Lily Bui posted on Tuesday, April 22nd, 2014 | PRX, STEM Story Project | No Comments
It’s baaack! PRX is excited to announce version 2.0 of our STEM Story Project!
In partnership with the Alfred P. Sloan Foundation, PRX will be holding another open call for radio stories inspired by STEM topics: Science, Technology, Engineering and Math. We have a pool of $58,000 to distribute among multiple projects.
Last year, PRX funded 16 open call stories about STEM, with topics spanning forensics, poison, human echolocation, DIY spacesuits, and more. They aired on national shows and stations throughout the country.
Our prime directive (as Spock would say) is to:
• Unleash highly creative, STEM-based original stories and productions
• Educate and excite listeners about STEM topics and issues
• Tell stories and explain STEM issues in new ways
Have an idea for a story? The proposal guidelines and application will be here later this week.
Applications will open May 5, 2014. The DEADLINE for applications is May 26, 2014 at 11:59PM ET.
Join us on April 30 at 2 p.m. ET for the STEM Story Project webinar to answer questions – register here.
If you can’t make or wait for the webinar, email your questions to firstname.lastname@example.org. But read the application and guidelines first when they come out later this week!
Follow #PRXSTEM on Twitter for all the latest.
The PRX STEM Story Project Team
Audrey posted on Thursday, April 10th, 2014 | PRX | No Comments
Last year I made the claim that poetry is for everyone, especially radio lovers and I stand by that! This year I wanted to dig a little deeper and see what poets were doing with audio, whether it be podcasts, broadcast programs or archival audio footage. There’s so much amazing poetry to listen to on the web, here are some of my favorites.
- Imagination is the seed of empathy – a centrally important function – and both the gift and burden of the writer, argues Kwame Dawes in The Gift from WBEZ.
What is Poetry?
- One of my all-time favorite pieces on PRX is this Carl Sandburg remix produced by Barrett Golding called “What is Poetry?”
State of the Re:Union Poetry Month Special
- Host Al Letson tells his personal stories of how poetry influenced his life and features some incredible slam poets from around the country.
Woodberry Poetry Room Recordings
- The Woodberry Poetry Room at Harvard contains a landmark collection of poetry readings that have taken place at Harvard. You can listen online to many of them. Here are a few of my favorites:
- “On the Other Hand” by Lanny Jordan Jackson.
- Allen Ginsberg’s “Father Death Blues.”
- Voicemail Poems podcast:
Got a favorite poem recording, poetry radio program or podcast I’ve missed? Let us know in the comments.
Lily Bui posted on Wednesday, April 9th, 2014 | PRX | No Comments
As they say, “It’s an honor just to be nominated!” PRX has been nominated for not just one but TWO categories this year for the 18th annual Webby Awards.
In addition to nominees, the Webbys also name the top 15% entries as bona-fide honorees. We’re happy to also announce that The Moth app, developed by us, is one of these honorees! You can find the official list here.
Think of the Webbys as the Oscars of the Internet. The only difference is that YOU get to help turn these nominations into full-blown wins! This year, they received 12,000 entries from over 60 countries. Other nominees include SoundCloud, Stitcher, HBO GO, TED, Pandora, and more.
PRX is a Webby regular, with a past win and multiple honors and nominations. We’re thrilled that the recognition continues.
(I mean, c’mon, who wouldn’t want to take one of these babies home?)
Genevieve posted on Tuesday, April 8th, 2014 | Blog, PRX | No Comments
Coming soon from The WFMT Radio network, a new series called Studs Terkel in Conversation with American Poets.
Celebrate National Poetry Month with a trio of short radio programs featuring some of America’s greatest 20th century poets in conversation with Studs Terkel. These programs explore how poetry channels voices from the past, propels fantastic voyages and dives deep into memory, childhood and the wild “backyards” of life. Robert Polito, president of the Poetry Foundation, guides this tour which features excerpts from Terkel’s archival talks with Allen Ginsberg, Gwendolyn Brooks, James Baldwin, Howard Nemerov, Elma Stuckey and John Ciardi.
They’ll be posted here for listening and purchasing later this week!
Audrey posted on Monday, April 7th, 2014 | PRX | No Comments
April is National Poetry Month and I’ve been sniffing around the interwebs for places where poetry and radio meet. A poet friend of mine alerted me to PrettyLIT by BJ Love and when I saw the premise of the project, to be honest, I was a bit skeptical.
Poetry and club jams? I enjoy both, but I wasn’t sure what would happen when they came together. PrettyLIT features some of my favorite contemporary poets (as well as older recordings of poets like Elizabeth Bishop, Anne Sexton and e.e. cummings) reading their work over Kanye West, Aphex Twin, Prince and Madonna.
For all those out there that say they hate poetry, find it boring, are afraid of it, or would rather go to anything besides a poetry reading, PrettyLIT might be for you. It takes already really excellent readings and makes them…a little more fun, maybe a little less scary!
I wrote to BJ to find out more about his project and the connections he sees between poetry and radio.
Audrey Mardavich: Give me a little background about your project and how it got started. Why poetry, why club jams?
BJ Love: My honest, no bullshit answer to that question is…I thought it would be super-fun. And, I think, sometimes secretly, but most of the time quite publicly, all poets wish that reading their poems felt as good as dancing to a good club jam feels. Seriously, think of every time R. Kelly’s “Ignition (Remix)” has come on…that’s the feeling virtually every poet is after.
I guess like an alchemist, I’m just mixing a little gold in with my iron in hopes that I’ll finally be able to create that feeling in my audience.
I want people to feel that way with these poems…to hear the poet read them this crazy poem and feel connected to it in that dancing way that lets the listener know they are having the best time ever!
AM: How do you pick your poets and how do you pick your music?
BJ: In most cases, I have to solicit people pretty hard. The whole “literature, club jams,” concept seems too goofy, I think, to a lot of writers, and I get that. I think the worry is that I’m kind of taking the piss out them and their work, which couldn’t be further from what’s actually happening. I mean, once I get the poems, I listen to them 10-15 times…I literally just sit there and listen to them over and over and over. I memorize them, I start reciting them as I walk around, and eventually, I’ll be at the gym, driving around, or sitting in my office, and a song will come up that will snap a poem back into my head, and that’s how I know what I have to do. Occasionally though, I can hear a poem once and know exactly what song I should pair it with. That actually just happened with last episode; the poet Mike Young sent me a poem and within the first few lines, I heard Nine Inch Nails’ “Closer,” thumping back behind it…
AM: What made you want to take poetry and put it on the radio?
BJ: I love the idea of poetry invading those more passive spaces.
In most cases, if you want to interact with poetry you make the conscious decision to do so. You pick up a book. You go to a reading. You look up audio on the internet. But to have it just show up on the radio…I think that would blow a lot of people’s minds and totally remake the way we think about poetry in this country. I mean, every kind of literature has a best-seller list in the New York Times Book Review; non-fiction, graphic novels, romance…everything, that is, except poetry. But that’s a different conversation all together…
I guess I just want poetry on the radio because I don’t think that lack of interest necessarily has to be the case.
AM: What do you think making poetry and making radio have in common?
BJ: It seems to me that the biggest thing they have in common is the never-ending fight for your audience’s attention. Writers and radio makers, and probably teachers too (of which, I am now all three), have the weirdest relationships with their audiences…you love them and you need them, and yet, you’re always trying to distract them so you can get them to do what you want them to do…listen to what you’re trying to say. That, I think, is the toughest job in the world…trying to get people to pay attention to you in a meaningful way.
AM: What’s your favorite part of the PrettyLIT process?
BJ: The one thing makes me giddy every time is when a poem and a song finally click together. For every minute of audio you hear in PrettyLIT, there’s about an hour of finagling and staring at sound waves on my computer. I’ll move this phrase over 3/10ths of a second. Move it back 1/10th. Listen to it 5 times, and then put it back in its original position and listen to it another 5 times…but man, when it falls into place, finally, it takes every ounce of self-restraint for me to not upload that single track to Facebook right then and there. I love it…so much. It’s like recognizing where you’re at after you’ve been lost for the last 30 minutes…amazing.
AM: What can poetry do on the radio that it can’t do on the page?
BJ: I think it allows the interaction between author and audience to be a bit more honest and upfront. Interpreting poems, or any literature, is a necessarily isolating experience. One that I think most of us are intimidated by, I mean, I know I am. But having the author right there reading it to you, it feels much more open…as if there is nothing to be interpreted, it’s just someone talking to you, even if the statements are a tad more convoluted than usual.
I think that’s also why I choose to go with kinds of music I first became familiar with in clubs; dancing has always been scary to me. I’m tall and lanky and my body doesn’t move gracefully. I have been very aware of that since I was about 12, but when dancing stopped being linked to performance (as all things are when we’re young), and just became about looking all my friends in their eyes and laughing and wildly acknowledging that we were having the best time ever…well, dancing became my favorite thing to do.
I want people to feel that way with these poems…to hear the poet read them this crazy poem and feel connected to it in that dancing way that lets the listener know they are having the best time ever!
AM: True or false: are radio makers secretly poets?
BJ: True…and not so secretly. It’s all about conveying an image, or an emotion, or anything really, through language, without much help from the other senses. I think that is what I really like about hearing poems as opposed to reading them…our voices allow us to decipher so much more meaning from the work than just the words alone.
There are poems that barely registered with me emotionally when I read them in a book, but that I’ve wept listening to…that does work the other way though too; “At North Farm,” by John Ashbery is a great poem. It’s so full of wonder and excitement and reverie, and then to hear him read it, all fast as though it’s the tail end of a much more interesting thought that has run it’s course, is a total let down…so I kind of chopped and screwed that one when I put it in the podcast. I slowed it way down, gave it some space to breathe…and laid some Sir Mix-a-Lot underneath! I liked it a little bit more after that…
AM: What’s your favorite poem and what’s your favorite piece of radio you’ve heard?
BJ: My favorite poem(s) are Jack Spicer’s “Letters to James Alexander.” There’s an honesty to those poems that I find startling and comforting all at once. My favorite radio really depends on the week. I bounce between “This American Life,” “Radiolab,” and “99% Invisible.” Actually, I first heard “Radiolab” ON “This American Life,” and heard “99% Invisible” for the first time on “Radiolab.” I really like those shows because I feel they capture the rhythms of story, the beats of narrative better than anything I’ve ever heard…including good storytellers telling stories right in front of me over a few beers. If I have one hope for “PrettyLIT,” it’s that it becomes compelling in the way I believe those shows do; you love what you hear so much, that you can’t turn it off because you HAVE to hear what comes next.
But my favorite piece ever? That would have to be a chunk of audio they played on “Radiolab” where this guy is hiking and hungry and hasn’t eaten in days, and he comes across a cachet of candy he left behind months ago. As he’s digging it up he starts screaming and laughing and screaming and eating and laughing. I’ve never heard joy like that before…and when I finally did, I had to pull over because I couldn’t see through my stupid teary eyes any more.
AM: How can people contact you to be a part of PrettyLIT?
BJ:The best place to start is www.prettylit.org. There you’ll find this phone number: (912) 349-9676. You can always call in and leave a message with a poem or story, though, for the sake of sound quality, just record yourself on your computer or phone and email the file to me at email@example.com.
…oh, and be sure to tell me who you are and where you’re from. I’d love to know a bit about you too.
BJ Love is the author of a few chapbooks, Michigander, being one, Yes, I’m Sure This Was a Beautiful Place, being another. He is a teacher at Savannah State University, and the co-host of Seersucker Shots, a reading series in Savannah, GA.
Jake posted on Wednesday, April 2nd, 2014 | PRX, PRX in the News | No Comments
The lead investigative story first featured in the pilot program of Reveal, a joint production of The Center for Investigative Reporting and PRX, has won a Peabody Award.
The story, reported by CIR’s Aaron Glantz, exposed opiate prescription abuse by the VA and the damage done to veterans returning from Iraq and Afghanistan. CIR’s extensive use of the Freedom of Information Act put hard data to the human impact and made possible a story for public radio, online and television.
“PRX is deeply honored to be part of this award with the talented journalists at CIR,” said PRX Managing Director John Barth. “We have listened carefully to stations and listeners and this Peabody is an affirmation that strong, investigative journalism will be at the core of Reveal.”
PRX and CIR are proud to be in the company of other award-winners announced today: This American Life, NPR, PBS and many others.
Reveal is an investigative public radio program for the 21st century, accompanied by web, mobile and social platforms that create a powerful level of content and audience engagement. Reveal will leverage the social web beyond promotional sharing to reach new audiences off the public radio grid and pro-actively engage them in the search for common cause and solution to the myriad problems identified and addressed through Reveal‘s reporting. Reveal intends to become a weekly program and is now in the piloting phase with stations and collaboration partners.
Reveal is a joint production of The Center for Investigative Reporting and PRX. PRX is the exclusive distributor of Reveal.
PRX is an award-winning nonprofit public media company, harnessing innovative technology to bring compelling stories to millions of people. PRX.org operates public radio’s largest distribution marketplace, offering thousands of audio stories for broadcast and digital use, including The Moth Radio Hour, Sound Opinions, State of the Re:Union, Snap Judgment, and WTF with Marc Maron. PRX Remix is PRX’s 24/7 channel featuring the best independent radio stories and new voices. PRX is also the leading mobile app developer for public media, with apps such as Public Radio Player, Radiolab, This American Life, WBUR, KCRW Music Mine, and more.
PRX was created through a collaboration of the Station Resource Group and Atlantic Public Media and receives support from public radio stations and producers, the John D. and Catherine T. MacArthur Foundation, the Ford Foundation, the Knight Foundation, the Corporation for Public Broadcasting, the National Endowment for the Arts and the Sloan Foundation.
About the Center for Investigative Reporting
Investigative reporting is an essential pillar of a democratic society. For more than three decades, The Center for Investigative Reporting (CIR) has relentlessly pursued and revealed injustices that otherwise would remain hidden from the public. Today, we’re upholding this legacy and looking forward, working at the forefront of journalistic innovation to tell the stories that make a difference and reach diverse audiences of all ages, across the aisle and worldwide.
CIR stories appear in hundreds of news outlets, including NPR News, PBS FRONTLINE, PBS NewsHour, CNN, the Los Angeles Times, The New York Times, The Washington Post, the San Francisco Chronicle, The Sacramento Bee, The Daily Beast and American Public Media’s Marketplace. CIR stories have received numerous journalism awards, including the Alfred I. duPont-Columbia University Silver Baton, George Polk Award, Emmy Award, Investigative Reporters and Editors Award, and the MacArthur Award for Creative and Effective Institutions. Its reports have sparked state and federal hearings and legislation, public-interest lawsuits and changes in corporate policies. For more information, visit cironline.org.
Host: Al Letson
Executive Producers: Ben Adair, Susanne Reber
Editors: Amy Pyle, Mia Zuckerkandel
Producers: Michael Montgomery (KQED), Michael Schiller,
Reporters: Aaron Glantz, Kendall Taggart, Ryan Gabrielson, Amanda Aronczyk
Data team: Agustin Armendariz, Aaron Williams, Michael Corey
Production assistance: Allegra Bandy, Stan Alcorn, Bianca Bruno, Julia Chan, Sharon Pieczenik, Ben Rosenthal
Mix engineer: Jim Briggs
RevealRadio.org: Mia Zuckerkandel, Sam Ward, Jaena Rae Cabrera, Christine Lee, Nikki Frick
Video producers: Michael Schiller, Adi Sambamurthy
Reveal is a co production of The Center for Investigative Reporting and the Public Radio Exchange PRX
Senior Management for PRX: Jake Shapiro, John Barth, Kerri Hoffman
Senior Management for CIR: Robert J. Rosenthal, Mark Katches, Joaquin Alvarado, Susanne Reber
Reveal was co created by: Ben Adair, Susanne Reber, Joaquin Alvarado, John Barth and Kerri Hoffman
Audrey posted on Tuesday, April 1st, 2014 | PRX | No Comments
FOR IMMEDIATE RELEASE
PRX Furthers Mission to Reach Wider Audience, Distributes DOG TALK, a Show by Dogs
Cambridge, Mass. – PRX announced today that they are distributing Dog Talk from acclaimed producer Bailey Kalafarski. With a $600 grant from the Ivan G. and Ekaterina V. Sputnik Foundation, PRX will be able to increase listenership for this up-and-coming series, which had considered self-distribution.
Drawing from PRX’s growing catalog of over 65,000 audio works by independent producers as well as local stations, PRX has decided to invest its time and money into distributing a show by (and for) dogs. As a result of our focus on audio produced by dogs, you can now also exchange your membership points for kibble. PRX continues to build on its track record of harnessing digital media and technology to bring compelling audio stories to a wider audience. The show touches on topics such as global climate change, strange noises in hallways, and car doors and speaks to a diverse audience of collies, shepherds, and terriers.
“We’ve wanted to scratch this itch for a long time,” says CEO Jake Shapiro. “We knew changing our focus to dog audio producers might tick off some people, but we’re looking forward to seeing where Dog Talk takes us and the new audiences we reach.”
Stream the latest episode below, which discusses the impact of social media on pets’ lives. The full series is available here.
Genevieve posted on Tuesday, April 1st, 2014 | PRX | No Comments
PRX’s Second Ear — a monthly idea-sharing session & mini-makeover for an audio piece — is open for submissions now! We can only take 15 submissions, so get ‘em in early.
If you have any questions, please comment on this blog post so others can see, or write to us.
Julia Barton posted on Monday, March 24th, 2014 | Radiotopia | 1 Comment
Benjamen Walker’s podcast Theory of Everything tosses aside conventions in many different ways, but perhaps no more so than when Walker blends truth and fiction in the same program. Not everything you hear on Theory of Everything is “true” — figuring out where his work crosses that line is one of the pleasures of listening. And Walker’s genre-bending makes a bigger point, especially when he delves into our high-tech lives: much of our reality (Twitter bots, Google Glass) feels on the verge of being fake; and some of what’s staged seems like it could be plausible.
The binaural mic used for this episode.
credit: Imprint Projects
If we don’t completely know the difference between truth and fiction anymore, Walker seems to be saying, let’s explore the line between the two together and maybe get lost.
So that’s why I don’t want to give away exactly when and where “reality” breaks apart in Walker’s latest podcast, “Prêt-à-Portable,” but the result is dark and funny. The episode concerns the rise of “wearables,” technology that interfaces closely with our bodies (Google Glass being a prime example, but Walker thinks we’ll be seeing a lot more wearables, and very soon).
What makes this episode especially interesting is that part of it was recorded with binaural microphones, a technology which, combined with good headphones or the right kind of speakers, can create a passable illusion of three-dimensional sound. Jawbone, who make 3D-sound-enabled speakers, sponsored this part of the podcast. It’s about a surreal “hack day” at SXSW Interactive in Austin — usually a place to present new tech ideas, but this crew at this hack day want to use technology to keep us off technology, mostly by making it clunkier or more painful. The results, especially for anyone with any memory of the 1980s or 90s, are pretty amusing.
I asked Walker what it was like doing binaural recording, which is relatively new for spoken-word productions.
Walker: We were in a beautiful studio (Arlyn Studios). We had a whole room with five of us in there and this giant head. The microphones are in the head. It was a Neuman KU 100. It’s really heavy. I was on a chair behind it. Isn’t that weird? We were all pretty close together.
To record outside, the engineer built an over-the-shoulder pole to carry the head dangling from it. We used it when we went to the Driscoll Hotel lobby to pitch our hack day ideas.
Barton: Was there anything tricky about mixing or editing the sound later when it’s recorded this way?
Walker: No, not really. The digital image is a little harder to work with, you have to be more careful with panning. We had two scenes in a car, but it wasn’t moving. We walked through the Driscoll lobby, but we didn’t use that part.
Barton: So it’s when speakers cross, say, from right to left across the recording area that things can get trickier post-production?
Walker: Yes. The scenes we ended up using were stationary. I would love to experiment more with this.
Barton: How did this episode come together?
Walker: I’ve been a little down on technology lately. Theory of Everything is not a technology show; someone described it on the Internet as “tech-ish,” which I like… Anyway, I’ve gone to SXSWi for years, but this year I was feeling a little down and out about going, so I didn’t register.
Then I got a call from folks from Imprint Projects — they looking for someone who wanted to produce a segment that was binaural recordings. I’ve been curious about binaural mics for a long time.
The mic is not bad — it should be for something that costs $10,000! I was impressed.
Barton: Why wearables — why is this an interesting story to you?
Walker: “Portable” in French means computer, so the title is literally “ready-to-wear computer.”
What I learned from doing this episode is that the wearables are coming, and we are not prepared. We have no idea what’s about to happen. It’s coming this summer. It’s going to start out as health-related: “Wear this watch or die of a heart attack!” Every single one of our friends is going to get one of these wearables the day it comes out. Everything’s going to change.
The way people talk about this technology, it’s kind of the way addicts talk. What I took away is that we are so unprepared for this change. The people in charge of this debate (about wearable technology) are people like the ones I interview, Sarah Slocum and Shingy (AOL “digital prophet” David Shing). Let’s just say they’re less critical than I’d like them to be. They’re “boosters.” But at least they’re thinking about all this.
Julia Barton is Managing Editor of Radiotopia from PRX, of which Theory of Everything is a proud member.
Genevieve posted on Thursday, March 20th, 2014 | Blog, PRX Projects | No Comments
Introducing PRX’s Second Ear — it’s like a mini-makeover, without the reality television!
Are you a producer looking for perspective and ideas on an audio piece?
Each month, PRX will work with one producer on a piece to improve it. We’ll provide feedback based on criteria like music, transitions, script, hosting, etc. We’ll also help with the piece’s presentation on PRX — the image, description, your profile, and so on. Then we’ll go over our ideas with you, have you post the improved piece as an “after” to the “before”, and share it with the world.
Here’s how it’ll work:
- We’ll take submissions online starting the first of each month. Producers will have five days to submit a piece under 15 minutes in length and a little pitch about it. One submission per person only. Submissions will be capped at 15 per month. Plan ahead: Here are the fields you’ll have to fill out when you apply.
- From the sixth to the fifteenth of the month, PRX staffers will choose one piece from the 15 submissions, listen to it a ton, and take notes on items to improve.
- Once we’ve got all our suggestions, we’ll arrange a 30-min. phone call with the producer to talk ideas. Producers will get input from John Barth (Managing Director), Genevieve Sponsler (Content Coordinator), and Erika Lantz (PRX Remix Assistant Producer).
- Before the end of the month, the producer will post the improved piece. We’ll provide a homepage feature, a blog post, and social media shoutouts.
Check out the FAQ we made below. To participate, follow us on Twitter, where we’ll post the link to apply and more details April 1. We’re thrilled to start this new project and can’t wait to work with you.
Some anticipated FAQs:
- Why are you capping it at 15 submissions?
PRX is small, and we want to be able to make sure we can read all the submissions in a timely fashion and have time to work with the producer. If you miss it, apply the next month!
- Can I submit more than one piece?
No — only one piece per month per person. Since we are capping it at 15 submissions, we want 15 different producers to be able to apply.
- Why do pieces have to be under 15 min.?
Pretty much the same answer as above — we want to be able to provide feedback on the whole piece in a short amount of time. Additionally, we have stats that show stations are much more likely to buy pieces under 10 minutes if they’re buying short pieces, and we prefer pieces under 15 minutes for Remix.
- Will you do one per month?
Yes — our plan right now is to do one Second Ear per month. We’ll see how it goes and may adjust accordingly.
- If my piece is chosen and I make changes, will it get licensed by stations?
We wish we could guarantee that, but we can’t! We can guarantee that you’ll get valuable input from PRX staff that you can use to improve your piece.
- If I work with you guys, do I have to credit PRX in the audio?
Nope, it’s still your piece. But we would ask you to put “Part of PRX’s Second Ear” somewhere in your piece description so that others can learn about the project.
- Does my piece have to be on PRX when I apply?
Yes, submitted pieces must be on PRX before the application process. That way we’ll be able to do a before and after comparison with listen and license statistics.
- Do I have to have a paid PRX account?
No — but we will remind you that in order to get royalties, you’ll need one!
- What are the criteria you’ll be looking at when choosing a piece?
Sometimes the best stories are creative pet projects. Those stories deserve an editor as much as your daily news spots do. We’re looking for complete stories that you’d like to make even stronger by getting an outside perspective. We aren’t a school so we won’t be able to teach you how to do radio, and we aren’t looking for first drafts. We are interested in working with producers who want to get pieces on the radio or want them considered for Remix.
- What’s the goal?
Better pieces heard by more people! We are a team of experienced radio distributors and producers helping out. It’s about making good stories even better.
Image from Shutterstock.
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