BAM
@bam
I'm building something unique: the world's smallest conglomerate while training to become the world's fastest centenarian. This isn't just about longevity. It's about optimizing every aspect of life and business for peak performance and sustainable success. My background spans developer relations, education, content creation, and health optimization. I bring a multidisciplinary approach to both voiceover work and business consulting.
Courses
SCI-04Science & Math
Intro to Citizen Science
How to design a study you could actually run, and how to know what your own data can and cannot support once you have run it. The question, the protocol, the sampling, the confounders, the recording, and the honest write-up. Finish with a study you could start next month.
Coming soonSCI-03Science & Math
The River and the Watershed
The physical half of the river story: where the water comes from, what it carries, what it does to the land, what lives in it, and how you would tell whether it is healthy. Built alongside a real paddle from Indiana to the Gulf, and usable on whatever creek is nearest to you.
Coming soonSCI-02Science & Math
How We Know What's Out There
Astronomy taught as evidence rather than as facts to memorize. Start where navigation ends, with finding yourself by the sky, then climb the distance ladder one rung at a time: parallax, spectra, variable stars, exploding stars, redshift. Finish able to take any number in a popular astronomy article and trace it back to the thing somebody actually measured. No equations.
Coming soonSCI-01Science & Math
How to Read a Number: Statistics for Citizens
Every civics argument arrives with a number attached. This course teaches you to check one: what was counted, who counted it, when, and compared to what. Polls and margins of error, rates versus counts, the denominator that decides the story, charts built to mislead, and the arithmetic of representation itself. No calculations required, and none of the numbers in it are invented.
Coming soonRIVER-11
Telling the River
The capstone. The expedition sent back both factual logs and fiction written from the same places on the same days, which makes the difference between them unusually visible. What each form can do, what neither may do, and a piece of work of your own about a place you can actually reach.
Coming soonRIVER-10
What the River Carries
The expedition ends by paddling into the consequence of everything it paddled past. Each summer a low-oxygen zone forms in the Gulf where the Mississippi arrives, driven by nutrients gathered across the whole basin. How it works, why it is nobody's fault in particular, and what that makes it.
Coming soonRIVER-09
Finding Your Way, and Losing It
How navigation actually works on a large river, why capable people still get lost, and what to do when a plan fails, resources run short, or the group stops agreeing. The judgment half of an expedition, which is the half that decides how it ends.
Coming soonRIVER-08
Living on the Water
Months of camping, cooking, water treatment and resupply along a corridor that is mostly private land, levee district and regulated ground. What it actually takes to live beside a working river, and why the legal question comes before the practical one.
Coming soonRIVER-07
The Delta, and the Way North
A century after the trade that carried people south, the movement reversed. Millions left the South, and from the Mississippi Delta the way out ran on rails that paralleled the river the expedition is paddling. How the route worked, how word traveled, and why this is the third direction on one corridor.
Coming soonRIVER-06
Sold Down the River
The phrase is not a metaphor. For decades this water carried enslaved people from the Upper South to the markets of Natchez and New Orleans, and to be sent down it meant separation from family, almost always permanently. What the domestic slave trade was, how the river served it, and why the ordinary phrase carries what it does.
Coming soonRIVER-05
Cairo: Where Two Rivers Meet
At Cairo, Illinois the Ohio joins the Mississippi and the expedition becomes a different journey. What happens physically where two large rivers meet, why a town at the most strategically perfect location in the interior did not thrive, and how to read a place by what is no longer there.
Coming soonRIVER-04
The Engineered River: Locks, Dams and Barges
The Ohio and the Mississippi are not natural waterways with some structures added. They are machines for moving freight, maintained continuously and at enormous expense. What that machinery is, why it exists, and why it makes this the most dangerous part of the journey.
Coming soonRIVER-03
The Ohio, and the Line
For decades the Ohio River was the border between slavery and freedom, and more people escaped through this valley than through any other region of the country. The expedition crosses that line in its first days, traveling the opposite way. What the river meant, who ran the networks on the northern bank, and why a river makes such a strange border.
Coming soonRIVER-02
The Wabash, and What a Watershed Is
The first stretch of the journey, and the idea that makes the whole thing legible: every drop of water in this river came from somewhere, and everything upstream arrives downstream. How rivers form, why they bend, and why the Wabash matters far beyond Indiana.
Coming soonRIVER-01
What an Expedition Is
A team is paddling from Indiana to the Gulf of Mexico, roughly 1,100 miles of the Wabash, the Ohio and the Lower Mississippi. This course is how to follow it as an expedition rather than a trip: what the route actually is, what makes the water dangerous, and why the direction they are traveling is the most interesting thing about it.
Coming soonSTORY-99Storytelling
Mockumentary
The capstone of the Storytelling series, and the only course in it that requires the others. A mockumentary is invented work wearing the clothes of work that may not invent, which means you cannot make one well without knowing exactly why documentary conventions persuade. This course reads the True track backwards: what each convention promises, how a fiction borrows it, and where the borrowing becomes a lie. It covers the persuasion grammar of documentary, comedy and satire as separate engines, the character who does not know they are being watched, the frame of an audience that is in on it, the 1938 Welles broadcast and the panic that mostly did not happen, deepfakes and synthetic media as the same problem at industrial scale, and the one line that separates satire from fraud. Ends by asking you to make both a real documentary segment and a false one about the same subject.
Coming soonSTORY-D1Storytelling
Digital and social storytelling
Every other form in this series gets an audience that has already agreed to pay attention. This one does not: attention is re-earned every few seconds, by someone holding a phone, sound off, mid-scroll, who did not choose your story and can leave at no cost. This course teaches what that constraint does to structure rather than what any platform currently rewards. The cold open and why the first three seconds are a structural problem and not a trick, the loop, designing for sound-off, the algorithmic middle that stands between a maker and an audience, serialization and the promise a series makes, comments as part of the text rather than a reaction to it, the ethics of a form built for spread including the corrections problem, and what survives a platform's death. Built on the six decisions from How Stories Work, with platform specifics labeled and dated because they are the part that rots.
Coming soonSTORY-T4Storytelling
Oral history
Oral history is the only form in this series whose primary evidence is a person remembering, which makes it the one where being wrong is sometimes the most valuable thing in the recording. This course covers what an oral history is and what it is not, why the word is narrator rather than subject, memory as evidence rather than as unreliable testimony, research before the interview, the life-review interview and the long silences it needs, equipment and metadata that will outlive your laptop, the legal and ethical layer of the deed of gift, transcription and the choices it forces, interviewing family and interviewing about trauma, and what an archive owes a narrator decades later. Built on the six decisions from How Stories Work, using the Oral History Association's published standard rather than a private house style.
Coming soonSTORY-T3Storytelling
Documentary
A documentary is a relationship that lasts long enough to change, and that is its central craft problem as much as its central ethical one. This course covers what documentary actually claims about the world, the recognized modes and what each one implicitly promises a viewer, access and the consent that has to be renewed rather than signed once, how structure is found in material rather than scripted in advance, interviewing at depth including the uses of silence, archive as evidence, the ethics of the edit where every honest film shapes and the question is how, the signals that keep reenactment and music honest, and who the film is finally for when the participant, the funder and the audience want different things. Built on the six decisions from How Stories Work, with the field's own account of its dilemmas rather than a list of rules.
Coming soonSTORY-T2Storytelling
News Storytelling
How do you tell a story when you are not allowed to invent any of it? News sits one rung up the permission ladder from documentation: you may select and arrange, and you may not make things up. This course covers what news is actually for, why the inverted pyramid puts the ending first and what that does to withholding, how to find the owner of a story about a policy, leads that are honest rather than merely arresting, attribution as the load-bearing habit, what you may and may not do to a quotation, numbers and the context that makes them mean something, the difference between a news story and a feature, corrections as a craft rather than an embarrassment, and the specific temptations of narrative journalism. Built on the six decisions from How Stories Work, with the discipline of verification as the thing that separates journalism from everything that looks like it.
Coming soonSTORY-00Storytelling
How Stories Work
Six decisions survive translation into any medium: the change, the owner, want and obstacle, withholding, scene and summary, and the turn. This is the core of the Storytelling series and it was written last on purpose, after the specialized courses had already put those six terms under pressure in a solo play, a ten-minute drama and a set of public meeting notes. It teaches each decision in depth, shows the same one operating in forms that look nothing alike, and is honest about what does NOT transfer: the things that are genuinely properties of a medium rather than of story. It covers structure as a promise to an audience, why most drafts fail at the change rather than the sentence, the ethics of telling stories about real people, and the discipline of knowing when not to make a story at all. Ends with a diagnostic you can run on any draft in any form.
Coming soonSTORY-T1Storytelling
Civic Documentation: Recording What Happened in Public
Public meetings decide budgets, contracts, zoning, policing and schools, and most of them happen in rooms with nobody watching. This course teaches the discipline of documenting them: what a public body actually is, how to read an agenda before you go, how to behave in the room, what open-meetings law protects and what it does not, note-taking to a standard a stranger can use, recording and photography with consent, interviewing after the gavel, and revising notes before memory fades. It covers where documentation ends and reporting begins, why that line protects you, and what defamation and the fair report privilege mean for someone publishing notes. Built on the Documenters Field Guide published by City Bureau, whose program trains and pays people to do exactly this work, with Indianapolis and Mirror Indy as the worked local example. Not affiliated with City Bureau or any local Documenters program. Education about the law, not legal advice.
Coming soonSTORY-P3Storytelling
Short-Form Drama: Constraint as a Structural Tool
Ten minutes is not a shortened play. It is a different machine, and the constraint is the teacher. This course covers what actually fits in ten minutes and what never will, how to start a story that is already in motion, the single-situation principle that makes short work possible, why most short pieces fail at the ending rather than the beginning, the one-act as a longer but still single-pressure form, and how short-form video drama inherits the same structure under different delivery. It teaches adaptation between runtimes in both directions, the production realities that decide whether a short play ever gets staged, and how to use the form as a laboratory: a ten-minute piece is the cheapest way to test a structural idea before spending a year on it. Real plays throughout, from Glaspell to Ives to Albee.
Coming soonSTORY-P2Storytelling
Monodrama II: Performing the Solo Piece
You have a draft. Now you have to stand up. This course takes a solo script onto its feet: direct address as a physical problem rather than a literary one, how one body builds a place with no set, what an audience does to a piece that a room alone never reveals, objectives and actions as tools for finding what a line is DOING, status and the psychological gesture, voice and breath for sixty minutes of speaking, memorisation that survives nerves, how to rehearse alone without going stale or going numb, the technical minimum for lights and sound when you are also the operator, and how to take a piece in front of people and change it afterwards. Includes the safety practice that solo autobiographical work requires and that nobody warns performers about. Part two of two: Monodrama I writes the draft.
Coming soonSTORY-P1Storytelling
Monodrama I: Writing the Solo Piece
One performer, no scene partner, nowhere to hide. A monodrama is the hardest place to bury a weak story and therefore the best place to learn how stories actually work. This course teaches the six decisions that survive translation into any medium (the change, the owner, want and obstacle, withholding, scene and summary, the turn) by making you apply them to the form that exposes all six at once. It covers what a solo piece can and cannot do, who the audience is to your speaker and why that question decides everything else, how to build place and time with no set, the reliability problem, structural options from the single-sitting confession to the fractured memory piece, how to end, and how to revise. Worked examples are real plays you can read or watch, from Beckett to Anna Deavere Smith to Duncan Macmillan. Ends with a performable draft. Part one of two: performing and staging it is Monodrama II.
$19