Sound is my
strongest language
Since 2013, I’ve worked across nearly every part of the audio production chain—reporting, editing, engineering, hosting, sound design. I cut my teeth as a public radio reporting intern at KUOW, the Seattle NPR affiliate, and went on to host All Things Considered for Yellowstone Public Radio. That’s where I contributed to NPR programs like NPR’s Morning Edition, WHYY’s The Pulse and National Native News. I also developed the radio series Day Job with KEXP and launched a consulting agency to support independent creators, including New York Times journalists, acdemics, scientists, and technologists—bringing their ideas into the podcasting fray. These days, I make audio when the story demands it, when no other form will do. Here you’ll find a selection of work that reflects the depth of my experience and the standard I hold myself to in sound.
I was a journalist and host for
All Things Considered at yellowstone public radio
From October 2016 to August 2017, I was the afternoon news host and general assignment reporter for a large coverage area across eastern Montana. I collaborated closely with colleagues at Montana Public Radio, where my reporting also often aired there. Many of my works were filed at the national level for National Public Radio syndication, and for National Native News.
I Produced
WFP’s 2025 protection against sexual abuse and harassment
testimonials
Amplifying Voices in the Fight Against Abuse
As part of the UN World Food Programme’s global efforts to prevent sexual exploitation and abuse across the humanitarian sector, I produced an audio installation featuring nine powerful voices from across the humanitarian world. These were leaders working on the frontlines of crisis—many of them women, and notably, half of them men—calling for accountability, protection, and change.
I wrote, recorded, and produced original audio from WFP Executive Director and IASC PSEAH Champion Cindy McCain, whose leadership anchors this work. The final piece was featured in a multimedia exhibit during the Executive Board Week at WFP headquarters in Rome, where I’m pictured—headphones on, fully immersed.
This was one of the most meaningful audio projects I’ve done: quiet, grounded, and built to hold space for those most impacted. Thanks to my script editor WFP PSEA Director Isabella Castrogiovanni and audio editor Julian Civiero.
Dear, the letters
of two friends
Brie Ripley and Davis Land created Dear, a podcast wherin two distant friends make audio letters addressed to each other to force themselves into the habit of making something out of the ordinary on a regular basis.
Tie My TUbes,
A Radio Documentary
Tie My Tubes is an experimental radio diary I made when I was 23. It’s part personal story, part investigation. I was trying to get sterilized. I didn’t want kids. Birth control wasn’t working for me. And I couldn’t understand why this one, permanent option kept being denied to me.
Along the way, I interviewed other women of all ages fighting for the same choice, doctors who wouldn’t provide it, and experts in reproductive justice, eugenics, and evangelical power structures. The result is a documentary about the walls that still stand between people and control over their own bodies.
It’s raw. It’s political. It’s one of the most important things I’ve ever made.
Show Credits: Directed by Brie Ripley // Produced by Brie Ripley and Eleanor Cummins // Edited by Jeannie Yandel // Original score mixed and composed by Monika Khot with Will Smith on cello // Additional thanks to KUOW Public Radio and the University of Washington // Image art by Janelle Retka. This project was made possible with funding from the Pat Cranston Creativity Endowment Scholarship.
I never imagined this personal project about wanting control over my own body would blow up the way it did. I was interviewed by Vogue, Teen Vogue, The Seattle Times, and featured on at least half a dozen podcasts. I even got called “anti-American family” by far-right bloggers, just because birth control wasn’t working for me and I could envision a full, meaningful life without entering motherhood. Apparently, in 2015, that was a shocking declaration of autonomy. We only released one episode, but I’m still proud of this project. It sparked a conversation that needed to happen.
Dayjob on KEXP
Brie Ripley and Ryan Sparks imagined Day Job in January 2018, wondering how artists with late-night proclivities and high-adrenaline interests were getting by in an ever-more-expensive Seattle. They bottled the idea and asked John Richards over at KEXP if he’d like to have a sip. He cracked the lid and was like, “I dig it” so they shared a six pack of interviews with Emily Fox, host of KEXP’s Sound and Vision. After that, producers Rachel Stevens and Hans Anderson blessed it and finessed it.
KCRW’s
24-hour Radio race
What happens when who you are on the outside doesn’t match how you feel inside? This was piece was produced and scored in 24-hours for KCRW’s 6th Annual Radio Race. Our team won the Social Butterfly Award for best use of social media and our story aired on KCRW Santa Monica’s “UnFictional.” August 2018
Yes, Virginia, there is a Santa Claus and she'll help you get an abortion if you want one. Abortion pills are safe to use, cause what can be compared to a heavy period, and there's no medical way to know that you took them. This piece was produced by Ashley Smith and Brie Ripley (Team S.A.F.A.) in 24-hours with an original score by Brantley Duke as part of KCRW’s 10th annual Radio Race. August 2022
Aid & Abet
Imagine being 23 years old and deciding you wanted to process a whole bunch of personal feelings publicly and your main creative outlet was making little audio vignettes. That was me, learning how to do this better at the Transom Traveling Workshop in Big Sky, Montana. These tracks remind me of what it was like to learn something new, to want badly to be better at it. Produced during a time of enormous heartbreak, existential crisis, and a constant reprise of “what’s my purpose?” October 2016