approach to this cultural scene, pays special attention to conceptual and performance art that moves from the very local to the global. Her focus on artistic vocabularies centered on trees, marabou, and water as well as the symbolic and real significance of time and surveillance brings together a provocative array of artists that have a lot to tell us about the everyday both in Cuba and on our shared planet. This marvelous book acquaints readers with unforgettable artists and their work. Learn more about your ad choices. Visit megaphone.fm/adchoices
Sponsor: Fuzzy Goat is a charming yarn shop in Historic Downtown Thomasville, Georgia created by Cadence Kidwell in 2014. Their whimsical lodge, luxurious yarns from independent, Southern and US sources, including Spincycle Yarns and focus on attainable challenges makes them a fun and memorable place to drop in. Whether you’re new to handcrafts or an experienced knitter, crocheter or weaver, you’ll find an appealing space to build your fiber community and exquisite materials and classes at Fuzzy Goat. Make yourself comfortable and feel welcome to discover your next project, letting the yarns speak for themselves and the Fuzzy Goat team will find the right moment to help you turn an idea into a project ready to cast on. Make Fuzzy Goat a destination when near Thomasville, Georgia and find a list of classes and other info at fuzzygoatyarns.com. And follow along on Instagram @fuzzy_goat. Fiber folk: I had a great time visiting spinsters Rachel Price & Kate Burge in their cozy studio in downtown Bellingham earlier this year. Coincidentally, the very building that their studio resides in is where I met my husband 11 years ago. It was great to be in these old haunts with new friends and to hear […]
Lake Street Dive They've done Letterman, Colbert, and Ellen, and now they are coming to the virtual lounge! Ty and Nick welcome red hot singing group "Lake Street Dive" to Beats and Eats. Ty and Nick talk to lead vocalist Rachel Price about hitting Billboard's top 20 with their new album "Bad Self Portraits" and life on their sold out tour. It's a cool conversation with one of the most talented voices in the music industry. Later in the episode Ray and Gelso talk about their top 5 "contemporary" artists! See, it's true, the "virtual lounge" doesn't just play lounge music! Sit back, relax, pour your drink of choice, and enjoy the virtual lounge as it was intended to be. Show Contact Info (mobile App users: See "show Links" tab): Subscribe/Rate/Review B&E Network on iTunes Lake Street Dive on Facebook | Official Website Follow Ty Ray on Twitter Follow Nick Gelso on Twitter | Facebook Follow Beats & Eats on Twitter | Facebook Help Beats & Eats - Take our Short Suvey
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