Rendered (formerly Destination DIY) finds stories about getting creative, making meaning, and breaking rules. We are an independent show from the public radio world carefully crafted for an audience of makers, doers, and curious minds. We are proud to be a part of Maximum Fun family of podcasts. 

Whether we wear a lab coat or haven't seen a test tube since grade school, science is shaping all of our lives. And that means we all have science stories to tell. Every year, we host dozens of live shows all over the country, featuring all kinds of storytellers - researchers, doctors, and engineers of course, but also patients, poets, comedians, cops, and more. Some of our stories are heartbreaking, others are hilarious, but they're all true and all very personal. Welcome to The Story Collider!

Faber and Faber is one of the great independent publishing houses in London. We were established in 1929 by Geoffrey Faber and our first editor was T. S. Eliot. We are proud to publish prize-winning fiction and non-fiction, as well as an unrivalled list of modern poets and playwrights. Among our list of writers we have five Booker Prize winners and twelve Nobel Laureates, and we continue to seek out the most exciting and innovative writers at work today. 

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Pionnière du podcast depuis 2002, ARTE Radio est une boîte de bonbons : on choisit (fictions, docus, séries), on picore (intimité, société, musiques), on se laisse surprendre (playlists thématiques, écoute au hasard). Avec plus de 2 millions d'écoutes mensuelles en 2024, ARTE Radio propose chaque semaine des nouveautés qui portent un regard neuf sur le monde et les vies qu'on y mène : histoires d'amour, voyages sans paroles, rencontres avec des personnages inoubliables, séries documentaires et témoignages qui font rimer émotion et stimulation.

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The 'Documentary on One' unit is currently one of the most successful radio doc unit in the world - having collected over 260 national and international awards since 2008. Their website contains over 1,700 documentaries - the largest free online radio documentary archive anywhere in the world - stretching as far back as 1954. 'Documentary on One' productions are radio stories about real life in Ireland and beyond.

Snap Judgment is a weekly storytelling radio show and podcast, hosted by Glynn Washington. Snap mixes real stories with killer beats to produce cinematic, dramatic, kick-ass radio. Snap’s raw, musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling… with a BEAT!!  Snap first aired on NPR stations nationwide in July 2010. Snap Judgment is now aired on over 400 public radio stations.

'Big Hurt Boy' is out now: https://linktr.ee/donovanwoods

Donovan Woods was in on the joke when he named his latest release. Riffing on a lyric from a Martin Simpson song (“Never Any Good”), Big Hurt Boy is a six-song exploration of how our failures — and our fixations on them — not only shape but enlighten us.

“I write about them again and again, just hoping people will still be interested,” the acclaimed Canadian singer-songwriter says. “So the title is poking fun of myself, that I’m theoretically this big sad guy who keeps getting dumped and writing fucking songs about it.”

Or you could think of it this way: Woods’ deep curiosity about the human condition is why we so clearly hear our own stories in his. The details differ, the characters change, but at their core, Donovan Woods songs are for and about everyone.

That’s particularly apparent on his new EP, which will be released March 18, 2022. Trying to capture more of an “undone” quality, Woods wanted his latest songs to “get back to the feeling that my early recordings had.” You hear that in the spare, subtle ache of “No Time Soon,” an acoustic monologue Woods describes as “the story of my whole life.”

“These are smaller, less polished songs than the ones I’ve been putting out recently,” says Woods, winner of the 2019 Juno Award for contemporary roots album (for Both Ways) and whose global streams have surpassed 210 million.

Still, Big Hurt Boy brims with some of the luminous production touches Woods has been adding to this repertoire lately. He wrote the album opener, “I Won’t Mention It Again,” on banjo, which fades into a spectral backdrop of electronic textures and layers of lush harmonies. 

A co-write with Peter Groenwald, “Leave When You Go” simmers with an R&B vibe backed by sensuous vocals from indie-pop artist Ralph. “A Picture of Us Smiling at a Party Five Years Ago,” which reunites Woods with Katie Pruitt (who co-wrote and sang on Woods’ “She Waits for Me to Come Back Down”), untangles how our memories are often preserved by photos. “It’s about nostalgia, which is just a memory that doesn’t have any of the stress or dread or anxiety that the real-time experience had,” Woods says.

“I Hope You Change Your Mind,” co-written with David Hodges, is such an understated tearjerker that you don’t even realize the relationship is over until the last line. “That song is about that back-end portion of a relationship when everyone knows the score but no one wants to say it,” Woods says. “It’s loving someone so much that you’re not sure how to be mad at them, so you twist yourself into knots.” 

Big Hurt Boy is the follow-up to 2020’s Without People, Woods’ celebrated album he made in isolation at the height of the pandemic. Whereas those songs were recorded in a makeshift studio at his Toronto home, with collaborators working remotely, his latest release harnesses the electricity of a roomful of musicians laying down tracks live in the studio, a first for Woods.

As an in-demand songwriter whose work has been recorded by the likes of Tim McGraw (“Portland, Maine”) and Lady A’s Charles Kelley (“Leaving Nashville”), Woods has been venturing beyond the singer-songwriter scene where he first cut his teeth. Equally at home in folk and country, he has worked with songwriters such as Tom Douglas, Lori McKenna, Brandy Clark, Ashley Monroe, Dustin Christensen, Femke Weidema, Steve Robson, and Ed Robertson (Barenaked Ladies).

Each of these collaborations has highlighted a budding truth about Woods: As respected as he is as a solo artist, he’s evolving and upending our expectations of how his music sounds. His songs have grown more dimensional, emboldened by new sonic landscapes, reminding us that classic songwriting transcends genre.

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