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The Making of Community Signal (Episode #100)
For the 100th episode of Community Signal, we're talking about the show itself. How it came to be, what drives it and how we make it each week.
My guest is the producer of all 100 episodes, Karn Broad. Karn is my creative partner in the show, but if he does his job well, you never think about it. This episode really gives you a sense of the rapport than Karn and I have, and how we work together every week to produce Community Signal. Plus:
How Karn and I met
Why I ended the first community management podcast that I hosted
The process of creating the show each week
Our Podcast is Made Possible By…
If you enjoy our show, please know that it's only possible with the generous support of our sponsor: Higher Logic.
"If you do your job really well as a sound engineer, you almost become invisible. If that's the right way to put it. People don't think about you if you're getting your job right. Same in live sound engineering. You've connected the audience to the live music, they're not thinking about you at all." -@WebKarnage
"I don't think about my job as a sound engineer while I'm playing [music] much because I've got to focus on being a player. Otherwise, the job I'm doing isn't going to be 100%." -@WebKarnage
"It's still not a shock if I've done six or seven hours of editing work on a podcast, maybe more. That can happen some weeks. It really depends on how it all clicks. Sometimes I can pull things together really quickly. Sometimes the episodes are long and I find the editing tricky. Some people that you think are going to be awkward for me, actually prove to be quite easy. People that tend to leave pauses, you can take the pauses out; with a blink, they are gone." -@WebKarnage
"One of the things that makes me happy … is that a lot of people we have on are first-timers to a podcast. Out of 100 episodes, we've had 98 unique guests. I really want to do a survey but I would hazard a guess that for 30-45% of those people, [Community Signal is] the first podcast they've ever been a guest on. I always thought that's pretty cool. What I'm saying is, we don't go after influential people. I don't go after people who have Twitter followers. I just want people who I actually want to talk to." -@patrickokeefe
About Karn Broad
Amongst a large variety of work, Karn Broad has spent over 20 years in the audio world, and has been involved in web design for over 10 years, making websites for small businesses and working in software support for a web design package called RapidWeaver for Realmac Software. He spent several years as the producer of the SitePoint Podcast, which is where we met and built our working relationship.
His direct experience in community is as a user of several forums and as a moderator for the RapidWeaver user forums.
Currently, in addition to producing Community Signal, Karn works in education with children that have specific learning needs, plays bass (sometimes double-bass, sometimes electric bass) in three different live bands, and teaches both guitar and music production. He likes things busy.
Sponsor: Higher Logic, the community platform for community managers
Karn Broad on Twitter
The first episode of Community Signal
The Social Element, Higher Logic and Open Social, companies who have sponsored the show
Tamara Littleton, CEO of The Social Element
Hunter Montgomery, CMO of Higher Logic
Mieszko Czyzyk, director and co-founder of Open Social
RapidWeaver for Realmac, where Karn provides software support
The SitePoint Podcast, where Karn and Patrick met
The Podcast Network, where Patrick previously hosted The Community Admin Show
Brad Williams, Stephan Segraves and Kevin Yank, co-hosts of the SitePoint Podcast
Karn's go-to podcasts include Click and the Royal Society
SitePoint wins Podcast of the Year award from .net magazine
Trivia: All episodes of Community Signal have been recorded on Skype, except for this one and this one
Total Recorder, an application Patrick uses to record audio for the show
Soundtrack Pro and Logic Pro X are software tools that Karn uses to produce Community Signal
Alex Embry's episode clocks in at the longest episode of Community Signal
KarateForums.com, a forum that Patrick has moderated for going on 17 years
Community Signal bonus clips
CommunityCo, where Patrick recently started a new role
GoTranscript, which we use for transcription
[00:00:04] Announcer: You're listening to Community Signal, the podcast for online community professionals. Sponsored by Higher Logic, the community platform for community managers. Tweet with @communitysignal as you listen. Here's your host, Patrick O'Keefe.
[00:00:24] Patrick O'Keefe: Happy New Year and welcome to episode number 100 of Community Signal. We are not really going to talk about community management this week, instead, we're going to discuss the origins of the show and how we make it with my producer, Karn Broad. It can be a grind to produce a show that we're really proud of every week. It's easy to get lost in just getting the episodes done, and not really be able to take a step back and look at the whole.
Our first show was on December 7th, 2015. This show will be released on January 1st, 2018. We'll have had 98 unique guests, everyone from people who started a few years ago and are doing great work, to legends of our profession who helped pave the way. Thank you to everyone who has supported the show by sharing it, saying that it helped you, or offering a kind word. You might think because I've managed communities for coming up on 20 years and because I've written books and hosted a lot of podcast episodes, and done all these things that one more tweet or one more message from a listener might not mean anything. In reality, it's what keeps us going.
I don't create in a vacuum, I create to move this profession forward. Much of my work is in service of that goal, from this podcast, to my own job search, to how I negotiated my contract with my employer, I want to move us forward. When someone tells me that my work creates value for them, that it helps them in their job, that it helped them advance their career, that means everything and it provides a boost to my day because I have ups and downs like everyone else.
Thank you to all of our regular listeners and subscribers. Thank you to our supporters on Patreon including Carol Benovic-Bradley, Dave Gertler, and Serena Snoad. If you like to become a supporter of our show or Patreon, please visit communitysignal.com/innercircle. Thank you to all of our guests who have been so generous and candid with their knowledge and perspectives. Thank you to the companies that have sponsored our program, the Social Element, Higher Logic who is the sponsor of this episode and Open Social. They allow me to pay Karn and the services that we use to make it all happen.
Like any industry, the integrity of the community space is threatened by money. I've turned away five figures from sponsors who wanted to change the program, wanted input into it, demanded that we put their CEO on it. As professionals, we need fiercely independent resources who stand for us, not for the companies that serve us and I try to be one of them. I'm grateful that we have had sponsors that understood and encouraged that independence. Thank you to Tamara Littleton at the Social Element, Hunter Montgomery at Higher Logic and Mieszko Czyzyk at Open Social for doing so.
My guest this week is Community Signal's producer, Karn Broad. Amongst a large variety of work, Karn has spent over 20 years in the audio world and has been involved in web design for over 10 years, making websites for small businesses and working in software support for a web design package called RapidWeaver for Realmac software.
He spent several years as the producer of the SitePoint podcast which is where we met and built our working relationship. His direct experience in community is as a user of several forums and as a moderator for the RapidWeaver user forums. Currently, in addition to producing Community Signal, Karn works in education with children that have specific learning needs, plays bass, sometimes double bass, sometimes electric bass in three different live bands and teaches both guitar and music production. He likes things busy.
We have released more than seven gigabytes of mp3 files, almost 60 hours of audio, and all of it has been produced by my friend Karn Broad. Karn, welcome to the show.
[00:03:47] Karn Broad: Thank you for having me on for this hundredth episode, Patrick. It's brilliant to be here.
[00:03:53] Patrick O'Keefe: Yes, this is really different. We were just talking before we hit record and the last time that we spoke over a phone or Skype was five years or so ago when we ended the last podcast that we did together. We literally never speak to each other over the phone, or over Skype, it's all through email. I thought that was funny.
[00:04:15] Karn Broad: Yes. I must be much more familiar with the sound of your voice than you are familiar with the sound of mine.
[00:04:20] Patrick O'Keefe: Unfortunately, you have to listen to mine a lot. Sorry about that.
[00:04:24] Karn Broad: No problem.
[00:04:25] Patrick O'Keefe: You're used to taking the audio that I send you and then making the show. Is this weird to you?
[00:04:32] Karn Broad: I suppose not anymore given how long I've been doing it because, obviously, as you say, five years ago we ended several years together on the SitePoint podcast with me as producer there. That was often more separate audio files, I should say, that I was piecing together, cleaning up independently. Again, trying to make them sound like a conversation even if they'd all been recorded in different countries, let alone just different locations.
[00:04:59] Patrick O'Keefe: For those listening, Karn is really my creative partner in this show. I've been fortunate to have Karn and to have met him during my SitePoint podcast days which allowed me to build up a unique level of trust where I can simply send him my rough audio cuts and have full faith in his ear and talents to where I simply know he will do a great job. A lot of podcast hosts want that, but don't have it.
Before we get started, Karn, thank you for all of your work behind the scenes where people really only notice if you mess up and everything that you bring to the show. I really appreciate it.
[00:05:32] Karn Broad: Oh Patrick, I love working with people that are committed as you are to what you do. You are very professional to work with, I find that very easy. You are always careful if anything, to overcommunicate rather than under-communicate which I entirely agree with you is how things can be made to work more consistently and more smoothly. It works beautifully from my end too.
[00:05:55] Patrick O'Keefe: Thank you, Karn. We can move past mutual admiration society. On this episode, we'll talk mostly about the show but I also want to give people a sense of you. Talk a little bit about your audio production background. Where does it start, how do you get from point a to editing audio for a podcast?
[00:06:11] Karn Broad: My initial foray, if you like, into sound editing was through being a musician. I've also got a degree in medical physics so I'm very much the scientist side which obviously lends itself to being an audio engineer, having done hearing acoustics. I got very interested very quickly when I became a guitarist and bass player into the sound side and a lot of equipment. I suppose my first forays into sound were more in the live sound arena.
Then I started doing studio work when I worked in a big music shop. I ended up managing one of the large music shops in the UK, that is in Brighton for about seven years. I was the retail manager and I met a lot of people through there. One of them being a producer who does lots of different styles in music and he got me involved in everything from doing four albums of African music to going with him to America, to Arizona, to record a Native American Indian who's an incredible musician. All sorts of things, classical, choral work.
I've engineered on so many types of music as well as restoring old recordings even, things likes Elvis Presley and other classic early country artists, Hank Williams, Hank Snow, people like this. We did a whole series that were remasters that ended up going to Walmart in Canada. I've done all sorts of different sound engineering and then I was a fan of the SitePoint podcast because I was into web design. The producer had also owned a music shop and I had done the website for him, for that music shop. I listened to the SitePoint podcast, enjoyed it, and then suddenly there was a call out from Kevin Yank at the time I believe it was.
[00:08:00] Patrick O'Keefe: Sounds right.
[00:08:00] Karn Broad: About, "We don't know what's happened to our podcast producer." I can't remember why Carl had to go quiet for a short while, Carl Longnecker, but he'd had to go quiet and so he put a call out and I answered that call and said, "Yes, I'm both audio engineer and fan of the show, let's get it on." Then Carl and I started sharing episodes and after a while Carl got too busy and I did all the episodes.
[00:08:28] Patrick O'Keefe: When I tell people that I have a producer who does the show, I often say he does real audio [laughs]. I don't know why I feel I have to say that, podcasts are real; but it's like you talk about the studio work, you are talking about making actual music, recording vocals, mastering, mixing, all the things that go into making music and I have always thought it's cool to have someone with that understanding of audio production working on my podcast. I don't want to slander people who don't have that background so they can't be great podcast producers, but how does that background help you make a better sounding podcast?
[00:09:04] Karn Broad: Certainly my experience in the restoration side of things can help with regards to improving the actual noise level, tonal balance, various other things particularly if we get the audio from a guest who you are recording purely via Skype or…
[00:09:24] Patrick O'Keefe: Yes. Which is always the case.
[00:09:27] Karn Broad: Yes. I used to get very different sounding audio from the different people at SitePoint because they each not just had different voices but different microphones and different environments, so you are trying to balance that up a little bit. Your microphone will be slightly brighter than Louis or you would tweak and change the EQ and stuff to make it sound like people who are in a consistent environment as you can, trying to make you sound like somebody else but you are trying to compensate to some degree to make things sound coherent, I think, is the best word I can use in that sense. You're really trying to even things out so the listener doesn't even think about how it was recorded, where it was recorded. They're just there is a room thinking there are two people talking to each other, and they're not really thinking about the thousand miles between them or whatever else it is. It's just a conversation that they're listening to. If you do your job really well as a sound engineer, you almost become invisible. If that's the right way to put it. People don't think about you if you're getting your job right. Same in live sound engineering. You've connected the audience to the live music, they're not thinking about you at all.
[00:10:43] Patrick O'Keefe: Yes, that's a good way to put it. Like I mentioned at the start, no one notices the work you do unless something sounds wrong. If the podcast sounds great, it sounds great. I think there are people out there who say, "Well, this show must be well produced." But for the most part it's people noticing, just like you say a live show, like if the mic doesn't sound right or the mic's not loud enough people say, "Oh my gosh, what's wrong with that?" Otherwise, they don't really focus on that at all. It's strictly on their performance.
[00:11:08] Karn Broad: Yes, definitely. It's very easy when you've been inside production for a long time to start picking things out even when you almost don't really want to, you actually just want to sit and enjoy something but your brain goes, "Oh, they forgot this." Or, "Oh, they've done that there." It can have a negative effect on your ability to enjoy certain things when you hear– I even do it with TV programs. I'm like, "Oh look, they've done that there."
[00:11:35] Patrick O'Keefe: [laughs]
[00:11:35] Karn Broad: My family are like, "What?" And I'll rewind it. My son's quite interested because he, not being a musician like me, he's more into the acting side of things and he's looking to go either into filmmaking or acting. He's quite interested in the TV side of things from that perspective, but not so much from the musical perspective. The music is still very strong in my life, I'm in three live bands. I work in a school and I also am helping to run the band for, they're doing a production of We Will Rock You. Written by Ben Elton and we're using Queen's music.
It's quite a fun show but it's quite a thing for a secondary school to take on. They're even doing it in one of the local theaters with a full band in the pit, the whole lot. It's going to be quite interesting to see how that comes out, but the head of music is like, "Ah, I've got you now. Brilliant, you can do this." "Okay, well, no problem."
[00:12:33] Patrick O'Keefe: Speaking of enjoying things, you said you found the SitePoint Podcast and that's how we met because you listened to it, right? You enjoyed it. Do you still listen to and enjoy podcasts, or has it just become a job for you having work on the show?
[00:12:45] Karn Broad: There are a few that I listen to. I don't listen to many in the web-world other than Erwin. I quite enjoy the detail that you get from the different guests, whether it's maybe looking at the technical side and the software side of things, or going really completely what feels like the opposite direction where you're talking about charities, dealing with people who've lost people or who are possibly going to lose people, and about that side of online community.
Most of the podcasts I do listen to are things like science podcasts, there's a few on music occasionally, but it is mostly things that are to do with either technology or science. BBC's Click occasionally, something from the Royal Society, which is also a lot of science type stuff. I go for things like that, but not too many podcast. Usually, I've got so much music to do. I'm listening to something. I'm probably listening to a piece of music that I've got to work on.
[00:13:50] Patrick O'Keefe: Let's take a pause on this episode to talk about our excellent sponsor, Higher Logic.
Higher Logic is the community platform for community managers with over 25 million engaged users in more than 200,000 communities. Organizations worldwide use Higher Logic to bring like-minded people together by giving their community a home where they can meet, share ideas and stay connected. The platform's granular permissions and powerful tools, including automated workflows and consolidated email digests, empower users to create their own interest-based communities, schedule and manage events, and participate in volunteer and mentoring programs. Tap into the power your community can generate for you. Higher Logic, all together.
I want to go back a little further, even further than us meeting, kind of into the history of the show.
I've realized today that 2018 will be 20 years that I've been involved in community starting moderating in September of 1998 for another community, so that's how I did it. That's 20 years if you want to go way back, but the real start of podcasting in community was back in 2005. Before we met, I hosted the Community Admin Show, which was a podcast much like this one, that was hosted on the podcast network. Oddly enough, it was also with the company that was based in Australia like SitePoint was, the Podcast Network, Cameron Reilly, was based in Australia.
It ran for 26 or so episodes. Just like this show, it was based largely on experiences and stories and people talking about the things they have dealt with themselves. Specific circumstances that we've made anonymous by removing personally identifiable information and then we discuss them. There was someone who thought that we were talking about them and they complained to The Podcast Network. The Podcast Network made the choice, despite my disagreement, to edit that episode of the show after it had already been out and then we rerelease it.
It was literally like, this person came in, they posted some spam for a forum that was related to ours and then we banned them. That was the story. It wasn't like somebody…You would have to be that person to think it was you, no one's going to pick it up. There was no issue, but, I ended the show shortly thereafter because if a band member can complain that we're supposedly talking about them and have content remove from the show then we really have no show [laughs]. A lot of the stuff we talk about is about managing communities, so I stopped.
Flash forward to 2008. I've been a member of SitePoint forums at that time for eight years, and a member of the staff for more than seven. Brad Williams' a friend and previous guest on Community Signal, started a thread in the staff section, asking if anyone was interested in doing a podcast. Another friend of mine, Stephan Segraves, said he was interested. Then I jumped in and then Kevin Yank, who you mentioned earlier, joined us after we recorded the pilot. He joined us for episode one. Then, I had forgotten how you got involved but you explained that earlier.
There was a call out, because I know Carl Longnecker, who I'm friends with on Facebook too, I think, was the original producer. Then you both alternated. That lasted for the shows entire run or more? You took over at some point, right?
[00:16:49] Karn Broad: Yes. I was doing all of them because Carl got busy, I can't remember what it was with. Carl got very busy at one point and asked would I mind taking them, I said, "Yes, it's fine for me at the moment."
[00:16:59] Patrick O'Keefe: That was the first podcast you had produced, right?
[00:17:02] Karn Broad: Yes. A lot of audio experience before that but podcast-wise, yes, that was the first one that I'd actually produced.
[00:17:09] Patrick O'Keefe: Is producing a podcast easier then in the past? It seems like it would be. It's not like there's more things going on. I guess in some ways, there's less that's in your control. When you're in a studio, you can control a lot of things and that makes it easier in some ways and harder than others. Is it easier or harder to do a podcast?
[00:17:25] Karn Broad: That's a tricky question because some of the things are tricky where if I was in there, I would have said, "Oh, can you re-say that or re-do that for me, please?" Because I would know that's going to be a nightmare to edit, and somebody who's doing it wouldn't know that. Sometimes I do get some very tricky parts to edit where you're realizing that they multi said little bits of sentence here and there, and you can't just take two little bits out and it becomes a coherent sentence. You've got to do quite a lot of tricky chopping to suddenly make something that sounds like they said in one go.
When some people will restart the sentence, um's and oh's aren't too difficult to take out but when people repeat parts of sentences and parts of phrases and overlap, then you can end up with one sentence having 10 edits in it or 12 edits in it.
[00:18:22] Patrick O'Keefe: Are you listening to me right now, thinking to yourself, "Well, I'm going to have to work hard on that bit." [laughs]
[00:18:29] Karn Broad: No. I'm busy listening to what we need to do now. I've got to be focused on this and not on that. I'm used to doing that from being a player. I don't think about my job as a sound engineer while I'm playing too much because I've got to focus on being a player. Otherwise, the job I'm doing isn't going to be 100%. It's not going to be on the money. I'm not really thinking about it from that sense. There are a few interesting things I've noticed. I think one little thing that you may not have noticed occasionally is you tend to pick up very subtlety on people's speech patterns, and put subtle hints of them into your own. It's a form of making people comfortable. I think it's one of the things that actually makes you work so well as a host but it's quite interesting, it's like, "Yes, Patrick wouldn't normally do that but he's doing it because they do it a lot more."
[00:19:23] Patrick O'Keefe: That's really interesting. I never even thought of that. It's so interesting hearing you mention that. I guess it may be something I might do subconsciously.
[00:19:29] Karn Broad: Yes. I think it's something you've learned from the real world about how to make people feel comfortable and how to make people feel at home, and you're merely doing the same thing when you're recording a podcast. That's quite interesting. Again, it's one of those things that I don't think I would pick up on if I hadn't done this for quite some time with one person as well. I don't think if I was editing different interviewers and interviewees week in, week out, there's no way you pick that sort of thing up. I don't think that everybody does it. It wasn't something that was normal to all the guys in the SitePoint podcast that were hosts. It more typically would be done by yourself and Kevin Yank than the others. There we are. I've no idea why but there it is.
[00:20:18] Patrick O'Keefe: That's really interesting.
[00:20:19] Karn Broad: Kevin is the one person out of all of you guys that's why I point that out, that I actually met because he came to England because we won an award- [crosstalk]
[00:20:29] Patrick O'Keefe:: We did.
[00:20:28] Karn Broad: We picked it up. That was quite fun. It was a good evening.
[00:20:33] Patrick O'Keefe:: That was awesome. One day I'll get to Australia and if they still have it in the office, at SitePoint, because there's still a SitePoint office. I got to go and just pick it up and look at it myself. We won that .NET magazine award for Podcast of the Year. Whenever that was, years ago.
[00:20:47] Karn Broad: Yes, I can't remember which year off the top of my head at all. I'd have to do some serious digging. I have all the emails still because I like that. That's me. I have emails from back in the '90s still. [laughs]
[00:21:00] Patrick O'Keefe:: Yes, I know. I have my emails too that came up. I'm going to mention an email that I sent to you. A little bit…I'm the same way.
In 2012, we stopped the SitePoint podcast. Long story but we wanted SitePoint to start selling ads for the show and to give us a sut or at least pay us for what they would pay for an article and they didn't want to, so we drew that to a close.
For years, I had wanted to do another podcast about community management. Even before the SitePoint podcast started. In between the time that I stopped doing the first show and when the SitePoint podcast ended, I had released my first book. I had released the second book and I had been pretty active speaking at conferences and events about the subject and writing about the subject.
It only made sense but the time didn't line up until 2015, despite wanting to be independent because of the story I just told, they basically edited the show despite me not wanting them to. I wanted independence when I started my next show. Despite that, I talked with someone that I respect about– I don't think I've ever told you this. I talked to someone that I respect about launching a podcast as part of their growing network and their platform because they do have a substantial platform and were building out a podcast network.
It became clear that I would own 0% of it. Exactly 0%, and no more no less. When I figured that out I had flashbacks, and I decided not to do that. If I was going to do an independent show where I owned it, I knew that I wanted it to be polished and I knew that I wanted it to sound amazing. You and I hadn't really spoken much since the SitePoint podcast ended. My handful of emails and Facebook posts, but, when I wanted to start the show I knew I had to have a producer and I only emailed one person. I emailed you on September 28th of 2015. What were your thoughts when I emailed you? Were you excited to just do a show again together, or what were you thinking about?
[00:22:53] Karn Broad: I was pleased. I missed the SitePoint podcasts. In a few ways, it's nice to be thinking about online things because they are a massive part of everybody's lives and I'd felt much more involved with it. Things had started to shift with my work. I had been doing a lot of support work for a software company that does software to build websites. I was working for Realmac Software here in Brighton in the UK. They do a Macintosh application called RapidWeaver. I was support for that. I was involved not just in the forum side of things. I'd been involved there for years before and we'll touch on that I'm sure later. That was coming to a close and I'm like, "Yes, I'd still want to be involved in this area. Isn't something I want to be disconnected from." I particularly for some reason enjoyed the involvement with yourself and Kevin Yank, for whatever reason. I just felt that…
[00:23:54] Patrick O'Keefe:: I like that comment. For some reason. I don't know why, but I just enjoyed it.
[00:24:00] Karn Broad: Yes. I felt like you two were the two guys that would work the way it would work in my head. That's the best way I can describe it.
[00:24:08] Patrick O'Keefe:: Okay.
[00:24:09] Karn Broad: I really liked the other guys and Louis' laugh was brilliant, is one of the things that did make us all laugh at the SitePoint podcast. He was fantastic. I just get a sense of certain people have a way of working and you and Kevin, I always felt had a similar way of working and it was a way that made sense to me. I liked when you did the live SitePoint podcast. It was you that did them, and you were very sleek and you were very good at making something happen.
That when you're trying to do those things live, there more tricky to get right. You have to get your head right, you have to get that right and you were always on the case with it. When you asked me I was like, "Yes, that's a guy I know I can work with, I felt good about that." I was very flattered and proud that you'd ask me. Pleased that you'd ask me, and thought, "Yes, that's something I want to be involved with." Again, I feel that you want to make products of a certain quality. As you know, I'm Mr. Fussy, I might try and be perfect all the time, I might let things slip occasionally. You catch things and I catch things as we go through.
[00:25:21] Patrick O'Keefe: We have a pretty good record.
[00:25:23] Karn Broad: Yes, we are both trying to keep things to a consistently high standard that we don't really have to tell each other about. If that makes sense.
[00:25:33] Patrick O'Keefe: It does make sense.
[00:25:34] Karn Broad: We know and we follow the same brief in that sense. That's why I was keen to be involved when you said you wanted to do it. I thought, "Yes, that'll be the sort of product I want to have my name slapped on."
[00:25:47] Patrick O'Keefe: I was just as happy when you said yes. I only had to email one person, too. Karn was the first person I went to. I knew he was the one that I had the deepest sense of trust in. The SitePoint podcast, we say that but also just to give people a sense of the numbers of that. I think it ended around 180 something. Karn produced, by that point, more than half of those episodes of 180. You are looking at 90 plus, probably a hundred plus episodes at the end of the day, that Karn produced and I was on a substantial number of those, probably 60% to 80%. There were some interview shows I didn't do. We had that built up rapport over a period of probably three years of Karn having worked on that show. That was just the person I wanted. Like I said, I sent one email, I got one producer and it all worked out. Let me flip this around. I know you like working on this show and everything. What's the most challenging part of producing Community Signal? From your perspective, from the work you have to do. If there is something that I could change or something that we could change,
What is the thing that, I don't know, doesn't keep you up at night? What's the challenging thing that you would point out?
[00:26:50] Karn Broad: I suppose it's down to myself in some degrees. I want everybody to sound as good as they can possibly sound. I'm so used being a musician where if there's a slight error, you take it out. I'm probably removing things that most people wouldn't bat an eyelid at, but I'm still taking them out. I'm making it sound like everybody says everything just the once whether they've repeated it a bit or not or anything. Some people's speech patterns are harder to fit to my crazy goal that other people speech patterns. I'm not going to sit here and criticize them. They're fantastically intelligent people talking about things. Their job is not to worry about my job.
[00:27:40] Patrick O'Keefe: That's a positive outlook.
[00:27:41] Karn Broad: I don't expect them to be worrying about my job, but sometimes I have to, if you like, flatten or reset the editing file every now and again and the software that I use because the number of edits just gets out of hand, in terms of quantity and everything. I'm going to have to look for a new piece of software soon because it was last updated in 2009, and is actually holding up for me updating the operating system on my Mac. I've not found anything that gives me the same flexibility. It means that, if I do change, I'm probably going to have to change the whole way I do the editing. I'm not looking forward to that. That is something that's got a lot slicker over time.
It's still not a shock if I've done six or seven of hours, editing work on a podcast, maybe more. That can happen some weeks. It really depends on how it all clicks. Sometimes I can pull things together really quickly. Sometimes the episodes are long and I find the editing tricky. Some people that you think are going to be awkward for me, actually prove to be quite easy. People that tend to leave pauses, you can take the pauses out, with a blink, they are gone.
It's when you get this repeating thing. You don't notice it when somebody is speaking like that to you. You don't really notice it, to be honest with you because they are making sense. They are being coherent to you, but me being me, I'm still looking for that last 1% of getting everything right. It's why you wanted to employ me and it's also my Achilles heel at the same time.
[00:29:28] Patrick O'Keefe: As someone who has a really strong attention to detail, I sympathize with you. I have two thoughts, number one, that's why I love you, your attention to detail. Number two, I don't pay you enough for six or seven hours. Hopefully, one day I can [laughs]. To spend six or seven hours on it, I don't pay enough for that so I definitely understand. I think the attention to detail comes out in the finished product. I appreciate it. That's actually good segue to what I wanted to talk about. Sort of the, how the sausage gets made, for the show, because we pass it off. It starts on my end, I pass it off to you. You go away and work for a while on your end and then when you're finished it gets passed back to me. I'll start on my end of it. The workflow for this show has pretty much been the same since we launched it. I'm currently working on ways of making that more efficient and making it stronger editorially but right now, it's the same as it was day one in December of 2015.
The first part of it is that I am regularly emailing people to book guests for the show. The tricky thing about doing that and this is really what makes the show fun for me, and I think also what makes it good is that I only speak to people I want to speak to. That might sound funny when I first say it but what I really mean is that I know a lot of people in this industry, including some very prominent ones. Anyone who's got a big audience in the community space, I know them, I've talked to them for the most part. There are some people I just don't want to talk to. [laughs] I just don't want to talk to them. I'm not interested in having them on the show. I don't think the conversation will be interesting. I don't want to spotlight them, whatever it is. We don't have an open call for guests. I don't have people emailing me, I don't have a form in the website, it's not just that you have the title community manager and you can get on. We're not looking for influential people.
One of the things that makes me happy, and I don't know this affects editing actually but it probably isn't good but it's probably not that big a deal is that a lot of people we have on are first-timers to podcast, a lot. Out of a hundred episodes, we've had I think it was 98 unique guests because we've had a couple of repeat guests. I really want to do a survey but I would hazard a guess that 30-45% of those people we're the first podcast they've ever been a guest on. I always thought that's pretty cool. What I'm saying is, we don't go after influential people. I don't go after people who have Twitter followers. I just want people who I actually want to talk to. When someone agrees, we have a page on the website with background information on the show and details on the process and most importantly a questionnaire that I asked them to fill out. The questionnaire is really my attempt to get into their brain a little bit, and learn about the things they are perhaps not talking about in public.
The quality of our program is really impacted by the depth of the questionnaire responses. It kills me when people phone that in. I have had people who I had invited and then decided not to have on because they just sent me two words in the questionnaire; But with the questionnaire in hand, especially a good one, I take that and I combine it with my own research into the guest work and their background and current events and build out the basis, the bones of that episode of the show. Of course, a lot of it is impromptu, a lot of it just comes naturally out of conversion but I flesh out the structure of the show ahead of time. Then I book a time with that guest, we record on Skype. Trivia, all episodes of the show have been recorded on Skype except for one. The recent episode with Priscilla McClay was recorded on Google Hangout. I know the audio wasn't as good as usual there, was it?
[00:32:45] Karn Broad: Yes, Google Hangout obviously tends to scores the audio a bit harder because I think their main thing is expecting lots of strings of audio, if I'm right, rather than anticipating most of the things being one-to-one.
[00:33:01] Patrick O'Keefe: That was actually a first. That was the first time at Google Hangout but thankfully the program we used to record, Total Recorder on Windows, is really good. Whatever you use, it swaps in so we don't use a Skype-specific recorder. We used to. I used to use Panel up for a long time with the show and the Skype's specific recorders, no matter what recorder you're using, I don't know, I never had a great experience with them so Total Recorder it's just a solid program in my experience.
For a long time, I recorded the whole show with the guest, including the introduction and the ending; but more recently I have recorded those, and a fresh sponsor read in a separate audio clip and I export those clips as Wave files and upload them to Dropbox which we use for all of our files and also some collaboration. Then I sent the email at Karn and as I've said, I trust Karn to make it sound great and to make determinations on certain aspects of the show and the content that's included and what gets cut; but in this email I'll sometimes have specific notes or portions I would like to have removed, or problems I had, or just general observations. I send that email to you. What happens after that Karn?
[00:34:02] Karn Broad: My first thing is to take those separate bits that you've done in terms of the intro/outro and the sponsor's ad and put those into the same file. I do that, I use Soundtrack Pro which is part of Final Cut Studio from years ago. I put it into that and I then look at de-noising everything, trying to get rid of the noise from the background of both your recording and from the channel that has come through Skype from the guest.
The reason I really want to de-noise it is because I like to use several passes sort of compression because I want the sound at the end to be very consistent in volume. When people are driving alone in a car, listening to it on public transport something like that, to catch every word. They do not have to blow their head off with the volume. They can be sure that the volume of the voices is going to be pretty consistent.
Problem with compression, the compressor effect is designed to keep the volume more consistent obviously given what I've just said, but it also brings up any quiet noise and it negates…that can supposedly, that's supposed to turn it down or turn it off when it gets below a level but that becomes quite crude and very noticeable. If I de-noise it using Soundtrack Pro and then start working with it, I will de-noise it first, I'll get some adjustment in volume levels of each part, soundtrack.
For example, I'm working on a stereo file but I can compress the left or the right side independently. I can process each side independent. That's what makes that a great thing for me because I then just chop a little section out that I want. It chops it out of one, two, three or four channels immediately, all exactly the same so everything is staying in sync. Everything else I use they become separate tracks so you have to process them all the same, in which case you're increasing your workload significantly. That's why I'm worried about dropping Soundtrack Pro. Why I'm staying where I am at the moment, it makes that process easy for me.
I then go through, try and take out any strange things. You get lip smacks, that sort of thing. I'm going to have to leave that one in. I've got to be careful there, haven't I? I'm going to go and take that out if I'm not careful. I think you have little pauses, a lot of things people do, and I take out to try and make them sound very convincing, very quick and not just that it gives people all the information in a smaller time span. It's making the most efficient use of our listeners time. Even if people are considering something, I probably won't leave the um's and uh's in, I probably won't leave a long pause in. It might sound alright but again everyone seems to be quite busy these days. If I can get exactly the same content and very crisply into significantly less time, I'm going to do it. It's not a surprise if I'm taking out one minute of every five in a podcast on average. I mean, you know how much time comes out because you know the length of audio you give me and how much comes back.
[00:37:28] Patrick O'Keefe: Right. I think that fits within because when I went back to the email when I emailed you the first time, I said I was thinking 20 to 30 minutes. That morphed into 30 and 40 as we did it but that's where we really like to be, that 30 to 40 minutes sweet spot. I just pulled it up because I have a full history of the show, obviously, all the files, all the original files. Out of the first 99 episodes, only 16 are longer than 40 minutes. I have a feeling this one will fall just under as well once we're probably in the 35-minute range, once we're done. We've hit that 30 to 40 window or at least max 40, all but 16 times.
Those 16, 5 of them were 45 minutes or less. Our longest show ever was 53 minutes and 30 seconds, which was the show with my friend Alex Embry, the SWAT team commander outside Chicago, who was a moderator on the community that I managed, KarateForums.com. We really only had a few really long episodes. We've had a handful of ones that were under 30 but I've never found that to be a problem. A lot of podcasts look at half hour or 16 minutes, I don't feel we need to go to an hour. I feel like an hour is such a long time.
[00:38:33] Karn Broad: Yes. I would say that's pretty good. It is quite a long time on a very specific subject. It's not like some of the podcasts will go through a series of news or might have five or six very different topics in an hour. That's going to be a very different type of thing. You're not talking on one quite focused area for an hour. I do remember the episode with the SWAT team commander but there wasn't anything you'd want to take out of that episode.
We talked, why I say talked, we emailed about that but the content was so good it had to stay in. What he said was so interesting and related so clearly between experiences he has in the wider world and the online world and how the two mirror each other in certain ways.
[00:39:25] Patrick O'Keefe: For sure, it was. You're cutting down the episodes, you're getting them down timewise. You're making sure they're value-packed, we want to hit people with a lot of information in a short a time as we can. What next?
[00:39:34] Karn Broad: Then once I've got the basic sound, I then duplicate the file and then take out the other side. What I mean by that is I separate effectively you into one file and the guest into another. I then treat them again independently, particularly things like de-esser because when you use a lot of compression and Skype uses a huge amount of compression and limiting any software anyway, then you quite often get a lot of sibilances. A lot of [frequency sound] noises that you then have to try and control and that's what de-esser does, it's a compressor that is sensitive to those frequencies and squashes those frequencies. You're treating things like that.
Then, I've got two independent mono files. I then have several presets in Logic Pro X which I drop those two files in. They have intro to both the music and the recorded intros and the outro. I know where to put the file in, I know what bar number it should start on, so I just drop it in. There's a channel there with presets for you, channel in there with presets for the guest. You will have noticed if you listen to enough of the shows that Patrick is panned slightly to one side and the guest slightly to the other, to make it easy if they happen to have a back and forth overlaps for you to pick them out.
[00:41:00] Patrick O'Keefe: It's funny you mention that because I wonder if a lot of people hearing that now will say, "Oh, I didn't notice that."
[00:41:05] Karn Broad: It's subtle, but I know, again, from my medical physics background that it makes a massive difference if you had to pick two independent sounds sources out. If they're not stereoscopically in the same place, your brain can separate them significantly better and is one of the things we learned back in the hearing and everything that we did back then so I use that again to my benefit to separate out the left and right side.
It's not dramatic, it's not hard pan because I think that's quite hard wearing to listen to particularly on headphones. Whereas, if it's panned slightly one side and slightly the other. You'll notice a lot of very good radio stations do exactly the same thing. They'll have their host on one side and the guest will be slightly panned to the other. It's a fairly normal thing to do and there are reasons for it, as we've just said.
This then puts everything into place. I then just move the outro to line up with where the end of the interview ends up and then do a flow and, if you like, pass out of that. Interestingly, occasionally, we get an odd one where…because I'll listen to it in the software and I'll usually listen to it in the file afterwards. Sometimes, the things that I use to listen do a really subtle fade in, sometimes not in others so I'll miss a funny noise at the beginning, you've caught a couple of times. I have had to change the presets to avoid that a little bit as well.
I have a preset for the show, one for each sponsor. I have one for no sponsor, and I also have one for those shorter bits that we deliver for the wonderful people that support us on Patreon that we deliver to them the bonus clips as a separate one for that where we just have a very short intro and outro bit of music just to, I suppose, put our little signature into it. I just felt that the idea was worth putting your way when we talked about doing the bonus clips because I felt it then made them sound like they were part of the show, and yet a listener decided, "Yes, what works for me too. Let's do it.'' I suppose, it's an audio logo, isn't it? It's for all of a better description.
[00:43:20] Patrick O'Keefe: Yes, it brings people back to the show, right?
[00:43:23] Karn Broad: Yes. Then those files once they're out, we've got a mix out that's in wave and we've got one that's in MP3 format and those get uploaded to Dropbox. Sometimes, if we've got a transcription service that you want me to go straight to is I will put it to there first in MP3 before I upload to Dropbox. There's a couple of them actually worked really well taking new audio file from Dropbox but actually one of them was a problem with that, I've got notes as to which one it is. It's just not popping into my head.
I think it might be TranscriptionPanda that I go straight to, if we're going to use them whereas some of the others I'll upload to Dropbox and then paste the Dropbox link in, and they'll take it faster that way.
[00:44:11] Patrick O'Keefe: Yes, then it's back to me. The ideal way that we've done it is that Karn uploads it directly to their transcription service so they can get going on it as soon as possible but recently I've been thinking about how that process works, so in those cases he's now uploading it to Dropbox and then sends me an email. Normally, the transcription thing goes up, it gets submitted and I get an email, and that's my cue. That's my great cue. The episode is done, it's ready to go and Karn sent it off.
Then, that's the cue. To number one, pay Karn for his work. Number two, is to wait for the transcript and then when the transcript comes in, what I usually try to do is to build the episode around that. If I have the time and since I took this job at CommunityCo it's been more of a challenge. Ideally, I take the transcript, I proof it because we have sponsors but no one's making a lot of money here, and so all of it so far really is going back into the show.
We have a transcription service that we use right now, goTranscript.com is the one that we using for what you pay for the budget, they do a very good job but that still leaves a lot of different little typos and words they don't understand, so it needs to be read, proofed. We add links to it, and we use that to build the related links section of our posts on our website. I also pull quotes out of there, as well. Then when that post is already, I take the mp3 file and Karn has already tagged it partially. I finish the rest of the tagging and the things that I had to write like naming the episode, brief description of the episode, etcetera.
I also create images for a cover and for quotes that we then share on Twitter and Instagram to promote the show, then I schedule it all to publish and then we do it all again [laughs]. That's the process, almost every week.
[00:45:47] Karn Broad: Yes, we've had occasions where we've managed to produce two in a week, and other times where there just hasn't been the time where you could line your time and the guest's time up. Which with busy people is, I know from my perspective, when I've had to get certain work done or I've had to do certain work and try to fit it in and how tricky it can be. Trying to do this every week, it must be tricky for you particularly now as you've got this fantastic job that you've got to try and fit everything in alongside that. It must make the timing more tricky.
[00:46:22] Patrick O'Keefe: Yes. I don't want to be overdramatic because as I was telling my girlfriend Kara, who, that adds part of it too because she's in Los Angeles and I'm on East Coast. I'm flying back on forth quite a bit but like I told her it's basically like a prison by own making, [laughs] it's a prison now. It's all these great things I get to do. I have her, I have my family that I'm close to that lives on East coast. I have this job that I really like. I have this podcast that I love. I have a community that I manage, and I also want to try to balance that out and get sleep and exercise and things.
It's all good, it's all positive [laughs] it's nothing to complain about. It's just the matter of finding the time because it kills me and it has in the past. It just kills me when we take a week off. Especially when you have sponsors, it's tough. I hate sending that email that says, "Hey, we're going to take this week off." Even though it's totally normal and natural, and I hate doing it to listeners as well where it's like, we have this weekly show. Podcasts now, and I'm sure you probably notice this. That podcasting, I would say, of couple of years ago, steadily growing. It had a big cultural moment especially with the podcast Serial but a lot of podcasts are season based, where they do it for a certain number of weeks and then that's it and they come back the next season. A lot still operate on a weekly by weekly schedule but we're still trying to do it on a weekly basis as much as possible. That's not to say it will always be that way, but I don't know, it's what we've done so far.
[00:47:42] Karn Broad: Getting to a hundred episodes in probably little over two years shows you how few weeks we have taken off in that time.
[00:47:50] Patrick O'Keefe: Yes, that's a good point. We probably have to do the math on that but it's probably eight weeks off in two years, 8-10, probably somewhere in there. That's our process, that's how we make this show. That's the history of this show. Karn, thank you so much for coming on this show. It's been fun to talk with you about…I guess the stuff that we do all the time but don't really necessarily stop to think and talk about ourselves as much. Thank you for sharing all that with us, I really appreciate it.
[00:48:17] Karn Broad: It's been really nice to talk to you, Patrick. It's one thing working with you but it's great to actually have a chat. We'll have to do this more regularly even if it's not a show.
[00:48:27] Patrick O'Keefe: We've been talking with Karn Broad, producer of Community Signal. You can follow him on Twitter @WebKarnage. That's karnage with a K. For the transcript from this episode plus highlights and links that we mentioned, please visit communitysignal.com. Community Signal, yes, even this episode, is produced by Karn Broad. Thank you for all your support during our first 100.
January 1, 2018 June 28, 2018
Ending the Millennial Conversation, Customer Experience Insurance and Other Short Stories


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Study of flowers' co-evolution with bees and hummingbirds earns Hileman major grants
LAWRENCE — The flowers that blossom in a multitude of shapes and colors all over our planet serve as an astonishing demonstration of Earth's biological diversity.
In part, this beautiful variety comes from flowers' co-evolution with pollinators — like bees, moths, butterflies and hummingbirds — whose travel from bloom to bloom enables cross-pollination.
Today, with a pair of grants from the National Science Foundation together totaling $2.5 million, a researcher at the University of Kansas is investigating how natural selection has enabled flowers to shift strategies from bee-pollination to hummingbird pollination, contributing to this stunning diversity in flower form.
Lena Hileman, professor of ecology and evolutionary biology, believes her work will shed light on how plant communities are shaped by evolutionary, ecological and genetic forces. Through her work, she aims to discover the extent to which evolutionary change is predictable.
"We're studying Penstemon, a genus commonly known as 'beardtongues,' to understand what shapes diversity in flowers," Hileman said. "The really exciting thing about Penstemon that makes it perfect to study flower diversity is that among the nearly 300 species, there have been many shifts in 'pollination syndrome,' or the kinds of creatures that visit flowers for pollination."
Hileman said that most species of Penstemon are pollinated by bees, but many are pollinated by hummingbirds, and the different flowers show stereotypical bee- or hummingbird-adaptation. With KU postdoctoral fellow Carolyn Wessinger, she's testing whether Penstemon has reached an evolutionary equilibrium in the relative frequencies of bee and hummingbird pollination strategies.
Hileman said flowers in Penstemon have adapted from bee to hummingbird pollination more than 10 times. She described the substantial differences in flowers specialized for both forms of pollination.
"For a flower that's adapted to bee pollination, in Penstemon, they're generally bluish to purple in color, have wide corolla, or petal tube, that allow bees to enter the flower and receive a nectar reward," Hileman said. "The stamen are positioned to deposit pollen on backs of bees."
By contrast, she said hummingbird-pollinated species are red or orange-red and specialized with a narrow corolla because only the beak and tongue of the birds enter the flower.
"A hummingbird-pollinated flower's reproductive organs stick far outside a flower to contact the bird's head, and there's no landing platform because the bird hovers," Hileman said.
She added that hummingbird-adapted flowers produce a larger nectar reward, suitable for those birds.
"We're using the Penstemon system to look at many questions, like how often has hummingbird pollination arisen from bee pollination, and does it always go in that direction, or can bee-adapted flowers evolve from a starting point of hummingbird adaptation?" Hileman said. "We have strong evidence that shifts in pollination strategy only move in one direction, that hummingbird adaptation evolves from bee adaptation, but not the other way around."
With a Dimensions of Biodiversity grant from NSF's Division of Environmental Biology, Hileman and her colleagues, including a Duke University collaborator, will test why hummingbird-adapted flowers evolve from bee-adapted flowers, but not the reverse. For example, evolutionary patterns might be shaped by the genetics that underlie how these flowers develop.
"The genetic architecture of the flower is modified when a pollinator shift happens. We're testing hypotheses that the types of changes from bee to humming pollination involve a loss of gene function," Hileman said. "So, if a broken gene is adaptive for the evolution of hummingbird pollination, once broken it's likely really hard to fix it, limiting reverse-evolution to bee pollination."
With an additional grant from NSF's Division of Integrative Organismal Systems, Hileman and her collaborators are investigating whether the same genes are responsible for the many independent origins of hummingbird-adapted flowers from bee-adapted flowers in Penstemon. This work will help biologists better understand the predictability of genetic changes during the evolution of diverse forms in nature.
Hileman said these genetic drivers for differences in pollination strategies for flowers like Penstemon are what underlie their beauty and incredible variety, evident everywhere in the natural world.
"One of the most amazing aspects of biodiversity is flower diversity," she said. "We can all appreciate that if we go outside and walk in the woods or garden. There's a vast array of shapes and forms of flowers. This comes from a long history of interaction with pollinators that shape those flowers — wind, butterflies, moths, bees or birds like hummingbirds."
Photos, from top: A hummingbird visits flowers of Penstemon eatonii for a nectar reward. Top right: A closeup of bee-adapted Penstemon flowers. Center right: A display of flowers on Penstemon patens. Bottom right: Hummingbird-adapted Penstemon utahensis growing along a roadside. Photos courtesy Lena Hileman.

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November 26, 2021 by Luis F. Dominguez Curated Lists 0 comments
9 Hidden Treasures of San Luis Potosí, Mexico
In northeastern Mexico lies a state of extraordinary natural beauty and rich history: San Luis Potosí. You may have never heard about it before, but I'm here to change that and open your eyes to one of the most amazing destinations in Mexico.
San Luis Potosí is home to the fascinating Huasteca Potosina, a collection of mountains, rivers, waterfalls, natural pools, and breathtaking landscapes of unparalleled beauty. However, not everything in San Luis Potosí is a natural landmark, you also get historic ghost towns and mystical gardens.
Keep reading to learn more about San Luis Potosí and the nine hidden treasures you can't miss when you go there!
Where Is San Luis Potosí?
Located in the northeast of Mexico, San Luis Potosí (SLP) is a historically rich state both economically and as a natural wonder. During the three centuries of Spanish domination in Mexico, SLP played a crucial economic role due to its silver mines that filled Spanish ships with this precious metal.
Its importance is underlined by its strategic location, as it borders Nuevo León, Tamaulipas, and Veracruz to the east, Coahuila to the north, Hidalgo, Guanajuato, and Querétaro to the south, and Zacatecas and Jalisco to the west.
San Luis Potosí is a state that brings together the Mexican north with the south, as well as its east and west. It's a crossroad state, as you can see on this map.
State of San Luis Potosí within Mexico | © TUBS/Wikimedia Commons
Why You Should Visit San Luis Potosí
For centuries, San Luis Potosí was a mining state with a vibrant capital in San Luis Potosí City, a place of impressive colonial architecture. In recent years, the natural beauty of the state has been rediscovered, particularly the Huasteca Potosina. The state is now a top ecotourism destination.
What you find in San Luis Potosí isn't the typical image of Mexico promoted in travel magazines. Here, you won't get the stunning white-sand beaches and warm waters of the Caribbean, nor the pyramids of archaeological sites, and that's precisely what makes it so interesting and unique.
San Luis Potosí's weather typically varies over a range of 41ºF to 83ºF (5ºC to 28ºC), with short but warm summers. The best time of the year to visit SLP is from late April to mid-June.
9 Hidden Treasures of San Luis Potosí
Although the main attraction is the Huasteca Potosina, this isn't a single destination. The Huasteca region offers canyons, waterfalls, rivers, natural pools, and caves. Most (but not all) of the hidden treasures on this list are part of the Huasteca Potosina.
1. Xilitla San Luis Potosí
Located in the heart of the Huasteca Potosina, Xilitla is a magical town that seems to move in slow motion with its cobblestone streets and natural surroundings.
Xilitla is a gorgeous village in the mountains and a fascinating attraction in itself. Its value is even greater as a base camp from where you can explore the area's many natural wonders.
View from El Castillo | © Emma/Flickr
2. Puente de Dios – God's Bridge
Located in the municipality of Tamasopo, Puente de Dios (God's Bridge) is a spectacular natural pool of an incredible turquoise blue that contrasts with the deep green of the surrounding vegetation. Puente de Dios is one of the most popular San Luis Potosí cascadas (waterfalls).
Puente de Dios – Huasteca Potosina – San Luis Potosí – Mexico – 04 | © Adam Jones/Flickr
3. Real de Catorce
Real de Catorce is the most famous Mexican ghost town. Located in the middle of the desert, this magical town was once a buzzing mining town. When the nearby mine (that you can visit) closed its production, it almost disappeared from the map.
That is, until a relatively recent rediscovery of the mystical atmosphere surrounding everything that has to do with Real de Catorce and the area. The Huichol people take their yearly pilgrimage to this place which exudes a special energy.
Mexico, Real de Catorce | © Graham Styles/Flickr
4. Sótano de las Golondrinas – Cave of Swallows
Featured in National Geographic, the Sótano de las Golondrinas (Cave of Swallows) is one of the largest natural depressions in the world.
Located near the town of Aquismón, the Sótano de Golondrinas is a circular hole in the ground that's 60 meters in diameter, 512 meters in depth, and 370 meters of vertical drop. Visitors practice BASE jump, paragliding, parachuting, and rappel. However, the effort is well worth it, like the ecosystem, you find below is simply amazing.
A caver rappelling the 333-meter drop into Sotano de las Golondrinas | © Stubb/Wikimedia Commons
5. Río Tampaón – Tampaón River
Río Tampaón (Tampaon River) is one of the best rafting spots in all of Mexico. The Tampaon starts at the spectacular Tamul waterfall and travels across the Cañón del Sistema del Río Santa María.
The water has a gorgeous turquoise color, and lush vegetation is all around. Rafting enthusiasts love the Tampaon for the high levels of adrenaline it produces in them.
Río Tampaón | © Carlos Adampol Galindo/Flickr
6. Cuevas de Mantetzulel – Mantetzulel Caves
Between the town of Aquismón and the Cueva de las Golondrinas, you'll find the amazing Mantezulel Caves. Practice rappelling, hiking, and going camping in the area.
The caves called Espíritu Santo (Holy Spirit), La Luz del Sol (Sunlight), and Aguacatillo (Little Avocado) are full of stalactites, stalagmites, and columns that took millions of years to form.
Grutas de Mantezulel, Huasteca Potosina | © Maura | Not a Swiftie/Twitter
7. Cascada de Tamul – Tamul Waterfall
Of all the San Luis Potosí cascadas (waterfalls), Tamul is the tallest at 344 ft (105 m) high, and definitely one of the most beautiful ones. Tamul is near the town of Tanchachin and there is a dock at La Morena.
Hike to the cascada and enjoy the spectacular landscapes so typical of the Huasteca Potosina. Once at the cascada, you can swim in its fresh waters and practice rappel, rafting, kayak, or paddleboarding.
Cascada de Tamul | © Carlos Adampol Galindo/Flickr
8. Surrealist Garden
Known as Las Pozas, this surrealist garden created by Edward James in 1947 is the masterpiece of this American artist. Located in Xilitla, the garden is an eclectic mix of nature with surrealist sculptures and buildings.
It covers an area of 37 hectares. Among the most representative buildings and sculptures are a bamboo palace and a movie theater. Think of a kind of Parc Güell (Barcelona) in a botanical garden setting, but with a mystical atmosphere.
Las Pozas, Xilitla, Mexico | © Rod Waddington/Flickr
9. El Salto del Meco
Located in El Naranjo, San Luis Potosí, El Salto del Meco (Meco's Jump) is a waterfall of immense beauty and biodiversity. With a height of 125 ft (38 m), it isn't the tallest of cascadas, but it's still an attractive spot for paddleboarding, kayaking, body surfing, tubing, or just swimming and relaxing.
Cascada "El Meco" | © Nohelia Genis/Wikimedia Commons
Visit San Luis Potosí and Practice Your Spanish
As you can see, San Luis Potosí is Mexico's best-kept secret, and it's full of hidden treasures and natural wonders. Remember that late spring and early summer are the best times of the year to visit and that there's an international airport in San Luis Potosí City.
Learning Spanish makes traveling to Spanish-speaking countries such as Mexico much easier. Plus, it helps you make the most of your visit, as you can communicate easily with the locals and learn more about their culture and region.
Prepare for your trip to Mexico by speaking Spanish with a certified, native Spanish-speaking instructor. Sign up for a free trial class today at Homeschool Spanish Academy. We offer flexible scheduling and tailored Spanish packages for students of all levels.
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Most modern billboards are made of printed vinyl. In the past, large pieces of paper were used and glued together to form a single image or message, but nowadays large, intact sheets of vinyl can be printed with special machines. The type of vinyl that is most commonly used is called PVC, and because this consists basically of plastic, people tend to consider it environmentally unfriendly. While digital billboards are starting to surface on the market and are considered more environmentally safe, the components going into digital billboards can actually be quite difficult to dispose of because they contain toxins that can leach into groundwater and soil – the same way that all electronic equipment can be dangerous to dispose of. Vinyl, however, can be repurposed for different things and the demand for vinyl scrap from billboards is getting increasingly higher.
But, before we talk about repurposing vinyl it helps to know how billboards are made. Billboards (regardless of size) are usually constructed with a frame and a permanent backing that sits within the frame. The image sheets are then usually screen printed – a process that prints only one layer of colour at a time. Screen printing is very cost effective when it comes to large sheets, especially if multiple copies of the same image have to be made for different billboards. Digital printing is also used, and this is more expensive than screen printing. The beauty of digital printing is that the ink used in this process is specifically designed to be weatherproof, which means that colours don't fade and that the billboard remains intact and highly visible for long periods of time. The vinyl on which the image is printed is made up of two layers that are covered with a nylon finish which is UV resistant and water resistant, and stops the vinyl from ripping. This means that the vinyl itself also has quite an impressive lifespan – around 3 years, even in harsh weather conditions.
Because vinyl is a practical and flexible material, it can be used for many different things, and there are several companies that specialise in creating art pieces and reusable items from billboard vinyl. From shopping bags, tarpaulins, slip & slides, waterproof sleeping bags for the homeless to tent liners, tents and woven mats are all created from the leftovers once the billboard poster is taken down. The businesses and individuals that recycle or upcycle billboard vinyl in this manner not only benefit the environment, but also provide employment and teach new skills. This means that, if you are worried about the environmental impact your vinyl billboard will have, you can stop worrying! Billboard vinyl is usually recycled and is a very environmentally friendly way of advertising.


text:
« Obituaries | Alberta R. Cope
Alberta R. Cope
Date of Death: January 16, 2018
Date of Birth: November 21, 1936
DRESDEN - Alberta R. Cope, 81, of Indian Road, passed away on Tuesday, January 16, 2018 at Mid Coast Hospital in Brunswick.
She was born in Bath, ME on November 21, 1936, the first daughter of five girls, to Albert R. and Gladys I. Richard.
Alberta grew up in Woolwich and attended and graduated from both The One Room School in Day's Ferry and Morse High School in Bath, class of 1954. After graduating she was employed at W.T. Grants on Center St. in Bath.
The following year on February 14th, she married her husband, Henry, and became a proud Navy wife, travelling with her husband and family to different duty stations in the United States for many years. She would have celebrated 63 years of marriage next month. She was also active in the Navy Wives Club and many activities for and with her children.
Alberta is survived by her husband, Henry S. Cope of Dresden; two daughters, Derry Ann Whittiker, and Laurie Jo Alexander of Croyden, PA; three sons, James David of Bristol, PA, Christopher Mark of Dresden, and Andrew Wade of Wiscasset; seven grandchildren, and many nieces and nephews. She is also survived by two sisters, Judith R. Kenney of Woolwich, and Denise Miller of Anchorage, AK.
She was predeceased by her parents; a son, Craig Henry; two sisters, Virginia Partridge of North Carolina, and Renee Jo Pease of Detroit, MI.
There will be no visiting hours, Alberta's ashes will be interred in the Riverside Cemetery Day's Ferry, Woolwich at a later date.


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Firesong is a book written by William Nicholson first published in 2002, and is the third part of the Wind On Fire trilogy.

Plot summary
Firesong begins with the Manth people deliberating over what action to take, now that the Mastery is in ruins. After the defeat of the Master, alone and displaced, they seek a new homeland but have no real destination and very little food.

Ira Hath, descendant of Ira Manth, and a great prophetess who is also Kestrel and Bowman's mother, has a vision of the Manth people's true homeland. Throughout the book the Manth people travel with only Ira's guidance, and she becomes weaker as they go, knowing she will eventually die of prophecy.

Bowman eagerly awaits a summons from Sirene, and must prepare to sacrifice himself to save his people and the world. Before he is ready for this, however, he must be trained by the great Albard, the Master of the ruined Mastery. The journey is long, and his preparation is tough, especially in the hands of a strange teacher. Jumper, the man-woman Singer who can change forms and personalities to please people, has come for Bowman. Jumper agrees to let Kestrel, Bowman's sister, come along as well.

In the end it is revealed that Kestrel is the one who is destined to give her life, having picked up Albard's teachings along the way. Bowman is in fact the Meeting place- the point at which the great evil and the great kindness of the world will annihilate one another. This is because he was once one of the Zars, the army of the Morah (the "spirit" of all evil), and is one of the Singer people too, as he has been trained in their ways. Upon reaching the homeland, Ira's life ends, her destiny fulfilled. Kestrel, too, ends her life with all the other Singers, singing the firesong to destroy the Morah, give humanity a fresh start, and allow the Manth people to finally reach the homeland.

The epilogue, set some 8 years later, finds the Manth people established in their new home, with various people married and with young families. Amongst them are Bowman and Sisi (the princess of Gang, and Kestrel's best friend), who are now rulers of Gang due to Sisi's birthright. The ending sees Pinto and Mumpo betrothed, and the Manth people happy at last.

See also

Aramanth
The Wind Singer
Slaves of the Mastery
William Nicholson (writer)

External links
 Nicholson's Official Website

2002 British novels
2002 children's books
Children's fantasy novels
British children's novels
Novels by William Nicholson
Egmont Books books

redpajama_set_name: RedPajamaWikipedia


London, UK - 24 June 2013: Australian contemporary circus Circa and British vocal ensemble I Fagiolini presents their show ?How Like and Angel? at St Bartholomew the Great church in East London as part of the Beyond Barbican summer programme. Acrobatic set-ups are performed by Gerramy Marsden and Paul O' Keefe.
Circa Circa and I Fagiolini I fagiolini acrobatic acrobats australian beyond barbican barbica britain british collaboration contemporary circus contemporary music east london event how like an angel london media view performance physical pop-up premiere press night press preview production renaissance st bartholomew the great tour uk vocal ensemble west smithfield reportage photo reportage photo reporter features reportage photography reportage photographer documentary photographer documentary photography editorial reportage photographs photographs image images picture pictures photo photos project photoproject photo project photograph photographs event photographer event photography events photographer events photography event photographer london events photographer london press photographer london press photography london press photographer news photographer fotografo a milano fotografo milano fotografo milano centro fotografo lombardia fotografo "milan photographer" "photographer in milan" "photographer in bergamo" "photographer milan" "photographer milano" "photographer in milano" "italian photographer" "photographer in italy" "photographer in lombardy" "fotografo a como" "fotografo a pavia" "fotografo a bergamo" "fotografo a trieste" "photographer trieste" "fotografo di milano" "fotografo a milano" "photojournalist in milan" "corporate photographer" "event photographer" "fotografo di eventi" "fotografo di eventi milano" "photographer in bergamo" "photographer in trieste" "event photographer milan" "milan photographer"


A great big thanks to Christina. She listed my home in Durham in January and closed in April. Here staging and marketing techniques were outstanding. I have recommended her to others in the area. Keep up the good work and have a blessed day.


text:
Highway Code 'Chaos' Caused By Cyclists
The newly introduced Highway Code has caused chaos on Britain's roads says the people charged with educating the next generation of drivers.
The so-called 'hierarchy of road users', which was brought in at the end of January, and gives much more consideration to cyclists and pedestrians is a 'recipe for disaster' according to furious driving instructors. The rules, which generally suggest that the heavier the road user, the more responsibility you have to to those other more vulnerable users.
But with cyclists now given much more freedom in the road, allowed to drive in the centre of the road, given the opportunity to undertake and not forced to use cycle lanes, there could be many more accidents. Phil Jones, a driving instructor from Go Learn To Drive told North Wales Live: "I think overall the amount of collisions involving cyclists is going to increase.
"As a driving instructor we train people to be aware of cyclists and other vulnerable road users but they have also got to take a little bit of responsibility for themselves.
"But I think if they're riding on the roads, then they should be insured, it should be mandatory and they should also have some type of formal training like every other road user."
He added: "As for this riding in the middle of the road, all it's going to do is cause traffic chaos."
Many have criticised the campaign to launch the new set of rules, with many road users complaining that there has not been enough time given to understand the changes, and that many are driving oblivious to the new priorities, which could be dangerous for all users.
"I don't disagree with any of the rules, but I've had difficulty finding all the new rules myself so how is my 84-year-old mother going to find out about it?" said David Hughes, an instructor from Conwy.
"I just think it's been introduced fairly quickly and there's not enough information publicised about it."
He added: "Just to drop it in without much notice is bad, it could've been done a lot better.
"People need educating with new rules, you can't just say, if you don't open the door with your left hand you'll get a £1000 fine and that's it."


text:
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"THE INTERNAL RESCUE OF THE HUMAN BEING" Silvio Caiozzi, director, filmmaker
Arts & Culture Inspiration Interviews Lifestyle
The wonderful thing about creating something alive is that it is no longer up to you, the living comes strongly to the public, acquires tremendous strength and that makes the film alone, reaching the most unusual places you ever thought.
Until July 30, his films will be shown at the National Cineteca of the La Moneda Cultural Center. The cycle includes forums to reflect on his filmography 40 years after the premiere of July begins in July.
His cinephile mind has a visual poetic that does not imply a particular message, prefers to flow and let the human be seen, is a critical analytic of globalization, but not because it is against it, but because it has been observed very closely as a jury In class A festivals, in the main cities of the world, Silvio says: "Film festivals are manipulated, the media transmits which film is good and which is not, which film exists and which does not exist. I have seen a number of independent films as jury, which become invisible, being extraordinary and entertaining films.
And they do not exist because they are not in the machine of what does have to exist, leaving only the films that are within that mechanism that the advertisers take, but the rest is not talked about. I have just been in Beijin as a jury and this is not just my idea, I have spoken with top-level directors, who have won Cannes and told me the same thing, it is happening everywhere exactly the same, it is not that I have a bad nightmare "
THE PLANETARY DICTURE
In his office you can see both his awards and the posters of his great films and far from being a complicated and sufficient director, he shows a simplicity that welcomes us to freely talk a coffee, while outside behind the bushes of his antejardín you can see how they descend the cars by Eliodoro Yáñez.
Apart from filming his own works, Silvio has also done work for television, documentaries and commercials, in addition to taking the reins of a family real estate that works in the same office where we talk about cinema, humanism and social control of this time for more than one hour.
He tells me that 30 years ago in Paris, when he presented the moon in the mirror, a Chilean who worked at a world bank told him that the world was broken, that governments could no longer finance old age or health, Silvio recalls: "… A war was being planned among other ideas or to create certain dictatorships in the world, which is the option they took. The world is going to have three dictatorships across the planet and finally only one. "
In this line, technological changes have contributed to this objective, globalization such as social networks, which are apparently free and public, where we all participate, it is precisely from where we are controlled, he says: "… they have nothing public, networks are completely manipulated. "
Does advertising lie?
He makes a movie every ten years or so, he tells us: "It's not that I stopped to make a movie, I've always been in the audiovisual and I make films quite calmly and in the scripts it takes me years."
- About your advertising stage, it is one thing to respond to clients and another to author work. Are there borders?
- I have well divided in the head that it is an advertising on demand and what comes from inside as my own passion, are totally separate worlds. When I did advertising cinema I never believed the story that I was doing a work of art, it is a terno requested from a tailor, but to say that one applies creativity, I have never believed it.
- What applies there?
- Knowledge and ingenuity, but the truth is always doing something that is planned, thought and you add to that basic thought of an advertising agency what you know how to do and transform it into an audiovisual product.
- Talking with gastronomic photographers, about the photo of a plate or a hamburger for a poster, which is light years away from what they serve you, I asked them: Do you lie?
"He laughs."
- Does advertising also lie?
- Yes, absolutely, it hides what not to show, in that sense it lies and there are advertisements that lie a lot.
THE WORLD OF MONOPOLIES
In that line, advertising travels through an unregulated space, because it lends itself to lying. However, for Silvio the original concept of advertising is not bad in itself, he says: "For a product to reach an audience, it has to be beautiful, then that audience will determine if they really like it and if they will continue to buy it or not." . In its golden age, more than twenty years ago, Chilean advertising cinema came to create unforgettable pieces, which people commented on their ingenuity and the creation of their characters, as was the case of the Firestone Indian, a spot made by Silvio and that went down in history as part of the Chilean language, a time of creative development when companies competed for the differentiation of their products. Today everything changed, says Silvio: "In those years companies really competed, an ingenious publicity was sought to reach more people, but that disappeared, because today we live in a world of monopolies, conglomerates of few companies, which are even linked each other, therefore today they do not really care to compete, they are interested in staying, having the name of the product and nothing else. There came the decline of advertising. That led us to have an advertisement that nobody wants to see and nobody is interested, there is no competition and that is not a Chilean problem, it is worldwide ".
- Advertising became a very important tool of persuasion to influence the unconscious of the masses, from politics, consumption and planetary control.
- I would not say only about advertising, the entire communication system of the planet is at the service of monopolies, capitalism on the one hand and totalitarian states on the other, a monopoly statism or a monopoly capitalism. All media, except for very small exceptions that have almost no existence, all the rest is controlled. For example, if a journalist wants to say something that the system does not like, they will not publish it and they will throw it over.
- Why does that happen?
- Because the great powers were monopolizing, we are in a kind of globalized dictatorship. This whole story that freedom is in this sector or on the other side of the world is not like that, the truth is that we are all under a dictatorship.
- What concrete information is there about that?
- There is no possibility to show that the planet is under a dictatorship, it is not written and if it is done it is not published. It is quite sinister.
- In the case of cinema, is a commercial criterion used because one film can sell more than another?
- It's a mixture of commercial and political, the two things together.
- Don't say certain things?
- Yes and with certain themes, politically what this side of the world does is manage mentalities in such a way, so that people have no options to compare other cinema ideas or whatever, people see a type of movies, a type of theme and content, you can choose which is better within that, there is no such huge variety of cinema thirty years ago, with extraordinary directors such as Fellini, Bergman, Truffaut. I've seen movies that have not been shown anywhere, as good as Fellini's or better. It is a planet in which a small group handles information and the existence of audiovisual products.
- Under those codes, do you have to operate with the rules of the game so as not to perish and make products related to the system?
- In general, 99 percent do what is supposed to work. Many filmmakers in the world, not only Chileans, began to realize what the themes that the festivals will choose and therefore the media will promote, so that people talk only about that. Formerly the creators were sensitive to what people were feeling and they did it, my intuition is that today things are imposed.
THE POWER OF THE MEDIA
- Is everything marketed?
- Exactly. Today the audiovisualist knows what the wave will be next year.
- Do you think that if a work is welcomed by the public, it is not a guarantee of success?
- To be successful with the public depends zero, someone can make fantastic music that people like, but if it does not appear in the media it does not exist, the same with cinema, painting, literature and everything.
- The invisibility of art is a worldwide and historical phenomenon, but what do you think of doing focus group to know what society requires and with that data make a film?
- My films have always been born of an inner passion, it works when I am passionate about something, so I delay what I take.
A FILM WITH HUMANITY
- As a director, do you collect the sensitivity of society?
- No, I start from mine ...
- For example if you say that society lacks humanity ...
- In my movies I don't feel to think that I need to talk about humanity, no, because if you sit down to do a script thinking about a message, you're going to do a very bad thing. I work in an almost unconscious way and I get involved in the topic by visualizing the characters, the story and I am passionate until the movie exists. Then I realize why my brain chose that. With my last movie And suddenly the dawn, which has been in quite a few countries, people in China came out of the room excited and told me about the humanism that the movie had, of a wonderful humanity that is seen little in the cinema. Today there is no humanity or ethics, we are competing with each other in a robotic world and humanism has begun to disappear completely.
- Do you let the process flow into a future?
- Absolutely, if it wasn't for that, I wouldn't do movies. When you start a script and dream about it while you sleep and images appear of how you can follow that script, when the dialogues are born and the characters begin to acquire real life, when you film and combine a scene full of life, it is the greatest joy that I can experiment, because I have created life and that is the great secret of artists.
Touching the viewer with emotion is your axis too?
- That is the kind of cinema that motivates me, not only the one that I do, but the one that I see, the films that really interest me have that, the others that are made as advertising, with the same tricks as always, bore me .
- There is a coincidence of what you do with what the public wants.
- That is the wonderful thing about creating something alive, which no longer depends on you, the living comes strongly to the public, acquires tremendous strength and that makes the film alone, reaching the most unusual places you ever thought.
TONTIFY PEOPLE
- Is the democratic system manipulable?
- Completely, for small groups that small. They try to do something that is not necessarily going to work for them, they manipulate the means to tontify people, to see two or three things and not others that are more intelligent and motivating, making that not exist, then they say that people don't I wanted to see that, but it is a lie, it is to control them, transform the planet into consumers and soldiers, so that they consume any nonsense they put into them. All media after the Vietnam War spent fortunes promoting hyper violence movies, as well as war games that sell more than Hollywood and curiously very low profile. When they realized that they had been defeated, because the soldiers were living in the era of hippism, of making love and not war, it was even said that the Vietcong gave them marijuana to continue smoking and not fighting, that had to be changed, then films like Rambo are born, a gringo only that takes revenge on everyone and Rambo comes two, three and four, with worldwide publicity, a campaign of films that did not stop anymore. This was more political than business, an intent to tontify people. There were also issues to make us fight and discuss among ourselves and not against those who govern, such as immigration, gender and racial issues, which make violence a fad, issues for people to discuss with each other.
- In culture we talk about the shredded mirror, separated from each other and competing in a collective scene where things happen and we are all divided.
- At the time it was said that with the new technology we would be more communicated and united, happening exactly the other way around, we are isolated and more uninformed than ever, when it is said that on the Internet there is all the information, precisely because of that it is not believed at the information.
I DON'T INTEREST IN THE PANFLETARY FILM
- Does this depress you, anguish you?
- Why get depressed, you have to keep doing the best you can, it is so sinister what happens in the world, that the only thing left is to go inside and rescue oneself, theme of my last film And suddenly the dawn , for something I chose this theme, the inner rescue of the human being.
- Do you want to make a film with a total denunciation of the political system with the mastery of your cinema?
- If that movie were well made, strongly, it wouldn't exist, they would never promote it.
- But regardless of that, would you do it?
- I do not start to make a movie, which is a huge risk, if I am not motivated and if I start to want to say such a thing, I know that the result would end up being a very cold and panfletary matter, it is not within the nature of my inside, is something that from the beginning would be imposed. For example in The Moon in the Mirror, José Donoso came up with something that was half a page, from an old man who put mirrors to chase the neighbor, I found an extraordinary idea and then I realized why he identified me so much and Pepe Donoso also motivated him, because we were living in full dictatorship and what was lived was espionage, lack of love and confinement. We lived what that movie was, but I was not aware of that, I felt that motivated me. Before doing the script, José Donoso with more experience than I said, if you analyze this script and think about the dictatorship we are living, this is going to be a bad pamphlet and we agreed. It was never thought in those terms, I don't make a movie because I want to say something.
- But why not?
- Because I am not interested in doing that kind of cinema, which is basically a pamphleteer, that's why I made a lot of advertising cinema.
- Thanks to the fact that you have traveled the world as a jury and make these complaints, with your cinematographic tools, don't you feel a responsibility?
- I'm not going to do something, maybe there is a topic that is related to what we are talking about and if I'm passionate I do.
- What more human to say that humanity is being stunned?
- Yes, but you talk about the message and I look for human beings. It may happen that my next theme comes up with some characters that trigger my creativity and that this theme is in the background, it can happen but I don't want to propose it, I have never done it.
- With this generation in power we are on the verge of collapse, but how do the new generations come?
- They come in a fantastic wave, I think that if the previous generation fails to destroy the planet, the world will go towards something positive, if the new generations are installed in power, there may be a change and not only in Chile, I have spoken outside and All young people think the same, it is a phenomenal new generation. I am optimistic that they are the ones who rescue us, because they saw the value crisis, the generational nonhuman thing and they don't want that.
In this cycle and tribute to Silvio, the films In the shade of the sun –1974–, July will begin in July –1979–, The moon in the mirror –1990–, Coronation –2000–, Hookah –2004–, And of soon dawn –2017–, the documentary Fernando has returned, La candelaria and Historia de un solo solo - both from 1982–, made with the Ictus group.
Written by: Repost La Noche Jaime Pina
PUBLISHED: Jul 30th 2019
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