Podcasts about transom traveling workshop

Cynthia Capers used to be a nurse but she chose to get out of that life and teach herself how to be a farmer. This piece was originally produced as part of the Transom Traveling Workshop in Nashville, TN at WPLN by India Hunter (her very first radio piece ever). If you’d like to make pieces like this check out www.transom.org. You can join “The Neighborhood” along with these wonderful, thoughtful, generous people by becoming a patron at www.patreon.com/neighbors Who’s in “The Neighborhood”: Allison Sebastian, Adrian Cobb, Nathalie Stewart, Ben Lehman, Caroline Martin, Clark Buckner, Cody Spriggs, Dan Burns, Em Vo, Eric Detweiler, Gina, Griffin Bonham, Heather Price, John Kesling, Landon Rives, Marc Kochamba, Patrick Black, Patrick Gillis, Ray Ware, Ryan Arnett, Samuel Adams, Tom and Rachel Kraft, Nikki Black, Hunter and Bonnie Moore, Newton Dominey, Bea Troxel, Craig and Brenda Burns, Laurel Dean, Travis Hall, Clark Hill, Tony Gonzalez, Christopher Mastin and my mom Tonya Lewis (thanks mom!) Visit our website at www.neighborspodcast.com Leave us a review on Apple Podcasts PG, PG-13, R??? Music from the Blue Dot Sessions, Dan Burns. Use Dan Burns for your podcast/videogame/film project! Our sonic logo at the beginning of the episode is by Dallas Taylor’s company Defacto Sound. Dallas makes a podcast about sound called Twenty Thousand Hertz listen at www.20k.org Photo by N I F T Y A R T on Unsplash Get to know your neighbors.

On this week’s 51%, hooping, swimming and dancing. Sometimes finding an activity that brings us joy can make us happy and healthier. Bernadette King discovered hula hooping and found joy, and a better, stronger body. Now, though, she’s struggling to recapture that joy as well as her health. Shannon Moffett from the Transom Traveling Workshop […]

Two stories, produced in a week by Transom Traveling Workshop students. The first, by Georgia Walker at our workshop at WPLN in Nashville. And the second, by Maribeth Romslo at our workshop in Seattle at KUOW. Both about music. Both impressive for first-time radio producers.

In this Special Episode, the GAI welcomes Maribeth Romslo, a Minneapolis based Filmmaker and Director. Maribeth filmed within an iconic German domestic structure - the Frankfurt Kitchen - which are still built and used in German apartments where ultra-efficiency collaborates with time-savings and freedom. Tickets to the Kitchen Dance Project film are available here: https://ticket.artsmia.org/products/kitchen-dance-film-premiere For more details about Maribeth's project, follow these links: Overall project website: www.kitchendanceproject.com Recipe stories submission link: https://www.kitchendanceproject.com/recipe-stories And here's the radio story that Maribeth recently produced for the Transom Traveling Workshop at Seattle Public Radio (6 minutes): https://soundcloud.com/maribeth-romslo/chuck-corey-and-the-harry-partch-instrumentarium ### Since 1957 The Germanic American Institute has been building cultural bridges between the American Midwest and German-speaking European countries. We cordially invite you on the inside, to join us as we share insights into German grammar, the German cultural experience, we’ll look at current topics, and we’ll let you know about all the events that we are involved in, and you can participate in. If you'd like us to answer any questions you may have about our content, history, grammar, etc. please email us at: language@gai-mn.org and we'll include your request in the next episode.

Lucy is a producer, writer, and activist currently residing in East LA. For the past four years she has volunteered inside and outside of the prison system on behalf of an organization called PREP, Partnership for Reentry Program, located in South LA. Her work inside of prison includes co-facilitating a parole preparation workshop called "Insight" which is an active program in over 20 California institutions. Shortly after attending a Transom Traveling Workshop last summer Lucy began "Life on the Outside," a monthly podcast about returning to society after decades of incarceration.

For some radio inspiration, make sure to listen to these three stories produced in a week by students at a recent Transom Traveling Workshop in Marfa, Texas. Then, sign up for a workshop yourself!

This episode of Random Waves takes a peek into the world of Timmy Findlen, a carpenter and musician in East Nashville, Tennessee, who likes to do things the hard way.  I produced this story during my time with the Transom Traveling Workshop.

Two solidly produced, fun stories from students at the Transom Traveling Workshop in Marfa, Texas. Both are well worth your listen.

pssst....can I tell you a secret?  I love John Denver.  Made at the Transom Traveling Workshop in Big Sky, Montana.

The moment I heard about Jim Salestrom, I knew. Not only was this the story I wanted to do for the Transom Traveling Workshop, but I knew in my gut the story was also about me. I came to the Transom Traveling Workshop with all sorts of notions as to what Good and Bad in audio storytelling means. I’ve been hanging out around these parts for quite a while now. My love affair with, and frankly my need for, this medium as a listener has also opened up something that has grown in me alongside: I want to make stories, too. And I want them to be good. I started to pay attention: Reading about the thing, talking about the thing, gathering equipment for the thing, trying my hand at the thing, taking $15 online classes in the thing, even going so far as to land a fantastic job in the thing…getting to work directly with people who actually DO the thing! I applied for the Transom Traveling Workshop knowing it’s like the Ivy League School of audio storytelling training camp without actually being a school. Not only did I want to learn to make something, but to learn the proper way to make something: what the best equipment is and how to use it, writing, recording, editing, levels, what’s the perfect length. . . essentially The Rules. And of course I had lots of assumptions and beliefs as to what those rules are. Rule #1: Real Journalists Make Serious Stuff (and keep themselves out of the story). Reality: I worked myself up to the point of tears with my entire class admitting the truth of this story as it came to me, and that I was in it as a subject. To my amazement, no one had an issue with this — they even encouraged it! Rule #2: Use The Right Gear. (Something like the TASCAM 1776, or the ZOOM H1N1…right??) Reality: Doesn’t matter. Use your iPhone. Get something decent that you can afford and just start recording. Rule #3: This one is more like an assumption: Collaborating on stories, and reading and editing each other’s scripts, will expose all of my weaknesses as a writer and my shallow ideas. It will be torture, it will be humiliating, but it will be good for me. Like broccoli. Reality: The latter was true, the former was not. In fact, it actually made me feel better about my writing. Collaborating with a supportive peer group and leaders not only made the story better, it focused it and gave me ideas which I willingly used, and invested me deeply in other people’s stories and processes, and gave me a new community. I also happen to like broccoli. Rule #4: The right length for this piece, for a “real” radio piece, is about 4.5 minutes. Reality: I panicked when mine came in at 10+ minutes, only after brutal slashing (torture!) and rewriting. “They are going to send me packing!” You know what they said? The best story length is as long as the story needs to be. This story is 10+ minutes. I also got some things right. An enormous amount of work goes into making good audio stories. All of the writing and rewriting, collaborating, shaping, editing, leveling. . .it takes hours. Days. All of that logging of tape and transcribing that I was really hoping to find out one doesn’t actually have to do? It was an essential resource as I tried to find the story I was trying to structure again and again. There’s a method to the madness. It’s worth learning the process. Most of what I’ve been assuming in this realm turns out to be true. Dang. Amazingly, the piece I wound up making paralleled this exact journey. In its essence, the story is about just being who you are. Real Journalists DO make serious stuff, and they do keep themselves out of the story. I am enormously indebted to, and in awe of, the people who do this. The thing is. . . I’m not a journalist. I don’t need to try to pretend to be or try to be in order to make stuff. The stuff I want to make is the stuff that comes...

The moment I heard about Jim Salestrom, I knew. Not only was this the story I wanted to do for the Transom Traveling Workshop, but I knew in my gut the story was also about me. I came to the Transom Traveling Workshop with all sorts of notions as to what Good and Bad in audio storytelling means. I’ve been hanging out around these parts for quite a while now. My love affair with, and frankly my need for, this medium as a listener has also opened up something that has grown in me alongside: I want to make stories, too. And I want them to be good. I started to pay attention: Reading about the thing, talking about the thing, gathering equipment for the thing, trying my hand at the thing, taking $15 online classes in the thing, even going so far as to land a fantastic job in the thing…getting to work directly with people who actually DO the thing! I applied for the Transom Traveling Workshop knowing it’s like the Ivy League School of audio storytelling training camp without actually being a school. Not only did I want to learn to make something, but to learn the proper way to make something: what the best equipment is and how to use it, writing, recording, editing, levels, what’s the perfect length. . . essentially The Rules. And of course I had lots of assumptions and beliefs as to what those rules are. Rule #1: Real Journalists Make Serious Stuff (and keep themselves out of the story). Reality: I worked myself up to the point of tears with my entire class admitting the truth of this story as it came to me, and that I was in it as a subject. To my amazement, no one had an issue with this — they even encouraged it! Rule #2: Use The Right Gear. (Something like the TASCAM 1776, or the ZOOM H1N1…right??) Reality: Doesn’t matter. Use your iPhone. Get something decent that you can afford and just start recording. Rule #3: This one is more like an assumption: Collaborating on stories, and reading and editing each other’s scripts, will expose all of my weaknesses as a writer and my shallow ideas. It will be torture, it will be humiliating, but it will be good for me. Like broccoli. Reality: The latter was true, the former was not. In fact, it actually made me feel better about my writing. Collaborating with a supportive peer group and leaders not only made the story better, it focused it and gave me ideas which I willingly used, and invested me deeply in other people’s stories and processes, and gave me a new community. I also happen to like broccoli. Rule #4: The right length for this piece, for a “real” radio piece, is about 4.5 minutes. Reality: I panicked when mine came in at 10+ minutes, only after brutal slashing (torture!) and rewriting. “They are going to send me packing!” You know what they said? The best story length is as long as the story needs to be. This story is 10+ minutes. I also got some things right. An enormous amount of work goes into making good audio stories. All of the writing and rewriting, collaborating, shaping, editing, leveling. . .it takes hours. Days. All of that logging of tape and transcribing that I was really hoping to find out one doesn’t actually have to do? It was an essential resource as I tried to find the story I was trying to structure again and again. There’s a method to the madness. It’s worth learning the process. Most of what I’ve been assuming in this realm turns out to be true. Dang. Amazingly, the piece I wound up making paralleled this exact journey. In its essence, the story is about just being who you are. Real Journalists DO make serious stuff, and they do keep themselves out of the story. I am enormously indebted to, and in awe of, the people who do this. The thing is. . . I’m not a journalist. I don’t need to try to pretend to be or try to be in order to make stuff. The stuff I want to make is the stuff that comes...

When an interviewee is too nice, getting what you need as a reporter can be a challenge. Monika Blackwell relates how she navigated the "reporter/subject relationship" (& death of a rooster) during a Transom Traveling Workshop in the Virgin Islands.