3 About ME

For this Transom SHOW, we’re featuring a few short pieces that have come in to us — a dinner made from hors d’oeuvres — all of them filtering experience through the self.

“Short Self Portraits” by Monika Mueller

Listen to “‘Short Self Portraits’ Clip #1”
Listen to “‘Short Self Portraits’ Clip #2”
Listen to “‘Short Self Portraits’ Clip #3”

From Monika Mueller

English is my second language and it took a long time to finally pick it up, even though I had English in school for 7 years to. In fact I had to leave Germany! It’s been a challenge and in the end very rewarding when you can make jokes or a play on words in a second language. For me it opened up a whole new radio horizon. I think it’s like having another character and it makes it easier to be insulting, self obsessed or kind of goofy. I am more shy and self conscious in my native language.

“Short Self Portraits” are 3 short expressions done pretty spontaneously. I think I was very frustrated that day, mainly with my bartending job, and I decided to play around and have fun and create something, something about me with the hopes other people could identify with it too. Other people have mean thoughts, or like to sing in their car. I had already been thinking about making lists of all sorts of things. The contents of my fridge or all my birthday presents.

The idea is repetition, contemplation and a bit of mystery since a tiny puzzle will be resolved in the end.

Technical Info

I produced it on my first imac (it’s been a while) the week I got it. I had no other software than what it came with. I just sat down at my computer desk in Los Angeles, windows wide open (you can hear some birds sing, if you listen closely) and recorded it into imovie. I had an old aiwa microphone I bought 10 years ago and plugged it directly into the computer without an interface, recorded my voice and then arranged the music. There is no complex, editing, imovie doesn’t offer many options for the audio tracks. All I could do was fade the music in and out.

I recorded the narration a couple of times, since the phone would ring, or my cats would meow, while I was speaking.

About Monika Mueller

MonikaNuremberg, London, Berlin, Amsterdam, Los Angeles these are the cities I lived in and where I have been looking for radio stories. For the longest time I produced correspondent style pieces. I did stories on 70 year old Surfers in California, people that overdose on space cakes in Amsterdam, alternative cultural centers in London and African soccer players in Bavaria.

Most of my work has been aired on MDR Sputnik, German public radio in Halle. I have also worked as a waitress, a blacksmith assistant, designed and produced hand made lamps and I like to draw cats. I was part of a group exhibition “The Cat Show” at Acme gallery in Los Angeles last march.

These days my focus is on radio creations. My radio stories became more personal just the last couple of years, that’s when I started to write stuff in English. A few month ago I relocated from Los Angeles to Berlin, where I am working as a freelance radio journalist.

“The Catsitter” by Ochen K.

Listen to “The Catsitter”

From Ochen K.

Months ago, while researching some audio equipment, I came across Transom.org for the first time. I had heard the web address on This American Life and All Things Considered, but never remembered it when I was at the computer. I spent the rest of that night listening to as much as I could find on the site. I love finding these little online jewels. It reaffirms my trust and faith in the Internet. I decided that night to create something. I didn’t know what, but I’ve wanted to try for a long time and Transom finally gave me that push.

The next morning, with my resolution still intact, I set to writing. In almost every creative thing I do, I start out by setting rules and boundaries. This helps in narrowing down options and gives me new walls to bounce against. The rules for this piece were (a) it had to be a fairly quick production, (b) it had to be first person narrative since I didn’t have time figure out how to do much else, (c) it had to at least allude to a bigger theme, (d) it had to be, if not funny, at least light, and (e) I had to be willing to submit it to Transom when I was done. The five minutes spent making up these rules immediately helped define and form the piece. I wrote the script in about and hour, recorded it in about an hour, edited it in about an hour, and then sent it of to Transom.

I had no hopes of having my piece selected, but thought that the experience of going through the entire process would be valuable to my education. It was.

Months passed, I started developing a few other radio pieces with actual airplay in mind, I got a job at Minnesota Public Radio, and then I got the email from Transom about presenting Cattsitter. Right away, I went back and listened to the piece. I hadn’t listened to it since I had submitted it. There are many things I’d change and many things I’d like to spend more time on, but the purpose of the piece was to learn how it felt to do it. It felt nice, and although I’m still in a little bit of shock, this part feels nice too.

Technical Info

I have a music recording background, so I had no need or interest to spend much time on the technical side. Since I also knew that this was my very first piece, and therefore would probably never go anywhere, I wasn’t so concerned about the quality.

I did everything on my Vaio laptop. I have a USB powered I/O (Edirol UA-3) that I always carry with me. It’s only two-in-two-out with a not-so-great preamp or driver, but it’s small, lightweight, and most importantly, powered off the laptop, so I can be in the middle of the desert and get decent audio into my computer. I plugged a Shure 57 directly into the UA-3 and recorded, edited, and mixed in Cool Edit Pro. This is my standard ‘down and dirty’ setup when time, location, and dependability are issues.

About Ochen K.

The CatsitterOchen K. is an artist, composer, and performer living and working in Minneapolis, Minnesota. His musical credits include complete scores for Bondi Dance (Los Angeles, California) and The Gandini Juggling Project (London, England), soundtracks for Peapot Productions (Helsinki, Finland), new musical theater works for Nautilus Music Theater and Steppingstone Theatre (St. Paul, Minnesota), and numerous soundscapes for various theater and dance performances. Ochen has received many awards for his commercial design work and independent artwork, and in 2000, he received an Emerging Artist grant from the Jerome Foundation for a commission by the Walker Art Center. He currently works as the online producer for American RadioWorks, the national documentary unit of Minnesota Public Radio and NPR, and his personal work can be viewed at Ochen K’s Website.

When he’s not taking care of his neighbor’s cat, he takes care of three of his own; Maggie, Buzz and Ethel, with his partner Leslie Ball.

“Dangling Woman” by Susan B. Price

Listen to “Dangling Woman”

From Susan B. Price

Dangling bridge in jungleI wanted to write a traveler’s tale — short and well-focused. The story was simple: I was an eco-tourist in Costa Rica. I bought a ticket to slide on a cable between treetops in the rainforest. Everyone else did it fine, but I got stuck in the middle. A one-chuckle anecdote.

But if I was going to write a jungle story, I wanted it to have grand dark meaning. I didn’t want to be a silly middle-aged tourist. I didn’t want to be Erma Bombeck. I wanted to be Joseph Conrad. If I’ve had a single insight in my travels, it is that the places we visit are neutral and largely indifferent to us. The mood and the meaning is inside the visitor.

I was fixated on my little anecdote about getting stuck in the canopy but I needed to find some symbolism, some larger truth, so I pulled out my trip journal and remembered the nightmares.

The result reveals a bit about my psychology. I’m not a very good in-the-moment person. I think too much and the world is really more accommodating to people who just go along. If you think about the mechanics of walking down stairs, you stumble.

Technical Info

Being a lover of complexity, I’ve gone from writing and computer graphics to video production. Along the way, I discovered sound design. For this project I used my new Marantz minidisc recorder with a Sony ECM-MS907 condenser mic — I like the intimate sound it gets for first-person narrations. My bedroom — carpeted, lined with books, and wall hangings — is my sound studio.

I edited the narration with Sonic Foundry’s Sound Forge. I like putting the narration and music bits together in Acid Pro, where I can fool around with loops and pretend I’m a composer.

About Susan B. Price

I have to confess that — like the canopy cable — the jungle of social reform has finally defeated me. In December, after 24 years in youth and family services, I am calling it quits. Maria Cristalli (one of my fellow reformers) and I have started Cosmopolitan Productions, on the belief that good storytelling has a better shot at changing the world. We have begun to produce short videos that express the dilemmas and longings of children and adolescents. “Dangling Woman” is our first production for radio.


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  • Jay Allison


    Three About Me: Approaches to Self

    Who are most of your stories about? Judging from Transom submissions, they’re about YOU.

    Of course, they’re also about your intersection with the world, the things you know that we don’t, or the things we need to recognize about ourselves in you.

    Stories in the first-person can have an energy born of the authority to tell. They also can be awfully tedious. They can be a refreshing antidote to wallpaper journalism. They can be indulgent and callow.

    For this Transom SHOW, we’re featuring a few short pieces that have come in to us — a dinner made from hors d’oeuvres — all of them filtering experience through the self.

    Compare and Contrast.

  • Moni Fan


    Monika Muller is great!

    I have known Monika Muller and her radio stories featured on KPFK in Los Angeles (among other broadcasts) for some time, and I am a big fan. I was delighted to run into some of her work on Transom.org. I hope to hear more! Monica is a truly independent voice and has great ideas for radio journalism. It is frustrating that she does not have her own show on the air!

    Moni Fan

  • Nannette Drake Oldenbourg


    Dangling Woman – The Superhero

    Dangling Woman is brilliant!

    and needed.

    the writing is rich. I wish I had a transcript.

    (and I can’t help but make associations with Sarah Chayes’ s efforts over in the Guest Corner.)

    Dangling Women – The Series


    Dangling Woman : The Comic Book Superhero

    Sure to be at least a cult classic! please!

  • Birgit Abrameit


    Three about me

    Hi there,

    I know Monika for thirteen years now, when we worked together at a german radio station. She is really extraordinary… blessed with an extraordinary sense of humor (even if I don`t understand it sometimes:-),
    an extraordinary own style and an extraordinary patience to go her own way.
    I like three about me, because the punchline always comes at the end and to me it was like ahhhhh that’s what it’s all about. It made me smile.
    (And quite good singing by the way 🙂

    Birgit Abrameit frome Buxtehude, Germany

  • Jackson


    Compare and contrast…

    But does that mean listening to all three with each and every other in mind?

    Monika, you are the first of this group I have listened to — maybe part of Transom’s outreach to international, non-English-speaking-native climes — and I was struck by a couple of things. One is how you would have responded to the Most German Day Ever (right here on the Transom dial), how you would compare notes with Sarah Chayes in living in a foreign land.

    And then there’s a third: not working in your native language. You have a history in radio — how do you respond to your voice in another language? Do you find yourself assuming a different persona in English? If a nice boy from Frankfurt (for example) had asked you back in Germany where you were from, would you have pfilpped? And what would you have done if he, having learned you speak English, had broken into a Frankfurter version of Elvis singing Heartbreak Hotel to impress you?

  • Jackson



    It feels at times as if Ochen isn’t there. Sure, it would have been nice to hear the cat snore — maybe to hear you talking to the cat as you drove him/her/it to drool, with a little scronching noise.

    And while you mention TAL and others as provocateurs that drove you to Transom, there is a sense here that you are merely serving as a kind of conduit that allows listeners to experience a particular event.

    The only problem? I want to hear the event — the cat snore, the cat drool. The music is fine — though you might have considered Leroy Anderson’s orchestral portrayal of the cat (he is the guy who wrote the music that everyone plays when they turn to listeners’ letters).

    In other words, we need more cat here. This may be three about me, but all three (well, at least, the two I have heard so far) are anchoring perceptions of themselves in light of things/elements/characters outside their own skin.

  • Jackson


    In the forest canopy…

    or is it canape?

    Susan, you were right. There is an allure in the link between the small, personal happenstance and the grand social mechanism.

    And so much is there. You might have described Gulliver in the land of the Lulliputians (the tight rope walkers and the acrobats) — the first exemplum of how bureaucracy is really a function of gymnastics.

    I wonder about breaking the story of the demarche between the trees in the canopy into two parts. There’s the setup, the break to your working life, the hand-by-hand dragging to the next stage.

    The normal end-of-story thing is to get where you’re going. The story here, and in your workplace, is that you are really getting nowhere. The point in this tale is not getting across to the other tree; the point is that regardless of the forces that surround you, other forces leave you trapped in between, neither here nor there.

    Of course you got to the other end — we wouldn’t be hearing your story otherwise. But it was the hanging there in midair that really sets the story in motion. It’s the bureaucratic incapacity to respond to its own inadequacies that leaves you hanging there.

  • Ochen K.


    Re: Cats…

    Thanks for the feedback.

    "It feels at times as if Ochen isn’t there."

    Do you mean that Ochen the subject is divorced from Ochen the storyteller? I can see that. While it wasn’t an explicit self-selected direction, I can see why I may have gone there. The value in the story, to me, isn’t in the acts described, but rather the effect those acts have on my own understanding of my own context. The emotional experience of the act itself is small, so It feels right to edit it from the piece.

    "Sure, it would have been nice to hear the cat snore — maybe to hear you talking to the cat as you drove him/her/it to drool, with a little scronching noise."

    This may have just been a face-the-facts choice. This was my first experience, and my general m.o. is that if an option seriously jeopardizes the project, strike the option. If I choose to wait till I could get those ambient elements, the project probably wouldn’t have happened.

    "And while you mention TAL and others as provocateurs that drove you to Transom, there is a sense here that you are merely serving as a kind of conduit that allows listeners to experience a particular event."

    That sounds fine to me. My intention was to present a story, and my ‘larger’ take on the story. An admittedly humble goal, but humble isn’t bad.

    "The only problem? I want to hear the event — the cat snore, the cat drool."

    Maybe I’ll add a companion website with extra ‘web-only’ content of amplified cat drool.

    "The music is fine — though you might have considered Leroy Anderson’s orchestral portrayal of the cat (he is the guy who wrote the music that everyone plays when they turn to listeners’ letters)."

    I chose the music because of its rolling, sleepy quality to help develop the sense of a quiet afternoon with a cat. Those are ‘thinking’ moments for me, so it works (for me) to both set the scene and the conclusion. I should say that the music is from Live From a Shark Cage by Papa M. I forgot to add that to the tech info.

    In other words, we need more cat here. This may be three about me, but all three (well, at least, the two I have heard so far) are anchoring perceptions of themselves in light of things/elements/characters outside their own skin."

    I think that’s how people come to understand themselves. Experience something outside of yourself, react to it, internalize or reject, and move on. That’s ultimately what this story is for me; the event, the reaction, and the incorporation.

    Thanks again for the feedback.

    Ochen K.

  • monika mueller


    Hello Jackson

    I actually moved back to Germany (6 months ago) and was pretty surprised to find Brendan Greeleys piece on Transom. It was like a rediscovery of German quirkiness for me ( I haven’t lived here in 10 years) and on the other hand I could relate to many things. I have a grandmother that used to knit 60 pairs of socks for Christmas. It’s hard to find a girl or woman in Germany who can’t knit. I am delighted that Brendan feels Germans do have a sense of humor. It seemed that he has really good friends in Deutschland. I don’t think I really can compare notes with Sarah Chayes, since she has chosen a way more challenging life abroad. I admire her boldness. I think it’s a different story whether you move from Germany to the US, or from the US to Afghanistan. I see a parallel when she wrote how a lot of people need to cleave to some place or geographic identity and she doesn’t. My first little piece you heard is about my frustrations working in the service industry and I am impatient, because I had to deal with all these people and I heard the same questions over and over..that’s why I am upset. In other words I don’t scream every time someone asks me where I am from. I enjoy working in English, it is like taking on another personality therefore I feel more open and I am more likely to experiment. I don’t quite understand the Frankfurter singing Heartbreak Hotel? So long Monika

  • Jackson


    Elvis in Frankfurt


    It is a curious thing about America — practically none of us learn a second language (let alone a third), but we like to see ourselves as being adept at identifying accents. For example, you wouldn’t know it to hear, but our president was actually born in New England and spent many of his formative years there.

    As for the Heartbreak Hotel thing, I was being far too oblique.

  • Julie Burstein



    Last Wednesday was my son Micah’s first day of kindergarten, and while it was hard it seemed to go ok.  After telling me a bit about it he was happily playing in the other room with his castle and knights when I began browsing Transom.  I started to play Monika’s first story from Three about Me, when it got very quiet in the other room, and all of a sudden Micah was on my lap, listening intently.  When the story ended he said "I want more" so I played the next one, and the one about the cat sitter, and then the dangling woman.  This five year old boy sat transfixed listening, looking at the pictures on the site, asking questions, and mostly asking for more.  During the story about dangling in the rainforest, he asked if she died, if she ever got to the other side, and said that he never wanted to go to the rainforest because it is too noisy.  We browsed other shows, and he liked the picture of the opossum so we listened to that story (he wanted to know if anyone was dead in that one, but we didn’t have time to listen to the end — he had a playdate).

    It was wonderful to listen with him, to see him concentrate not on a flashing computer game but on the sound of voices, telling stories.  Thanks for this wonderful site!  I know we will become regular visitors now that we have a computer in the kitchen with speakers so we can enter these new worlds.

  • Andy Knight



    Oh my, three different stories crammed into the same thread. And the first one has three clips? Oh, Jay Allison, why do you make war upon the people with no memory? What have we done to deserve this? Well, I’ll fight fire with fire by responding to all three in the same post. Take that! Ok, then, after copious note-taking and going back over and over and over trying to get these things straight:

    Monika Mueller: I like all three lists. It seems like lists are growing in popularity all the time, from McSweeney’s to books like Benjamin Schott’s The Order of Things… even Amazon’s "Listmania" and NPR’s overhyped Top 100 Songs of the 20th Century. Lists lists lists. At their worst, they’re a integral part of marketing, either as promotion themselves (Blackwell’s worst dressed, Amazon’s "Listmania") or as an index, rating the marketing (Neilson’s, box office revenue). When mediocre, they’re used as a cheap gag– an easily tossed off joke (Letterman) or quick way to fill space (cover to cover of Entertainment Weekly). At their best, they reveal more about the list writer than is easily conveyed through traditional means. These lists are good. They’re damned good. My only question is, in clip #2, did you say that these are bands that you haven’t seen in the last week? It’s not exactly clear to my ears.

    Ochen K.: To me, when your story meanders off to explain the island’s backstory, I meander off, too, but in my own direction… which happens to be the Rams game playing silently on the tv next to me. So, I did a little playing around. I restarted the story at the 1:03 mark, where you start the story about the island, and played it until the 2:20 mark, where you finish talking about the island and say, "all of this is to say…". I cut off that sentence midstream and move back to the beginning, 0:00 "About once a month…". Then I cut out again at 0:55 (right after you compare Boris’ drool with that of a dog) and move back up to 2:21 ("our neighbors, the ones that I catsit for, have a big…") and play it out to the end. It’s not perfect, but I prefer it because it keeps me moving along with the story.

    Susan B. Price: Oh! This was good! When I saw the story heading off into metaphor land, I cringed. Not because of your story, but I’ve seen and heard metaphors stretched and abused so badly before. So many, "And when I saw that car coming at me, I knew that this was the melted ice cream in the refrigerator all over again!"… but your usage was really, really good. Perfect, even. It was like that time the delivery guy messed up and brought me pizza and wings when I was only expecting a salad. Or, like that other time…

  • Jake Warga



    Monika: Neat. I know there’s a more descriptive, profound word to use, but my command of English can fail me when it comes to reactions, and it’s my first and only language. This speaks of a crisis of ethno-centricism, but that’s another topic…or is it? I enjoyed the brevity, but fear the modern movement towards it. Shorter! shorter! I keep hearing, "Make 9min into 4min and we’ll talk." But you’ve inspired me that information can still be delivered in such short a time. "Less is More" I’ve heard about acting. What we don’t say is what’s really said. You’ve got the gift.

    Ochen: The entrance down the road to metaphor, even if only employed as contrast, has certain warning signs. I don’t know what it was, but your voice is quite hypnotic, and the ride down that road was so soft I got easily distracted and lost your map a few times. I don’t know if I want to hear the cat as some suggested (maybe a piano key or two) because the cat doesn’t really exist, it’s a means to tell another story—it’s just a vehicle of juxtaposition/contrast/dreams whathaveyou. The perspective lens of the ‘camera’ zoomed around a lot. Although I hate hearing it, I think "Shorter" might come out of me if asked. Neat music, maybe a little softer.

    Susan: Neat. Damn, did it again. Great choice of music and FX. I went along the ride with you, but got lost at some point, don’t know where, that’s the nature of being lost. Is it poetry? Is it analogy, is it fiction? Metaphor? where are we physically and emotionally? I don’t wish to jam a story into a specific hole, but maybe a hint. Now that I listen again, I don’t like the FX all that much, the tension should be in your delivery, not in the soundtrack, that’s what movies do to tell us how we should feel…they don’t have any faith in the audience, but we do. I would love to read this story, it’s well written, but I have to ask you specifically: why should this go from page to sound? Does it read on air as well as it does on paper? Would you rather us read it or hear it?

    Ochen and Susan: The best advice I was ever given technically–I would really recommend a "pop filter", look under Transom Tools for specifics or just tear-up some pantihose(I don’t know the spelling and I’m proud of that).

  • monika mueller


    Hello Andy Knight

    Thank you for your response. I wanted to answer your question about clip # 2. I say: Bands I haven’t seen. Greetings Monika

  • Ulrike Mahr


    To Moni

    hi moni, I like your stories. "the songs you like to sing in your car" I like most.
    Esp. the last part from Hildegard Knefs song: … ich will alles oder nichts …

    many greetings from ulli

  • Jay Allison


    "Short Lists" on Day To Day

    I want to mention that we are developing an idea with NPR’s Day-To-Day based on Monika’s pieces. It will be called something like "Short Lists" and will be inaugurated on the air by her work, followed by requests for more such lists which will come through Transom. Pretty soon, we’ll have a page up with details.

  • Jackson


    Lovely idea

    that D2D is going with the "short lists" idea. One charming — beguiling? intriguing? — element of the form are the places not only where Monika’s list (or experience) overlaps with that of the listener, but the places where they don’t.

    Ich will alles oder nichts?

  • Susan Price


    Dangling FX

    Jake Warga (Jake Warga, "Three About Me" #13, 16 Sep 2003 1:08 am) said about my sound fx that "the tension should be in your delivery, not in the soundtrack, that’s what movies do to tell us how we should feel…they don’t have any faith in the audience" I’m probably marked indelibly as a neophyte or a crass commerical type by saying I’m absolutely drunk with the power of manipulating an audience through music and sound effects.

    On the one hand, you could say it’s not about the audience but about faith in myself to whisper my unadorned words into your ear for an emotional impact. But on the other hand, what is really so intoxicating about this medium is the ability to produce an experience that has layers of components that all work together (even if I’m still trying to master the art).


  • Cameron Stallones


    asinine question

    what nico song is that in clip #3

    its not on any of her albums that i have

  • monika mueller


    Nico Song

    Hi Cameron,

    I took the song from Nico’s record "Do or Die" (1982).
    It’s actually "Heroes" by Bowie/Eno.


  • Nannette Drake Oldenbourg




    please let’s not go labeling ourselves or anybody "indelibly"

    Jake was a neophyte -if ever- just a little while ago almost in these very pages.

    I like your honesty about being drunk with power…
    … I’ll have to listen again. maybe as a listener I liked being drunk without power…?

    all good points about radio/audio vs. print, and what’s the best medium for the piece of artful expression. But I think of the AUDIENCE as much as the medium

    I like the idea of the public radio audience, whom I ascribe with social awareness and social conscience, getting to hear about thoughts about doing good…

    The same audience as Nick Hornby’s novel Doing Good or was it Being Good (Nick Hornby previously wrote High Fidelity) The novel could have been a movie or even a short-lived sit com, but the audience reads…

    how dare I think this way?
    is anybody gonna let me have it? [or are they hanging out in another medium/]

    P.S. [[Hey, Jackson. Whats up? You must have a whole wardrobe of Tshirts by now.]]

  • Wintergreen



    Yeah, I really can’t quite grasp piece number one. It has these elements of familiarity to it, in some sort of Platonic-ideal type paradigm.

    Around here, "Where are you from" is a really common question. It seems that people define their world-view based upon the location of origin — this is not international, but rather intra-state. It’s a really rural state, which is why it’s quite common that any two people will have a third person in common.

    I can imagine people who aren’t from here getting really tired of it. But that’s how we do business. It’s like some old Norse epic. By knowing where people are from, one can know their lineage, and know their background and attitudes, and religion and politics.

    If someone told me they were from Leola (a small town in this state), I’d know that they were probably Catholic, probably pretty conservative, most likely pro-life, and had a lot of brothers and sisters.

    But anyway, that’s my thoughts.

  • Dmae


    great work

    These are wonderful, inventive pieces. Your writing, voice, delivery and music accompaniment make these solid and insightfull gems. Keep making these lists!

    Take care, Dmae

  • Sue Silver


    about short self portraits

    I could hear the music, but I couldn’t hear the self portraits……………Bum, bum,blammer!!!!!!!!
    I want to do one Love YA always Sue

  • Kerstin


    hope there is more to come!

    Enjoyed those little stories a lot. hope this is not the end of it! Hans Albers…giant ant farm…it’s been a long time!

  • TK Major


    Human Hands…

    I’m amazed that Monika knows about the Human Hands! (From her latest list on DtD.)

    I remember them as a compelling but very quirky band that I really liked during their brief lifespan in the late 70s or maybe early 80s…

    There were plenty of other obscure LA bands in her list, too. I recommend folks look them up. LA was an amazing music town in those days…

  • trinka



    Hey Monica!

    Good work. Very random, very interesting. I think it would be awesome if you did include cats meowing in the background… haha. I’ve met some Germans last year and it’s such a joy to listen to you guys speak, sounding very calm and measured when you speak english and even more so when you speak deutsch. It’s now one of my favorite languages to listen to even if I don’t understand 99% of it. Hope to hear more of your stuff.

    Take care!


  • trinka



    hey ochen,

    really awesome work. i like how you simple things beautiful and appreciated. wow!

    good work. can’t wait to hear more stuff.

    take care!


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