Tags / [need to listen]

Tagged with “[need to listen]” (1262) activity chart

  1. Law Enforcement Takes Police Surveillance to New Heights

    The so-called Heartbleed security flaw has revealed every user’s worst nightmare about security on the Internet. Should somebody take charge?


    —Huffduffed by jeffhammett 15 hours ago

  2. Special Issue: Captain America Writer Steve Englehart  | Comic Book Podcast

    Interview with writer Steve Englehart. The man who brought back the Cap of the 50’s gives us an inside look at Marvel and his idea of who Captain America.


    —Huffduffed by dbostrom one day ago

  3. Virtual Memories | Reading Maketh a Full Man, or, “Where is the Lesbian on This List?”

    Interview with D.G. Myers, of "A Commonplace Blog."

    —Huffduffed by danup 2 days ago

  4. Rich Davenport’s Rock Show: King’s X Special with dUg Pinnick & Ty Tabor

    Dug Pinnick talks about his new band KXM, with George Lynch (Lynch Mob, Ex-Dokken) and Ray Luzier (Korn), with 2 tracks from their debut album. Dug then looks at the new reissue of the first Kings X album, “Out Of The Silent Planet”, out now on Rock Candy Records (www.rockcandyrecords.com ).

    Kings X guitarist Ty Tabor also looks back at “Out Of The Silent Planet”, and also gives the low down on his brand-new solo album “Nobody Wins When Nobody Plays” (out now on www.molkenmusic.com )

    Plus Dug and Ty’s choice of songs from “Out Of The Silent Planet”, and tracks from Ty’s new solo release.

    —Huffduffed by philroy 2 days ago

  5. The Failure of Jesus | Word of Life Church St. Joseph

    Success is an idol—the great American idol. Which emphasizes the scandal that Jesus died as a failure. Jesus died as an apparent failure in the eyes of everyone. Yes, we know that Easter changed that perspective, but slow down. We can’t rush from Christmas to Easter. We have to take Good Friday on its own terms. If we use Easter to obliterate Good Friday, rather than illuminate Good Friday, we end up a "theology of success," instead of the true theology that comes from the Crucified God.


    —Huffduffed by snydejon 3 days ago

  6. On the Bad Vicarage, by Mr. Frank Key, read by Walter O’Hara

    “The vicarage is bad indeed, as bad as any vicarage in Christendom. But the vicar whose sinecure it is is, shall we say, a fair to middling vicar. I would not call him good, but he is by no means as bad as the Bad Vicar of old.”

    http://misternizz.wordpress.com (third point of singularity) http://misternizz.podbean.com (airy persiflage)

    —Huffduffed by misternizz 5 days ago

  7. My Kingdom For Some Structure « How Sound

    Napkin #1 – This American Life

    Bradley Campbell says drawing story structure is like using Google Maps for directions. Structure offers a path, a way to figure out where to go… what to do with all the tape. To help him plan out his stories, Bradley thinks pictorially. He makes story structure drawings in his head. I asked him to make a few napkin drawings of how he sees structure. Indeed, that’s how he first learned about structure — in a bar on a napkin.

    Many years ago, Bradley was a print reporter. He says everyone he worked with kept talking about structure. He knew they meant the way in which a story is organized, but that left him with a question: Organized how? So, he asked a friend of his from the Village Voice “What’s structure?” The guy grabbed a napkin and a pen and made a drawing. “Click!” Suddenly, it all made sense.

    Now, Bradley’s a radio reporter for Rhode Island Public Radio.  (Update: Now Bradley works for PRI’s “The World.”) He says he’s listened long and hard to stories on public radio to understand how they’re configured and to create skeletal renderings of their structure.

    “Napkin #1″ is Bradley’s drawing for This American Life, a structure Ira Glass has talked about ad infinitum: This happened. Then this happened. Then this happened. (Those are the dashes.) And then a moment of reflection, thoughts on what the events mean (the exclamation point).

    On this edition of HowSound, Bradley talks about his napkin drawings for TAL, All Things Considered, and “The e” (on a napkin below labeled “Transom”). And, as a bonus for you because you’re reading the blog, I’ve also included his napkins for Morning Edition and Radiolab.


    Napkin #2 – All Things Considered

    To be sure, Bradley’s drawings are not approved by the shows they represent. These are not official. Nor are they the only way stories are told on these shows. But, for Bradley, they depict frequently heard story arrangements.

    Here is his All Things Considered (ATC) napkin. It starts with a straight line. That’s the opening scene where the reporter introduces listeners to a character often in action. Bradley gives the example of a story about ticks he produced for ATC. In the opening minute or so of the piece, we meet a biologist plucking ticks from shrubs in Rhode Island.

    The dip down and up is what Bradley calls ‘the trough.’ “Throw whatever reporting you have into this middle section,” he says. In the “trough” of the tick story, Bradley included info on tick biology, lyme disease, and lyme disease research.

    Then, the final line is a return to the original scene. Perhaps time has passed and  the character is doing something new. But, it’s like book-ending a story — end close to where you started. Bradley’s tick story ended back out in the woods with the biologist.


    Napkin #3 – The e

    Bradley named this napkin “Transom” for Transom.org. It’s fair to say that’s a misnomer. The stories featured at Transom vary widely and can’t be summed up on a single napkin (which is true for all the shows listed here).

    However, I teach at the Transom Story Workshop and since “The e” is probably my favorite structure, you can hear that approach to story in a lot of the pieces produced by Transom students, hence Bradley’s label.

    “The e” is what the Village Voice reporter drew for Bradley many years ago. The beginning of the line is the present or somewhere near the present. (Frankly, you can start wherever you want in terms of time, but the present or recent past is fairly common.) And, typically, there’s a character doing something — a sequence of events.

    Then, at the point where the e loops up, the story leaves the present and, perhaps, goes back in time for history and or it widens for context.

    When the loop comes back around, you pick up the narrative where you left off and develop the story further to the end. Somewhere in that second straight line the story may reach it’s climax then the denoument or resolution of the story.


    Napkin #4 – Morning Edition

    Even though this napkin looks different than the others, Bradley’s Morning Edition structure overlaps with the others.

    The first line is the opening scene. Then, it’s followed by history, context…. a widening of the story. Then, a return to the opening scene only further along in time. Then, that’s followed by several characters each of whom have a connection to the story. That’s what the horizontal lines on the right represent.

    When I spoke to Bradley about how a story might play out using this structure, he suggested considering a story about Lutheran ministers advocating for same-sex marriage in the church. In the first line, we meet a minister who is in favor same-sex marriage and he’s in church preaching. In the “V” we learn about the history of the issue in the church and the proposed changes. We return to the minister, perhaps at a meeting where he’s advocating his position and that’s where we meet several people linked to the issue and their perspectives.

    What’s cool about mapping structure like this is that the pieces are moveable. You can rearrange the parts like they’re Tinkertoys. In the Morning Edition structure, for example, you could open in a scene, then introduce two people with other views (like the lines on the right of Bradley’s napkin only on the left). Then the “V.” Then a return to the first character and the lines again. Or, maybe you start with the “V” then meet a character…. See what I mean?


    Napkin #5 – Radiolab

    If nothing else, the Radiolab napkin looks cool, right?! Here’s what Bradley told me about this drawing: 

    “Radiolab! Oh man…. I mean, who hasn’t spent an evening driving in their car and all of a sudden Radiolab pops on…. And you’re just listening to it and the stories just get, you know, they start to build out kinda small and then it feels like you’re going on a roller coaster and you approach this one sort of “Whoa!” and then it gets even cooler and then it’s like KSSSHHHSSHSH!

    “…And all this chaos comes through and there’s all sorts of sounds and noises and excitement that’s building… and then it starts to get even bigger and it builds on top of that…

    “(You know when) you approach the final incline of a roller coaster and then you shoot down and then it ends? Sometimes it feels like when I listen to Radiolab it’s like the roller coaster is just shooting off a ramp! And it’s like the whole coaster goes “whoosh!” and they just launch you!.. and you’re like “Whoa! Whoa! Whoa! Where am I? Where am I?”


    Looking for more structure in your storytelling life? Try this link to a Google Image search I did for “story structure.” It’s crazy.

    And, John McPhee, a master of narrative non-fiction, recently wrote an article about structure for the New Yorker. It’s worth the read.

    Oh, and here’s a link to the song by They Must Be Russians featured in the podcast.



    Podcast: Download (Duration: 13:45 — 15.8MB)


    —Huffduffed by theprd 6 days ago

  8. Episode 71: Ed Miller on Poker’s 1%

    Matt Glassman says:

    March 12, 2014 at 11:34 am

    Yes, that seems quite right. I’m totally on board with the idea that studying GTO strategy can give you a deeper understand of the game and has many applications even if you don’t intend to try to achieve a GTO strategy.

    But there’s a tension in Ed’s book that I don’t think is saved by that fact. The GTO strategy, by definition, is a unilateral strategy that requires no observation of opponents. Any deviation from it, based on an opponent observation, inherently becomes a reads-based strategy. So when Ed says things (quite correctly) like “don’t bother 3-barrelling a nit 70% after he calls the turn,” that is explicitly turning away from the GTO strategy and toward a reads-strategy. Now, I think that’s the right thing to do. But it (somewhat) undercuts the fundamental point of the book, which is that you can throw the reads and everything else out the window and just get your frequencies perfect and play like a human PokerSnowie. If all this sums to something like “you should deviate from GTO when an exploitative strategy is obviously better, but before you do that you need to understand the GTO strategy,” I’m totally cool with that. We’ve never had a book lay out the GTO strategy and how to arrive it at so clearly and concisely. But we shouldn’t pretend that the GTO strategy is the EV maximizing one right now.

    Don’t get me wrong, I think Poker’s 1% is a fantastic book, and I think it may do for GTO strategy searching what Harrington on Hold’em did for tournaments. But I’m not convinced that chasing a GTO strategy dominates — or even beats — a read-based strategy across the vast majority of poker games currently running in the world.




    —Huffduffed by jively 6 days ago

  9. The Thin Red Line | Asymcar

    I do not miss an episode of asymco and have been listening to asymcar occasionally , this episode however was not good and it obliges me to challenge my habit of listening .

    During the episode Horace was questioning why E cars look so different , his beloved tesla, manages it to create a classic looking sports limousine.

    The question was partly answered during the podcast but the way it was discussed showed that there was no preparation whatsoever.

    The batteries make the car that much heavier,

    it would ruin any co2 equation not looking for a different approach. In the iseries the did away with all the steel and use some carbon composite ( like in formula1) for the protection of the passengers, aluminum for the chassis. This is huge but in the podcast and the comparisons with tesla it is all about the power train. A tesla is built with metal sheets . And the carbon gets even more interesting if you look what they have been doing to assure the supply of it. The carbon comes from SGL carbon , Susan Klatten , bought a minority stake , competing with the VW group for control of SGL . The production is in the us due to the low energy prices , carbon is still 10 times as expensive as steel.

    Not only the weight by itself is important in designing a car , also the distribution of the weight . How can Horace wonder why not to use the free space in the now idle moto compartment .

    The Leipzig plant is not newly build for the i3, it was designed by zaha hadid , originally produced the three series there.

    Why to use a sub brand … The EU wants that a car maker as a brand reaches a certain g CO2 per car.

    Then there was the discussion on how ugly the I3 s ( not said out loud but implied) , agree , it is an odd bird but there is an demo model at Brussels airport and it draws more eyes then an Audi A7 S , a few meters further down. But … Praising the classic beauty of the tesla model S and forgetting to dive into the I8 is rather strange . A different beast , a hybrid , but what is the engine , a 3 cylinder , 1500 cc … In a super sports car …. ( around 100k euros) , other little innovation nitbits: laser lights as an option.

    Thee is so much innovation going on and we get a comparison to the Saturn . I will be listening next time and hope you guys are better prepared.


    I own a few BMW shares , not working for or related to BMW employees.


    —Huffduffed by alexp 6 days ago

  10. Had enough Shakespeare? Try these eight playwrights you probably don’t know, but should | Public Radio International

    If you look out a modern theatre, you’ll see works that are very old, and relatively new, but not as much in between. Few works date from the time between Shakespeare’s death almost 400 years ago until the late 19th century. But here are some works from the middle period you might just find captivating.


    —Huffduffed by abrin one week ago

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