Esmerelda Gonzales-Munoz recites a poem regarding a past relationship, surrounding it with interviews asking people what they feel love is.
The rhythm of the piece is unflappable; the listener's interest doesn't wane throughout the course of the entire piece. What I find very interesting about this piece is that the final interview is with an older couple, who each describe love as being married to each other for thirty-five years. I haven't an idea why this is the final interview, as the rest of the tone is decidedly un-syrupy. But whatever caused that decision, it definitely works.
Things to notice: The first thing I noticed about this piece was its perfect synchronization with the technically-oriented music introduced in the beginning. There's no awkward gap between the music and words. And yet there's no cheeky "I'm going to try and be all ironic with my steely music and words of love". But I owe Gonzales-Munez an enormous thanks for composing a Valentine's Day-themed piece that isn't saccharine. This piece is without setting, and is primarily emotion-based as one may expect, but no one is pleading for sympathy. There are no weepy Juliet confessions, which is so wonderful to hear from a youth producer talking about love. This producer is direct, emotional but not sappy. This is just her story, that's all. I would like to see more interviews surrounding this piece, particularly in the beginning. The way it stands now, the beginning interview sets a starting tone of melodrama that may discourage listeners from listening on. One of the best features of this piece is that it doesn't have as much youthful melodrama as one may expect/dread to hear, and so any hint that it may only hinders its potential to be listened.
The investment Williams has in this story is palpable, and I love it. Taking a classic "start small, then go big" approach to the huge epidemic of anorexia in America. She begins with the story of her friend, who developed the disease over time. Fading in and out between this personal story and the symptoms of the actual disease, the impact that this disease on the loved ones of the patient is displayed clearer and clearer. The decision to use the doctor's description of the physical changes that occur when a patient has anorexia, such as changes in skin color and hair growth described around 2:10, projects a feeling of unreality surrounding anorexia. The editing itself very much resembles a film or other form of art where the viewer is an outsider looking into a tragedy or horrible event.
Things to notice: Williamson is clearly experienced in reporting, and knows when to back off the personal end of the spectrum when it is appropriate for storytelling. But her emotional investment in the story is easy to see, and is actually displayed better because it is "surrounded" by professionally formatted production. She speaks with constant awareness of the disease's existence, and a desire to understand. Her syncs into music are well-timed and perfectly appropriate, helping to tell an emotional story while retaining an informative perspective. I hope that as Williamson's career continues, she does not lose the fear of letting stories become personal. Her skills are developed enough so that no one would dare call her a "soft news" producer.
Lech Lor is puzzled about obesity. Indeed, that is the constant atmosphere she projects throughout this piece. Lor tries to cobble together a perspective she may have regarding this phenomenon, which she describes as seeing in many places. Her variety of interview subjects makes for a quest-for-inquiry format common to many programs today, which makes for lovely listening. The setting itself seems to be the life of Lor herself, where she tries to make sense of all the different messages she sees around her. But in her conclusion, Lor seems to arrive at the hope that obese people can become more socially acceptable in today's America.
Things to notice: Lor often reflects back to her own life after a meaningful interview segment. I would love to see more of this, more self-meaning involved in Lor's pieces. She could truly end up being a master of the quest-for-inquiry format if she was more willing to invest more of her own feelings into it. Yes she gives her own opinions about everything, but I'm not getting a true sense of her hand in the construction of this story. My main suggestion for Lor would be to truly let herself go in her stories, to let her passions, cares, and curiosity show a little more. A story does not necessarily become fluffy or "soft news" just because the reporter shows that they have some emotional investment in the story. It is clear that this issue is on Lor's mind: I would truly love to see why exactly it is there.
From the very beginning of this piece, I knew I was in for a surrealist treat. In the style of "The Fantasticks", Jessie Birdman spins a tale of young love, doomed to end in spastic pain. The need for affection lingers with every word in describing the feelings of the heroine. The guitar background brings to mind Americana images of the perfect couple. The confusion and hurt that comes with unmet expectations is displayed perfectly in Jessie's high but somber voice.
Things to notice: This piece is a lovely, sympathetic picture of young love, told without syrup and in a fresh, artistic way. The story is crisp with emotion, and isn't afraid to discuss the uglier parts of love's course. My main suggestion for Jessie would be to figure out the exact role of the song in her story. This is a beautiful song, and certainly lyrical enough to have a prominent role. But as it stands, the words only truly act as distractions to the larger story. Another suggestion, perhaps more important over the course of time, is for Jessie to ponder further the "why" behind her telling of this story. I want to sympathize with the woman in the story, but I can't figure out where Jessie's heart is in all of this. Does she pity the main character? Does she feel compelled to tell her story out of duty? Without this underlying motivation, the audience can't relate to this story as much as this producer deserves.
> order to make people still sound like themselves. The sound quality
> of her interview with Armstrong clearly displays good technical
> skills. My only suggestions for Barreca would be to further
> emphasize the time and location of her piece, to better establish
> the setting of the issue. Not everyone listening to her piece is
> familiar with Voxpod, after all. The second would be for Barreca to
This piece is the perfect example of what I like to call a "bit piece", a short but sweet listening treat.
If the script itself were any longer, it would ruin the integrity of the atmosphere created in this piece.
Being a fan of old-school hip-hop, I was delighted to hear someone finally playing with irregular beats on the air.
The irregular voice tweaks prove compelling, not audibly isolating.
This piece doesn't feel so much of a love story so much as a portrait, of a young man all too aware of his world, his role in it, and the diction on his tongue.
Things to notice: Raymond is the best kind of tweaker, in that he doesn't care so much about unity of tone with his words. As the piece goes on, rhythm becomes more and more consistent. The story Raymond tells grows in structure as the piece goes on, truly fascinating to hear. The cultural references to various Millenial Generation memories intrigues the listener. My only suggestion for Raymond is to please fix some of the awkward lengths of pauses. Some are too long, others far too brief to let the listener pause and reflect.
I have been waiting for a piece like this, a description of the experience of being home alone as a child (sorry, Krystle). The snippets of music, voices, microwave beeps, and others serve as perfect punctuations to telling this story. The different characters are properly introduced, with more than one type of introduction. The multiple settings established portray Krystle's world fully, as a neighborhood rather than a few rooms where interviews take place. I am reminded of the writing structure of "Juno", "Precious", and "Three Idiots", where places are portrayed as endpoints between journeys. The final sound layerings serve as a wonderful ending, illustrating the banal everyday (microwave beeps), the negative past (phone conversation), and a daughter's hope for the future ("I Will Wait For You").
Things to notice: Krystle has a clear, articulate voice that she knows how to use effectively convey emotion. A common dilemma for female radio speakers is figuring out how to convey emotions such as concern or fear without appearing younger or shrill (thereby less credible). But Krystle absolutely does not have to worry about this; her tone is emotion-filled but does not cross the line into emotionally stacked. The editing is lovely, and displays a knowledge clearly obtained through listening to many pieces. The lady speaks with class and with much though, choosing every word carefully but remaining completely authentic in voice.
Stark vice against silence is a sure way to grab the audience's attention when mixing a piece. Emmaunel Mulbah uses this format to begin his own personal story regarding his religious choices, his deep voice immediately creating a tone of pride and self-sufficiency. His editing choices are right on, narration and music working perfectly to establish setting. The two churches indeed sound worlds apart, as Emmanuel intends. But what struck me most was Emmanuel's final monologue at the end of the piece, where Emmanuel urges not only parents to respect the rights of their children (arguably the thesis of his work) but also for children to respect the wishes of their parents. This statement, after much discussion about the rights of children to be different from their parents, comes as a lovely ending. For as Emmanuel observes, there are definite aspects in common between his faith and that of his guardians, one of which is respect for elders.
Things to notice: Emmanuel is adamant about commenting at the end of every segment, establishing that this is his own personal story. However, although he begins with personal narrative, he ends with a universal theme. The storytelling elements of great radio stories are all present. All interview subjects are treated with respect. The comments, though lengthy, serve as storytelling elements that all serve a purpose. This is indeed a personal narrative with global undertones, old fluidly and effectively.
Prison pieces are tricky, for the simple reason that portraying such raw emotion without dramatization. Nick takes a stance that is the opposite of dramatization: description. Purposefully avoiding a definite setting, Nick takes on the task of simply describing the atmosphere of a youth correctional facility. Without pure narration, the voices of (presumably) correctional officers, social workers, and the troubled youth themselves tell the stories of the system. Nick uses the stereotypical bleak, clanging "prison music" to start the piece. But this completely turns around soon, with a guitar-riff filled rock ballad running behind the interviews. There is a powerfully humanizing effect in this music; the troubled youth seem much less threatening. The editing is smooth, uninterrupted. The sentence reverberations act as wonderful tools to illustrate the closeness of the relationships between the workers and young prisoners in the system.
Things to notice: Nick's own perspective on the youth correctional system leaks into this piece, whether he means for this to happen or no. The usage of the rock ballads behind the interviews suggests that he views these young men as only that- young men. The close synchronization between sentences creates a feeling of uniformity, suggesting impersonality. But of whom? The nameless workers? The prisoners themselves? Nick's voice and objective is unclear, the only clue being his final question toward the worker at the end of the piece. But even the intention behind this questioning is unclear. There is a lingering of a hidden agenda throughout this piece; Nick would do this piece much more justice if there were a clearer objective.
Review of "Spin Jam"
Reviewer: Brit McGinnis
http://www.prx.org/pieces/55191
Piece: "Spin Jam"
Chelsea Stender begins this piece with quotes by participants in one of the fastest-growing hobbies in America: fire spinning. The "pops" back and forth between the spinners perfectly portray the exciting dynamic between the folks in the group. Their passion is evident, and Stender treats this story with care and respect. The initial use of a lengthy quote by someone else proves confusing, and misleading. The feeling projected by the editing is straining, the editor trying to engage and excite the listener with quick transitions and speedy talking. Instead, the overall impression is hurried and haggard, a tragedy for such an intriguing topic.
Things to notice: Stender has an amazing voice for reading, and knows how to project her caring about a subject. In speaking about the participants of a certain hobby or activity, it is very important to include the voices of the participants themselves (which Stender does repeatedly). However, there seems to be a loss of Stender's voice in and of itself, which leads to a loss of structure. The voices are lovingly mixed, and there is certainly good intent in discussing this subject. With more of Stender, and more of a narrative in mind, this piece could be extremely effective in spreading the word about fire spinning.
Comment for
"Diwali 2010 at Miami University" (deleted)
Review of "Diwali 2010 at Miami University" (deleted)
Review of "Diwali 2010 at Miami University"
Reviewer: Brit McGinnis
http://www.prx.org/pieces/56784-diwali-2010-at-miami-university#description
Piece: "Suquamish Youth Keep Traditions Alive"
Confession: I am a huge Indiaphile. So when I saw that there was a piece created about the origin of Diwali, I pounced. And the piece was extremely informative, not only about the Festival of Lights, but about the culture of multiculturalism that persists in many American colleges. There are many great quotes from members of multicultural societies, regarding their decision to partner with the Indian Student Association in celebrating Diwali. The only true issues I have with this piece were technical: the editing needs work, as it hampers the flow and atmosphere of the piece. The role of the music as background is confusing- is it ambiance? Are we supposed to be listening to the rehearsal as part of the piece?
Rating: ***/*****
Things to notice: This is a wonderful piece with informative roots. The role of multicultural clubs within universities is not often discussed, especially within an American culture so keen on mixing within itself. This piece addresses the subject of cultural mixing without fear, and tells an excellent fable of a celebration. However, the technical difficulties hamper the message of the piece, so much so that abrupt endings and beginnings become very distracting. I urge the producers of this piece to edit up, because this topic is too unexplored to leave alone.
> Review of "The Secret Life of a Shy Girl"
> Reviewer: Brit McGinnis
> http://www.prx.org/pieces/27895-the-secret-life-of-a-shy-girl
>
> Piece: "The Secret Life of a Shy Girl"
>
In listening to "Secret Life", I certainly get a sense of the awkward sense of self that the stereotypical "shy girl" feels in high school. Libby Donovan definitely hits the mark in exposing the habits, longings, pain, and daily life of this high school stereotype. However, her role in this interview of her best friend becomes muddied, as well as her motives for this piece at all. Is her intent to lovingly give people of this inclination a voice, to explore, or to merely question their intent? Donovan's misunderstanding of Caitlin's nature eventually comes out in the second half of the interview, with her harsher tones visibly causing Caitlin to sound uncomfortable. The listener squirms a bit, wondering how they should react to this "Shy Girl"'s questioning.
Things to notice: At 4:20, Donovan asks Caitlin if she uses her writing as a substitute for talking to people, a question that seems to echo throughout the entire piece. There is a feeling of fear throughout the entire peace, that isn't truly resolved. There is no background music used whatsoever, which certainly is effective in the telling of a story of isolation. The lack of defined setting is actually very effective, creating a universal appeal. However, after listening to this a few times, I still don't know what to think. There is no hint about how the audience should feel about Caitlin, and we desperately need one.
In a decidedly dignified tone, Ian Kathan addresses the treatment he receives being a patient of Asberger's Syndrome, defining the disease itself, and the social stigma associated with his disease. With a voice half adolescent exasperation, half knowledgeable from adult experience, Kathan tells of the modern society in which he lives, where anyone diagnosed with any handicap is immediately offered help and aid. He resists this aid, saying that if he had never had to struggle and learn, he never would have learned all that he has learned. He is unafraid to tackle the delicate subject of using a disability to garner sympathy or even leniency. He uses the slang term for diagnosed individuals, "Aspies" at 2:12, in a lightning-fast rant with little emotional investment- he is an Aspie, there's no getting around it. But in a stereotypical Brooklyn-cop sort of way, he's ready to acknowledge this fact... and move on to the next challenge.
Things to notice: Kathan has an extremely even voice (editing or simply skill?), elegantly paced, but has made the choice not to edit out any pauses, hesitations, or speaking irregularities within the tape. The effect of this is haunting, perpetuating the feeling that Asberger's Syndrome is ever-present in Kathan's life, no matter where he goes or what he says. kathan plays with editing to create an auditory sense of isolation, with voices layered underneath his own. He even pulls out an old editing trick I adored from "The Prostrate Diaries" at 2:10, where the narrator uses their own voice to personify the voice of the "Other", be it a crowd or one other person, for dramatic effect. This entire piece is so refreshing, the truth of Kathan's story leaking past any pretentiousness that young producers tend to fall into. This person has a genuinely important message to discuss very early on in life. What a gift.
I listened to this piece with extreme bias, being both a child of addiction and an older sister to boys. I loved listening to Vicky's story, wanting to hug her and reassure her that things do indeed get better from the perdition of dysfunctional families. But through her ingenious use of music and seamless voice-tone changes, I can tell that she has already come to this conclusion herself. Her choice of music is decidedly ironic, and it works. Vicky only uses her own voice as a narrative tool, but the quality of the microphone recordings is varied to a positive effect. It appears as though she is working to appear both interviewer and interviewee at separate times. This is a wonderful device that perfectly mirrors the fragmented story being told. Setting is described in terms of emotion, but as this is a coming-of-age story, it is perfectly fitting.
Things to notice: Vicky utilizes a music tradition used notably in 1990s films (such as "Beauty and the Beast" and "The Swan Princess"), where music reminiscent of ballet is used to symbolize a young woman's journey. She takes care to match the arcs and falls of the music to the tone of the story at that point in time. She knows the value of the cliffhanger; the phrase "And I didn't ask for that" at 3:36 leaves you wanting to hug this young woman. There is an awkward transition between the worst of times to the best of times in the story, but it is easy to move through. Vicky is a wonderful writer, managing a story arc with rises and falls, but managing to not appear scripted or formulaic. Her sentences are clearly spoken, and she knows how to captivate her audience.
In an example of a perfect internship-age radio piece, Emily Barreca explores the present feelings of members of the Suquamish tribe located near Seattle, Washington. Her textbook-perfect setups act as excellent segues for interviews with members of two generations that have encountered the struggle for identity in a primarily Caucasian community.The interview with a young Suquamish tribe member helps to set the tone for the rest of the piece: the struggle for an everyday existence, to accomplish commonly held dreams such as cultural identity and education. It is also a wonderful setup for the interview with Benny Armstrong, a former chairman for the tribe. There is no solid setting established in the interviews; the feeling is that Barreca is speaking as a representative of the entire city of Seattle. The pacing is reminiscent of "Planet Money", in that it flows quickly but regularly, so that it isn't too hard for the audience to catch up.
Things to notice: Barreca has a unique gift for spacing between her sentences, whether this can be accredited to editing or raw speaking. She has a gift for patching interview segments together in order to make people still sound like themselves. The sound quality of her interview with Armstrong clearly displays good technical skills. My only suggestions for Barreca would be to further emphasize the time and location of her piece, to better establish the setting of the issue. Not everyone listening to her piece is familiar with Voxpod, after all. The second would be for Barreca to focus not so much on technical virtuosity (which she clearly has), but more so the issue itself. There is very little emotional investment felt from Barreca, which makes the piece feel closer to a report on an ongoing phenomenon than an issue the audience can and should take seriously.
Lorinah Kollah has a clear determination to tell the stories around her, especially those which have remained out of the open air in her community. Her piece involves her own journey to find out what people believe are the roots of two common practices in Liberia: students bribing teachers for better grades, and teachers soliciting sexual favors from female students in exchange for better marks. As a student who knows Liberian students attending university, it is a wonder to know that they survived such a system of education. This piece is also especially timely because it still shows fragments of Liberian society that can still be improved after the civil war. Lorinah has lived through the conflict and is determined to change the attitudes that persisted afterward. She bluntly describes her surroundings, which does not help in terms of storytelling, but aids in building a mood of bleakness. Lorinah sprinkles in her own opinions and suggestions for the system between interviews, which is confusing. The sound quality fluctuates frequently, which is hard on the ears of those spoiled by NPR-quality editing. But the interviews themselves are raw and real; Lorinah has a gift for inspiring people to talk about what matters to them.
Things to notice: Lorinah has clear reporter drive, interviewing everyone from students to the Director of Secondary Education about the exploitation in education. Her interviews are standardized, and she knows how to listen. Her signature phrase is, "How do you make of it?" This is brilliant, because it not only solicits a response about future action to be taken but also coaxes out a personal belief about the situation from whomever she speaks to. Her emotionality is displayed while interviewing, but she maintains her professional objective. Most of her errors were purely technical, such as awkwardly written introductions and conclusions. The final conclusion comes off as more of a soapbox pronouncement, which I don't feel is her objective. The piece would also be much more accessible if she selected only one of her main topics (educational bribery and sexual exploitation of students) to focus on. I look forward to seeing more from Lorinah, though. Anyone with the guts to ask such probing questions to people of high status in their country, and the desire to tackle such a difficult topic, will only improve as time goes on.
Comments by Brit McGinnis
Comment for "The Love I felt for You"
Brit McGinnis
Posted on January 19, 2011 at 10:44 AM | Permalink
Review of "The Love I Felt For You"
Esmerelda Gonzales-Munoz recites a poem regarding a past relationship, surrounding it with interviews asking people what they feel love is.
The rhythm of the piece is unflappable; the listener's interest doesn't wane throughout the course of the entire piece. What I find very interesting about this piece is that the final interview is with an older couple, who each describe love as being married to each other for thirty-five years. I haven't an idea why this is the final interview, as the rest of the tone is decidedly un-syrupy. But whatever caused that decision, it definitely works.
Things to notice: The first thing I noticed about this piece was its perfect synchronization with the technically-oriented music introduced in the beginning. There's no awkward gap between the music and words. And yet there's no cheeky "I'm going to try and be all ironic with my steely music and words of love". But I owe Gonzales-Munez an enormous thanks for composing a Valentine's Day-themed piece that isn't saccharine. This piece is without setting, and is primarily emotion-based as one may expect, but no one is pleading for sympathy. There are no weepy Juliet confessions, which is so wonderful to hear from a youth producer talking about love. This producer is direct, emotional but not sappy. This is just her story, that's all. I would like to see more interviews surrounding this piece, particularly in the beginning. The way it stands now, the beginning interview sets a starting tone of melodrama that may discourage listeners from listening on. One of the best features of this piece is that it doesn't have as much youthful melodrama as one may expect/dread to hear, and so any hint that it may only hinders its potential to be listened.
Comment for "Uncovering Anorexia"
Brit McGinnis
Posted on January 16, 2011 at 05:08 PM | Permalink
Review of "Uncovering Anorexia"
The investment Williams has in this story is palpable, and I love it. Taking a classic "start small, then go big" approach to the huge epidemic of anorexia in America. She begins with the story of her friend, who developed the disease over time. Fading in and out between this personal story and the symptoms of the actual disease, the impact that this disease on the loved ones of the patient is displayed clearer and clearer. The decision to use the doctor's description of the physical changes that occur when a patient has anorexia, such as changes in skin color and hair growth described around 2:10, projects a feeling of unreality surrounding anorexia. The editing itself very much resembles a film or other form of art where the viewer is an outsider looking into a tragedy or horrible event.
Things to notice: Williamson is clearly experienced in reporting, and knows when to back off the personal end of the spectrum when it is appropriate for storytelling. But her emotional investment in the story is easy to see, and is actually displayed better because it is "surrounded" by professionally formatted production. She speaks with constant awareness of the disease's existence, and a desire to understand. Her syncs into music are well-timed and perfectly appropriate, helping to tell an emotional story while retaining an informative perspective. I hope that as Williamson's career continues, she does not lose the fear of letting stories become personal. Her skills are developed enough so that no one would dare call her a "soft news" producer.
Comment for "Obesity in America"
Brit McGinnis
Posted on January 16, 2011 at 04:33 PM | Permalink
Review of "Obesity in America"
Lech Lor is puzzled about obesity. Indeed, that is the constant atmosphere she projects throughout this piece. Lor tries to cobble together a perspective she may have regarding this phenomenon, which she describes as seeing in many places. Her variety of interview subjects makes for a quest-for-inquiry format common to many programs today, which makes for lovely listening. The setting itself seems to be the life of Lor herself, where she tries to make sense of all the different messages she sees around her. But in her conclusion, Lor seems to arrive at the hope that obese people can become more socially acceptable in today's America.
Things to notice: Lor often reflects back to her own life after a meaningful interview segment. I would love to see more of this, more self-meaning involved in Lor's pieces. She could truly end up being a master of the quest-for-inquiry format if she was more willing to invest more of her own feelings into it. Yes she gives her own opinions about everything, but I'm not getting a true sense of her hand in the construction of this story. My main suggestion for Lor would be to truly let herself go in her stories, to let her passions, cares, and curiosity show a little more. A story does not necessarily become fluffy or "soft news" just because the reporter shows that they have some emotional investment in the story. It is clear that this issue is on Lor's mind: I would truly love to see why exactly it is there.
Comment for "Broken Love."
Brit McGinnis
Posted on January 13, 2011 at 09:45 PM | Permalink
Review of "Broken Love"
From the very beginning of this piece, I knew I was in for a surrealist treat. In the style of "The Fantasticks", Jessie Birdman spins a tale of young love, doomed to end in spastic pain. The need for affection lingers with every word in describing the feelings of the heroine. The guitar background brings to mind Americana images of the perfect couple. The confusion and hurt that comes with unmet expectations is displayed perfectly in Jessie's high but somber voice.
Things to notice: This piece is a lovely, sympathetic picture of young love, told without syrup and in a fresh, artistic way. The story is crisp with emotion, and isn't afraid to discuss the uglier parts of love's course. My main suggestion for Jessie would be to figure out the exact role of the song in her story. This is a beautiful song, and certainly lyrical enough to have a prominent role. But as it stands, the words only truly act as distractions to the larger story. Another suggestion, perhaps more important over the course of time, is for Jessie to ponder further the "why" behind her telling of this story. I want to sympathize with the woman in the story, but I can't figure out where Jessie's heart is in all of this. Does she pity the main character? Does she feel compelled to tell her story out of duty? Without this underlying motivation, the audience can't relate to this story as much as this producer deserves.
> order to make people still sound like themselves. The sound quality
> of her interview with Armstrong clearly displays good technical
> skills. My only suggestions for Barreca would be to further
> emphasize the time and location of her piece, to better establish
> the setting of the issue. Not everyone listening to her piece is
> familiar with Voxpod, after all. The second would be for Barreca to
Comment for "Picture This: A Nerd With a Camera & a Love Story by Raymond Abercrombie"
Brit McGinnis
Posted on January 13, 2011 at 09:12 PM | Permalink
Review of "Picture This"
This piece is the perfect example of what I like to call a "bit piece", a short but sweet listening treat.
If the script itself were any longer, it would ruin the integrity of the atmosphere created in this piece.
Being a fan of old-school hip-hop, I was delighted to hear someone finally playing with irregular beats on the air.
The irregular voice tweaks prove compelling, not audibly isolating.
This piece doesn't feel so much of a love story so much as a portrait, of a young man all too aware of his world, his role in it, and the diction on his tongue.
Things to notice: Raymond is the best kind of tweaker, in that he doesn't care so much about unity of tone with his words. As the piece goes on, rhythm becomes more and more consistent. The story Raymond tells grows in structure as the piece goes on, truly fascinating to hear. The cultural references to various Millenial Generation memories intrigues the listener. My only suggestion for Raymond is to please fix some of the awkward lengths of pauses. Some are too long, others far too brief to let the listener pause and reflect.
Comment for "Home Alone"
Brit McGinnis
Posted on December 23, 2010 at 07:38 PM | Permalink
Review of "Home Alone"
I have been waiting for a piece like this, a description of the experience of being home alone as a child (sorry, Krystle). The snippets of music, voices, microwave beeps, and others serve as perfect punctuations to telling this story. The different characters are properly introduced, with more than one type of introduction. The multiple settings established portray Krystle's world fully, as a neighborhood rather than a few rooms where interviews take place. I am reminded of the writing structure of "Juno", "Precious", and "Three Idiots", where places are portrayed as endpoints between journeys. The final sound layerings serve as a wonderful ending, illustrating the banal everyday (microwave beeps), the negative past (phone conversation), and a daughter's hope for the future ("I Will Wait For You").
Things to notice: Krystle has a clear, articulate voice that she knows how to use effectively convey emotion. A common dilemma for female radio speakers is figuring out how to convey emotions such as concern or fear without appearing younger or shrill (thereby less credible). But Krystle absolutely does not have to worry about this; her tone is emotion-filled but does not cross the line into emotionally stacked. The editing is lovely, and displays a knowledge clearly obtained through listening to many pieces. The lady speaks with class and with much though, choosing every word carefully but remaining completely authentic in voice.
Comment for "Emmanuel's Story: Child's Right to Religion"
Brit McGinnis
Posted on December 23, 2010 at 07:14 PM | Permalink
Review of "Emmanuel's Story"
Stark vice against silence is a sure way to grab the audience's attention when mixing a piece. Emmaunel Mulbah uses this format to begin his own personal story regarding his religious choices, his deep voice immediately creating a tone of pride and self-sufficiency. His editing choices are right on, narration and music working perfectly to establish setting. The two churches indeed sound worlds apart, as Emmanuel intends. But what struck me most was Emmanuel's final monologue at the end of the piece, where Emmanuel urges not only parents to respect the rights of their children (arguably the thesis of his work) but also for children to respect the wishes of their parents. This statement, after much discussion about the rights of children to be different from their parents, comes as a lovely ending. For as Emmanuel observes, there are definite aspects in common between his faith and that of his guardians, one of which is respect for elders.
Things to notice: Emmanuel is adamant about commenting at the end of every segment, establishing that this is his own personal story. However, although he begins with personal narrative, he ends with a universal theme. The storytelling elements of great radio stories are all present. All interview subjects are treated with respect. The comments, though lengthy, serve as storytelling elements that all serve a purpose. This is indeed a personal narrative with global undertones, old fluidly and effectively.
Comment for "My Sentence"
Brit McGinnis
Posted on December 23, 2010 at 06:36 PM | Permalink
Review of "My Sentence"
Prison pieces are tricky, for the simple reason that portraying such raw emotion without dramatization. Nick takes a stance that is the opposite of dramatization: description. Purposefully avoiding a definite setting, Nick takes on the task of simply describing the atmosphere of a youth correctional facility. Without pure narration, the voices of (presumably) correctional officers, social workers, and the troubled youth themselves tell the stories of the system. Nick uses the stereotypical bleak, clanging "prison music" to start the piece. But this completely turns around soon, with a guitar-riff filled rock ballad running behind the interviews. There is a powerfully humanizing effect in this music; the troubled youth seem much less threatening. The editing is smooth, uninterrupted. The sentence reverberations act as wonderful tools to illustrate the closeness of the relationships between the workers and young prisoners in the system.
Things to notice: Nick's own perspective on the youth correctional system leaks into this piece, whether he means for this to happen or no. The usage of the rock ballads behind the interviews suggests that he views these young men as only that- young men. The close synchronization between sentences creates a feeling of uniformity, suggesting impersonality. But of whom? The nameless workers? The prisoners themselves? Nick's voice and objective is unclear, the only clue being his final question toward the worker at the end of the piece. But even the intention behind this questioning is unclear. There is a lingering of a hidden agenda throughout this piece; Nick would do this piece much more justice if there were a clearer objective.
Comment for "Spin Jam"
Brit McGinnis
Posted on December 15, 2010 at 08:38 PM | Permalink
Review of "Spin Jam"
Review of "Spin Jam"
Reviewer: Brit McGinnis
http://www.prx.org/pieces/55191
Piece: "Spin Jam"
Chelsea Stender begins this piece with quotes by participants in one of the fastest-growing hobbies in America: fire spinning. The "pops" back and forth between the spinners perfectly portray the exciting dynamic between the folks in the group. Their passion is evident, and Stender treats this story with care and respect. The initial use of a lengthy quote by someone else proves confusing, and misleading. The feeling projected by the editing is straining, the editor trying to engage and excite the listener with quick transitions and speedy talking. Instead, the overall impression is hurried and haggard, a tragedy for such an intriguing topic.
Things to notice: Stender has an amazing voice for reading, and knows how to project her caring about a subject. In speaking about the participants of a certain hobby or activity, it is very important to include the voices of the participants themselves (which Stender does repeatedly). However, there seems to be a loss of Stender's voice in and of itself, which leads to a loss of structure. The voices are lovingly mixed, and there is certainly good intent in discussing this subject. With more of Stender, and more of a narrative in mind, this piece could be extremely effective in spreading the word about fire spinning.
Comment for "Diwali 2010 at Miami University" (deleted)
Brit McGinnis
Posted on December 15, 2010 at 08:15 PM
Review of "Diwali 2010 at Miami University" (deleted)
Review of "Diwali 2010 at Miami University"
Reviewer: Brit McGinnis
http://www.prx.org/pieces/56784-diwali-2010-at-miami-university#description
Piece: "Suquamish Youth Keep Traditions Alive"
Confession: I am a huge Indiaphile. So when I saw that there was a piece created about the origin of Diwali, I pounced. And the piece was extremely informative, not only about the Festival of Lights, but about the culture of multiculturalism that persists in many American colleges. There are many great quotes from members of multicultural societies, regarding their decision to partner with the Indian Student Association in celebrating Diwali. The only true issues I have with this piece were technical: the editing needs work, as it hampers the flow and atmosphere of the piece. The role of the music as background is confusing- is it ambiance? Are we supposed to be listening to the rehearsal as part of the piece?
Rating: ***/*****
Things to notice: This is a wonderful piece with informative roots. The role of multicultural clubs within universities is not often discussed, especially within an American culture so keen on mixing within itself. This piece addresses the subject of cultural mixing without fear, and tells an excellent fable of a celebration. However, the technical difficulties hamper the message of the piece, so much so that abrupt endings and beginnings become very distracting. I urge the producers of this piece to edit up, because this topic is too unexplored to leave alone.
Comment for "The Secret Life of a Shy Girl"
Brit McGinnis
Posted on December 15, 2010 at 07:47 PM | Permalink
Review of "The Secret Life of a Shy Girl"
> Review of "The Secret Life of a Shy Girl"
> Reviewer: Brit McGinnis
> http://www.prx.org/pieces/27895-the-secret-life-of-a-shy-girl
>
> Piece: "The Secret Life of a Shy Girl"
>
In listening to "Secret Life", I certainly get a sense of the awkward sense of self that the stereotypical "shy girl" feels in high school. Libby Donovan definitely hits the mark in exposing the habits, longings, pain, and daily life of this high school stereotype. However, her role in this interview of her best friend becomes muddied, as well as her motives for this piece at all. Is her intent to lovingly give people of this inclination a voice, to explore, or to merely question their intent? Donovan's misunderstanding of Caitlin's nature eventually comes out in the second half of the interview, with her harsher tones visibly causing Caitlin to sound uncomfortable. The listener squirms a bit, wondering how they should react to this "Shy Girl"'s questioning.
Things to notice: At 4:20, Donovan asks Caitlin if she uses her writing as a substitute for talking to people, a question that seems to echo throughout the entire piece. There is a feeling of fear throughout the entire peace, that isn't truly resolved. There is no background music used whatsoever, which certainly is effective in the telling of a story of isolation. The lack of defined setting is actually very effective, creating a universal appeal. However, after listening to this a few times, I still don't know what to think. There is no hint about how the audience should feel about Caitlin, and we desperately need one.
Comment for "Different, Not Disabled: The Perception of My Mind"
Brit McGinnis
Posted on December 01, 2010 at 03:02 PM | Permalink
Review of "Different, Not Disabled"
In a decidedly dignified tone, Ian Kathan addresses the treatment he receives being a patient of Asberger's Syndrome, defining the disease itself, and the social stigma associated with his disease. With a voice half adolescent exasperation, half knowledgeable from adult experience, Kathan tells of the modern society in which he lives, where anyone diagnosed with any handicap is immediately offered help and aid. He resists this aid, saying that if he had never had to struggle and learn, he never would have learned all that he has learned. He is unafraid to tackle the delicate subject of using a disability to garner sympathy or even leniency. He uses the slang term for diagnosed individuals, "Aspies" at 2:12, in a lightning-fast rant with little emotional investment- he is an Aspie, there's no getting around it. But in a stereotypical Brooklyn-cop sort of way, he's ready to acknowledge this fact... and move on to the next challenge.
Things to notice: Kathan has an extremely even voice (editing or simply skill?), elegantly paced, but has made the choice not to edit out any pauses, hesitations, or speaking irregularities within the tape. The effect of this is haunting, perpetuating the feeling that Asberger's Syndrome is ever-present in Kathan's life, no matter where he goes or what he says. kathan plays with editing to create an auditory sense of isolation, with voices layered underneath his own. He even pulls out an old editing trick I adored from "The Prostrate Diaries" at 2:10, where the narrator uses their own voice to personify the voice of the "Other", be it a crowd or one other person, for dramatic effect. This entire piece is so refreshing, the truth of Kathan's story leaking past any pretentiousness that young producers tend to fall into. This person has a genuinely important message to discuss very early on in life. What a gift.
Comment for "One Daughter's Journey."
Brit McGinnis
Posted on November 14, 2010 at 12:38 PM | Permalink
Review of "One Daughter's Journey"
I listened to this piece with extreme bias, being both a child of addiction and an older sister to boys. I loved listening to Vicky's story, wanting to hug her and reassure her that things do indeed get better from the perdition of dysfunctional families. But through her ingenious use of music and seamless voice-tone changes, I can tell that she has already come to this conclusion herself. Her choice of music is decidedly ironic, and it works. Vicky only uses her own voice as a narrative tool, but the quality of the microphone recordings is varied to a positive effect. It appears as though she is working to appear both interviewer and interviewee at separate times. This is a wonderful device that perfectly mirrors the fragmented story being told. Setting is described in terms of emotion, but as this is a coming-of-age story, it is perfectly fitting.
Things to notice: Vicky utilizes a music tradition used notably in 1990s films (such as "Beauty and the Beast" and "The Swan Princess"), where music reminiscent of ballet is used to symbolize a young woman's journey. She takes care to match the arcs and falls of the music to the tone of the story at that point in time. She knows the value of the cliffhanger; the phrase "And I didn't ask for that" at 3:36 leaves you wanting to hug this young woman. There is an awkward transition between the worst of times to the best of times in the story, but it is easy to move through. Vicky is a wonderful writer, managing a story arc with rises and falls, but managing to not appear scripted or formulaic. Her sentences are clearly spoken, and she knows how to captivate her audience.
Comment for "Suquamish Youth Keep Traditions Alive"
Brit McGinnis
Posted on November 02, 2010 at 04:33 PM | Permalink
Review of "Suquamish Youth Keep Traditions Alive"
In an example of a perfect internship-age radio piece, Emily Barreca explores the present feelings of members of the Suquamish tribe located near Seattle, Washington. Her textbook-perfect setups act as excellent segues for interviews with members of two generations that have encountered the struggle for identity in a primarily Caucasian community.The interview with a young Suquamish tribe member helps to set the tone for the rest of the piece: the struggle for an everyday existence, to accomplish commonly held dreams such as cultural identity and education. It is also a wonderful setup for the interview with Benny Armstrong, a former chairman for the tribe. There is no solid setting established in the interviews; the feeling is that Barreca is speaking as a representative of the entire city of Seattle. The pacing is reminiscent of "Planet Money", in that it flows quickly but regularly, so that it isn't too hard for the audience to catch up.
Things to notice: Barreca has a unique gift for spacing between her sentences, whether this can be accredited to editing or raw speaking. She has a gift for patching interview segments together in order to make people still sound like themselves. The sound quality of her interview with Armstrong clearly displays good technical skills. My only suggestions for Barreca would be to further emphasize the time and location of her piece, to better establish the setting of the issue. Not everyone listening to her piece is familiar with Voxpod, after all. The second would be for Barreca to focus not so much on technical virtuosity (which she clearly has), but more so the issue itself. There is very little emotional investment felt from Barreca, which makes the piece feel closer to a report on an ongoing phenomenon than an issue the audience can and should take seriously.
Comment for "Paying for Grades"
Brit McGinnis
Posted on October 29, 2010 at 01:52 PM | Permalink
Review of "Paying for Grades"
Lorinah Kollah has a clear determination to tell the stories around her, especially those which have remained out of the open air in her community. Her piece involves her own journey to find out what people believe are the roots of two common practices in Liberia: students bribing teachers for better grades, and teachers soliciting sexual favors from female students in exchange for better marks. As a student who knows Liberian students attending university, it is a wonder to know that they survived such a system of education. This piece is also especially timely because it still shows fragments of Liberian society that can still be improved after the civil war. Lorinah has lived through the conflict and is determined to change the attitudes that persisted afterward. She bluntly describes her surroundings, which does not help in terms of storytelling, but aids in building a mood of bleakness. Lorinah sprinkles in her own opinions and suggestions for the system between interviews, which is confusing. The sound quality fluctuates frequently, which is hard on the ears of those spoiled by NPR-quality editing. But the interviews themselves are raw and real; Lorinah has a gift for inspiring people to talk about what matters to them.
Things to notice: Lorinah has clear reporter drive, interviewing everyone from students to the Director of Secondary Education about the exploitation in education. Her interviews are standardized, and she knows how to listen. Her signature phrase is, "How do you make of it?" This is brilliant, because it not only solicits a response about future action to be taken but also coaxes out a personal belief about the situation from whomever she speaks to. Her emotionality is displayed while interviewing, but she maintains her professional objective. Most of her errors were purely technical, such as awkwardly written introductions and conclusions. The final conclusion comes off as more of a soapbox pronouncement, which I don't feel is her objective. The piece would also be much more accessible if she selected only one of her main topics (educational bribery and sexual exploitation of students) to focus on. I look forward to seeing more from Lorinah, though. Anyone with the guts to ask such probing questions to people of high status in their country, and the desire to tackle such a difficult topic, will only improve as time goes on.