🖐 Podcast: Froebel’s Gifts on 99 Percent Invisible | IFS: The International Froebel Society

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excellent architecture and design podcast 99 Percent Invisible dedicated an episode earlier this year to Froebel's Gifts. Both the audio version and a transcript​.


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Apple Podcasts · Google Play · RadioPublic · Podcast RSS Play Pause; Add to Queue Remove from Queue; Download · Transcript. Category.


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Design is everywhere in our lives, perhaps most importantly in the places where we've just stopped noticing. 99% Invisible is a weekly exploration of th.


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Apple Podcasts · Google Play · RadioPublic · Podcast RSS Play Pause; Add to Queue Remove from Queue; Download · Transcript. Category.


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RM: That's Vanessa Lowe, producer of the podcast Nocturne. VL: The mall, costing million dollars, was what was known as a “super.


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99pi. Roman Mars: This is 99% Invisible. I'm Roman Mars. Roman Mars: If you tried to buy toilet paper in the last few weeks, I suspect you might.


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99pi. Roman Mars: So we're doing something a little different this week. Roman Mars: This is 99% Invisible. And then your podcast came.


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Roman Mars: This is 99% Invisible. I'm Roman Mars. So years ago I was talking to John Marr. He's the guy who first uttered this bedrock 99PI.


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99% Invisible. Toggle Navigation. Episodes · Articles · About · The Show · The Staff · Contact · Press · Sponsors · Book · Subscribe · Apple Podcasts · Google.


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John Cleese has a cameo in it. I think that the ones that are a part of something are more engaged as listeners, and, you know, like I really depended on them in the beginning. I like this band. You know, so, it was like, for me, I created the situation that I wanted. And then I wanted to broaden that to the concept of design where I talk about manhole covers and door knobs or whatever. I wanted to set up a situation where the producers got paid first. How many folks work on your show? How was that for an intro, Roman Mars? Welcome, Roman. That was the big revolution of it. Among a certain sector of people, some of whom I work with. I probably butchered his name, but I practiced it enough. I mean, so much of my time as a producer for 15 years was, you know, filling to make time or cutting to make time. It feels bad. A couple weeks ago we had a guy named Marques Brownlee come in. I mean, the thing that I would try to do, so like this show was the culmination of many, many years of making radio, and so, the best thing you want is a way to tell whatever story you want to with a lens that focuses that idea. I like it. Public radio sounded like public radio. With Radiotopia, with the help of PRX, which is innovative in the public radio space, we rely on grants, we rely on donors and we rely on advertising. They run it all. I think Jad brought in a whole new element of sound and sound design, which was really playful where the musicality of the whole thing was really good. Huge star, six million followers. Welcome back, Roman. And there is commercial versions of this, right? The difference is that Radiotopia itself is not a for-profit business. The thing was, especially back then when I started this show — and this was not proven at that point — I knew the thing that we had had value. It strikes me that there is a certain kind of show. The podcast is as long as it needs to be. A few years ago when you did Kickstarter, that was a novel idea, I think at least for podcasts. We help them, but they really have to have a business sense. I had this idea of the way I wanted it to sound. Patreon seems to do very well with podcasts in particular. But the tone of voice, the rhythm of things and all that sort of stuff, we took that and we ran with it. I like The Beatles. But at some point you can. We put that together to produce the shows. My ask to you is that you tell someone else about this show. I am part of the Vox Media podcast network. And then, the other part is just sort of autonomy in trying to create the show that you want. Well, one thing is just time constraints. I was like, I wanted to write and host a little bit more. They own it all. And then it became very clear to me that what I really loved was the idea of the intentionality of the way people designed everything they designed, governments designed, you know, voting districts. And anyway, inside the public radio system, the building got paid for, the CEO got paid for, the staff got paid for. You mentioned this Balkanization move, right?{/INSERTKEYS}{/PARAGRAPH} Thank you. They really like that. So, how long does the tour go on for? In the beginning they were very sound-rich, storytelling-type shows, stuff that you would here on public radio, like This American Life for Radiolab. I have different talents than Jad. Different reaction from different people about Roman Mars today. Everyone owns their own show. In your world, it makes sense that you would leave radio and go to podcasting. There are shows like mine, which are quite big, which have ads, and then we also get funding from donors and grants through PRX. I just talked to the newest Radiotopia member. Which they stopped programming for about a week to tell you. They have a similar sound. I mean, I was extremely aware of what I was creating and how much of what it was. It was an appointment for me. Like eight, nine? Back here with Roman Mars, public radio podcasting god. Golda nods her head. You are the co-founder of that. What model do you think is going to make sense? It was self-funded. They all listened to that ad from our fine sponsor. I was working with them on an XM radio channel that I used to do, a program for them. I wanted to own my own thing. I think about design in every aspect of things, and very much so what I was doing when I was creating this, the least of which was like, you know, at that time I was the senior producer, behind-the-scenes producer, of an NPR show called Snap Judgment. {PARAGRAPH}{INSERTKEYS}You can read some highlights from the interview here or listen to Recode Media on Apple Podcasts , Spotify , Pocket Casts , Overcast or wherever you listen to podcasts. You do that through ads and also by asking your listeners for support, like you were talking about in the beginning. I think that the model that makes sense to me is the one where podcasts are open and not sort of Balkanized to these new entities that are like I think the ad-based stuff, it works for me. Because I wanted this tone of I knew I was telling what I think of as interesting stories about mundane things, and the way of doing it is to sound like a voice in your head. This is very, very intimidating for me because I screw around on a podcast once a week, but Roman Mars is a professional OG podcaster public radio god. So, Radiotopia is a project inside of PRX, which is a nonprofit, but the shows themselves, the way that we split money, like, the shows themselves are businesses that can have ads. And, so, you know, so some people will really key into that. I like Kanye West. It was appointment listening. You know, you sort of like, I have this thing that like stealing plus lack of talent equals creativity. I think about this a lot with The Daily, which, again, fits in this continuum. So, you can kind of be however you want to be outside of the network. Yeah, and to me you often find your voice through other people. Of course, no one left. At this point, when we did our first talk ones, it was sort of related to the And, so, I think our sense is like we just want things that are highly produced and great. I have these influences. We just get together and share resources, you know, tithe to the mothership so that we can run and it works like that. Do you think this is sort of the standard sort of way that people are going to consume audio? Be right back. This show, I talked to Jad Abumrad. Do you know who Marques Brownlee is? About his show. To pay your rent. There are a bunch of shows that sound like each other, not in a derogatory way. Initially, I was thinking I wanted to make a little minute, like a story about a building in a minute in San Francisco, and place it in Morning Edition. I mean, the reason why I have a podcast and I had to self-fund is because no one would hire me to do my thing on the radio. Now there are a bunch more ways to fund things like this.