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Hindenburg Training – Class 1

Welcome to Hindenburg Training at KFAI.

This is a three part training sequence designed to make you more comfortable with using Hindenburg for editing projects.

In class #1, we’ll learn five key things:

  1. How (and where) to create and save Hindenburg sessions at KFAI
  2. How to import audio into Hindenburg
  3. How to cut audio files
  4. How to re-name audio files in the edit window
  5. How to place audio in the clipboard

#1 – How (and where) to create and save sessions at KFAI

At KFAI, we use Hindenburg on six different computers:

  • Studio 1
  • Studio 2
  • Studio 3
  • Studio 4 (on-air)
  • Newsroom Booth
  • Newsroom Corner

hindenburg_iconAt any of these computers, look for the red “H” Hindenburg icon on the task bar at the  bottom of the screen, or in the program menu.

Before we begin, let’s move some audio into a Workspace folder so you can use it.  At KFAI, the shared drive is the T: drive.  While Hindenburg at any of our computers can read a session that resides on this drive, the safest course is to work with files that live on the local drive of the computer you’re using.

Go to this location to copy your file:

T: / Production / Hindenburg Training / Students / your class year/class month / yourname 

Copy that folder into the Workspace on the local (C: or D:) drive of the machine you’re using.

Now let’s start a session.   Double Left click on the red H  to open Hindenburg.

If you need to start a new session once Hindenburg is already open you can hold down the keys Ctrl and N at the same time.

Start a New Session

  • Keyboard: Ctrl + N
  • Task Bar: New

You can import any audio that can be played on a computer. This also includes audio from video clips. There are four different ways to import audio into your Hindenburg session.

#2 – How to Import Audio into Hindenburg

Import Audio

  • Keyboard: Ctrl + T
  • Task Bar: Import
  • Mouse: Right click – Import
  • Drag & Drop

When you save a Hindenburg session, it is automatically paired with a file folder which contains the source audio for your session.  All audio will be converted to .wav audio format so Hindenburg can work with it.

Save Your Session

  • Keyboard: Ctrl + S
  • Task Bar: Save
  • Task Bar: Save As

Name the session and save it under the appropriate folder (example: C: Workspace/Your Name / My First Hindy Session)

Watch this video that demonstrates various ways of bringing audio into a session and how to understand the editing layout.

Now that you’ve got a clear sense of how the editing space works, let’s use what you’ve just learned to import audio into your Hindenburg session.


Inside your training folder on the local drive of the machine where you’re working is a .wav file called “Jumbled ID”.  Import that file into your session. Now you’ve got audio!

#3 – How to Cut Audio in Hindenburg

Watch this video that demonstrates how to work with imported audio.

Now let’s practice some of what you learned on our “Jumbled ID” audio.   We can undo each command using the keyboard function Ctrl + Z

  • Split audio
    • Task Bar: “Split”
    • Mouse: Right Click “Split”
    • Keyboard: Ctrl + B
  • Set IN and OUT markers
    • Mouse: Click and Drag
    • Keyboard: I = “in”, O = “out”
  •  Rehearse an edit (Ctrl-Shift-spaceba
  • Erase In and Out: ESC

Now divide the audio into four chunks.

Chunk 1: “KFAI is 90.3 and 106.7 FM
Chunk 2: music
Chunk 3: “From the top of the IDS Center, this is KFAI FM HD1, Minneapolis
Chunk 4: “Radio Without Boundaries”

It should look something like this when you start …


… and like this when you have divided it into four parts.



#4 – How to Re-name Audio Files in the Edit Window

Now let’s re-name each piece of the puzzle.  Highlight a chunk in orange by clicking on it with the arrow.  Then hit “Enter” to open up the piece for re-titling.


Give each chunk a new name.


#5 – How to use the Hindenburg Clipboard

Now let’s learn about the Hindenburg clipboard.

Now let’s move your four audio chunks into the clipboard.  As the video shows, you can do this in several ways:

  • Drag across the audio (creating an “in” and “out” marker), then drag the clip into the clipboard.
  • Highlight the clip so it is orange, then hold “CTRL” and drag the clip into the clipboard
  • Highlight the clip, hold down “CTRL” and “ALT” and press 1, 2, 3 or 4 depending on the clipboard section you would like to have as your destination.

Place each audio chunk in a separate clipboard section.


Once your audio is in the clipboard, you can delete it from the edit space.  Now drag each section back in from the clipboard to re-arrange the Jumbled ID in a way that is most pleasing to you.  Allow yourself to be creative!


Click “Save” on your session.

Finally, let’s update your file on the T: drive.

  • Go to the local drive of your computer, and copy the Hindenburg training folder with your name on it.
  • Go to T: / Production / Hindenburg Training / Students and find your class (ie: June 2017).
  • Paste your copied folder here.  Windows will ask if you want to replace same-named folders on the drive.  Say “yes”.  You’re done!

That concludes Hindenburg class #1.  In class #2, we’ll talk about recording your own voice, arranging clips, and exporting audio.


Hindenburg Training – Class 2

Welcome back to Hindenburg Training at KFAI.

This is a three part training sequence designed to make you more comfortable with using Hindenburg for editing projects.  This is class #2.

At KFAI, we use Hindenburg on six different computers:

  • Studio 1
  • Studio 2
  • Studio 3
  • Studio 4 (on-air)
  • Newsroom Booth
  • Newsroom Corner

hindenburg_iconAt any of these computers, look for the red “H” Hindenburg icon on the task bar at the  bottom of the screen, or in the program menu.

Double Left click on the red H  to open a Hindenburg session.

Let’s revisit some of what you learned in Class #1.  This basic Hindenburg editing video (My First Segment) is more comprehensive than the beginning videos you watched in the first class, but it covers some of the same ground and will provide new information as well as giving you a helpful review.

Now let’s work on a project that involves recording your voice and mixing it with music.  In your folder, you’ll find a script and a sound file in a folder titled “Promo Project”.

Open the script.  You’ll read it off the screen.

Next, open a new Hindenburg session and save it in your folder as “yourname_promo”

Enable a track for recording in your Hindenburg session.

Open your mike and start the recording.

Read through the copy several times.  When you’re finished, press the space bar to stop your recording.

Edit the narration until you are happy with it and place the finished version in your clipboard.

Next, open the folder called “Mystery Sound Effects” and import the sounds and music you’d like to use to illustrate the final product.

You can bring these directly into the clipboard by right-clicking on the clipboard section you wish to use.

Navigate to the “Mystery Sound Effects” folder, open it and highlight all the tracks.

This gives you a nice assortment of sounds to work with.  But you don’t need to use them all.  Sometimes less is more!  Get things arranged in a way that you think will work,  and when you’re done, save the session.

In lesson 3, we’ll learn about setting your levels and making fades, working with multiple tracks, and exporting the final audio.

Hindenburg Training – Class 3

Welcome back to Hindenburg Training at KFAI.

This is a training sequence designed to make you more comfortable with using Hindenburg for editing projects.  This is class #3.

In this lesson we’ll look at setting volumes, making fades and exporting your work.

First, let’s review how Hindenburg regions work, with a closer look at the volume (or “gain”) controls.

Now let’s take a look at the work you did in Lesson 2.

By now you should have your promo project underway with narration you recorded and a selection of sounds and music already brought into the edit window.

Let’s see how music levels can be adjusted in relation to a piece of narration.  Here you see the narration highlighted in track 1, with our eerie music highlighted in the clipboard.

We can drag the music into track 2 underneath the narration.
With a left to right swipe over the music track at a point near the beginning of the narration, we can highlight a portion of the music that will become the “fade zone” – the area where our music fade will happen.

Now, use the cursor to reach for the upper boundary of the music waveform at a point outside and to the right of the fade zone. Pull down the boundary to reduce the level for the remainder of the track, thus creating a “shelf fade”.

Now we’ll try a different technique.  Let’s go back to a point where the narration is in track 1 and the music is sitting underneath it in track 2.  This time, our left to right swipe will create a music “fade zone”  right underneath the narration.

The level of the shaded area can be brought down with a simple click and drag.

Now we can zoom out to see the end of the music track.  By grabbing the right boundary of the music, we can pull  it forward so the music ends shortly after the narration does.

Now it’s a simple matter to add some sound effects.  We’ve dragged the music into the third track and brought the sounds into track two. The narration has spread out a bit to create space for some sounds.

Here’s where you can really listen to your project to determine if the levels are appropriate.  Drag the top boundary of your sound effects chunks up or down to find the level that sounds best.  You don’t want to overwhelm your narration, but you also want to make sure the effects and the music are loud enough to be heard.  Consider that many of your listeners will hear your work while driving, and all elements of the mix will have to compete with road noise.

Once you have your tracks organized and levels set, you can unify them in a group so they will stay together.

Technique #1:  Highlight all three the tracks by shift-clicking on the titles at the left edge of the screen.  Then right click on one of the track titles and select “Link Tracks”

Technique #2:  Highlight all the audio on the screen by shift-clicking the different blocks and right click on one of the blocks to select “Group” (or use the keyboard to hit Ctrl + G)

Now it’s time to export the audio.  Make sure all tracks are included by checking the Mute / Solo buttons on the left side of the screen. Then right click on any piece of audio in the group and choose “Export Selection”.

You can make some exporting choices, including what type of file you want to create.

Take note of these variables:

You can also export audio directly from the clipboard.  Hindenburg shows you how.

Export from Clipboard


When you export your audio, name the final copy using some of the key information on your script (remember your promo script?)

The “Spot Number” is a six number code we use to identify audio pieces that play back from our Rivendell software in studio 4.

The “Label” is a name we use to describe the spot.

In naming your spot, combine the spot number and the label with your name.  Use underscore marks _ to fill the spaces because some of our equipment dislikes .mp3’s or .wav files that have spaces in the names.

The final audio name of your audio production should look something like this:  012646_Vehicle_Donation_Halloween_Bob.wav

Downtown East Commons Alternative Approaches

On April 8th,  the next Downtown East Commons meeteing will lay out “alternative approaches” to shaping this new park in the middle of downtown Minneapolis.

As a new billion dollar football stadium rises in Minneapolis, planning is underway for Downtown East Commons, a green space that so far has only some lovely drawings to its name.

The development has a history tied to the new stadium and before it, the Metrodome.    An early controversy about Downtown East involved ownership and responsibility – the Minneapolis Park Board didn’t propose it and wasn’t enthusiastic about taking control of it.   An agreement from late 2014 describes an ownership hand-off sequence that gives the Vikings an undue amount of control long-term, but the design, construction and programming of the park are all question marks, clearly explained here by blogger Sam Newberg as “Joe Urban”.

Assignment:  Attend the meeting and produce a report that describes the alternatives being offered, with reaction from some of the people in attendance.

Somali-American Joins Airports Commission

Here’s an interesting press release from the Service Employees International Union Local 26.

Assignment: research the issues facing the Metropolitan Airports Commission, particularly with regard to the labor relations questions, and have a conversation with Ibrahim Mohamed about his new role on the MAC. A good first step – attend the MAC meeting on Tuesday, February 17.

February 16, 2015
Contact: Josh Keller, Media Relations Coordinator | 612-270-2984

In Groundbreaking Appointment, Airport Worker Becomes First Somali-American To Serve On Metropolitan Airports Commission
The appointment by Governor Dayton lifts current airport employee into important governing role

St. Paul, MN – On Monday, February 9th, Governor Dayton announced his latest appointments to the 14 member Metropolitan Airports Commission. One of the two new Commissioners selected was Ibrahim Mohamed from Rosemount, a cart driver who works for Delta sub-contractor AirServ and has been employed at the airport for 11 years. Mohamed will be the first Somali-American to serve on the MAC and will be the only current airport employee.

In his 11 years at the Minneapolis-St. Paul (MSP) Airport, Mohamed has served many roles, including Baggage Runner, Ticket Verifier and Lavatory and Water Services. He said that his range of experience, on both sides of security, will allow him to serve the residents of his district and be a voice for the workers on the front lines.

“I am excited to bring the voices of the people that I speak to on a daily basis to the MAC. In my current position as a cart driver, I speak with hundreds of elderly and disabled passengers each day. I hear about their time in MSP and am the first line of response to help,” said Mohamed. “I am excited about this opportunity to serve and to be a leader in connecting new communities to the important work of the Metropolitan Airports Commission.”

Mohamed and hundreds of other employees of AirServ at MSP have been advocating for improved working conditions over the last few years.

“There are hundreds of workers like myself who are paid minimum wage, with no benefits. I’ve made up to $12.50 at various positions, but currently make minimum wage, which just went up in August to $8.00 per hour. I will work to make sure that workers at the airport are part of the conversations at the MAC, because when workers have fair pay, decent benefits and a reliable schedule, we are able to provide world-class service to passengers,” said Mohamed. “I will continue to stand together with my fellow co-workers as we fight for dignity and respect for all workers at MSP, and will always fight to make sure the needs and concerns of workers and passengers are part of all decisions made by the MAC.”

AirServ workers like Mohamed have been fighting for years to have the right to form a union with SEIU Local 26. They have taken direct action with disability rights activists to highlight the need for sub-contractors like Air Serv to value seniors and people with disabilities by paying the workers who serve them a fair wage with decent benefits and a stable schedule.

SEIU Local 26 President Javier Morillo praised Ibrahim’s work to improve conditions at the airport and his new role as MAC commissioner.

“We applaud Governor Dayton for insisting that a worker be represented on the MAC, and appointing a great candidate like Ibrahim Mohamed,” Morillo stated. “I am excited to see Ibrahim continue the work he has always done fighting to make the MSP airport the best airport it can possibly be for both employees and passengers.”

Mohamed’s first MAC hearing will be this Tuesday, February 17th.

LRT Contractor Has An Intriguing Story

The Metropolitan Council distributed the following profile of a Twin Cities business that is one of the contractors working on Light Rail projects.  Sirish Samba’s story is intriguing, and giving our listeners a chance to hear from this immigrant/entrepreneur/engineer would certainly line up well with KFAI’s mission.

Assignment:  Approach Sirish Samba for a live or recorded interview to be used on the Morning Blend.

Sambatek: Helping build Twin Cities LRT

Sirish Samba’s journey to working on Twin Cities LRT projects started outside a bank in India

Sirish Samba had just finished an undergraduate engineering degree in India in the early 1990s and wanted to attend a university in the United States to earn his master’s degree. But he had grown up the only son in a modest family of seven children and couldn’t afford the move.

“Only the privileged in India go study abroad,” said Samba, the son of an Indian Railways guard, the British term for conductor.

Today, Samba, 44, is the CEO of Sambatek, a 100-employee engineering firm in Minnetonka. The firm is working on the METRO Blue Line Extension LRT Project and has worked on the METRO Green Line and Southwest LRT (METRO Green Line Extension) Projects. Sambatek has thrived in part through its participation in the state’s Disadvantaged Business Enterprise (DBE) program, but Samba also emphasizes his company’s professional work and experience as keys to its growth.

Samba’s path to employment in the United States and the helm of Sambatek didn’t happen by chance.

For a solid month when he was 21, Samba sat outside the bank in southern India, trying to talk to a key banker each day as he entered the building. Eventually, the banker agreed to meet with him. He informed Samba that the bank didn’t provide student loans.

Samba, a strong student, had already heard from South Dakota State University in Brookings, S.D. The school had accepted him into its master’s program for an engineering degree and had agreed to let him pay in-state tuition.  But Samba needed a $4,000 loan to help him travel to the United States and enroll at South Dakota State. Once there, he planned to get a job to help pay his way.

“Every day I would go back to the bank and ask for the loan,” Samba said.Seeing Samba’s persistence, the banker relented and provided the loan.

He gained valuable experience working on high-profile projects, including wastewater treatment facilities for the growing city of St. Michael, the Arbor Lakes development in Maple Grove and the Water Park of America in Bloomington.

But the ownership of MFRA was in flux. The former CEO decided to retire in 2000 and pass the firm to four senior managers. After an appraisal, though, he decided to sell the business to an investor. In 2005, MFRA changed ownership again when it was sold to a private equity firm.

As the recession hit, MFRA, which was well known in the Twin Cities as a land development company, found itself burdened with debt. Over time, Samba took a larger role in righting the company’s finances and eventually ended up the majority owner supported by other employee-owners.

The restructured company operated as MFRA and still did development work, but Samba was seeking more civil-engineering related work as well.

At a convention in 2009, Samba met Tracey Jackson, a senior equal opportunity consultant for Metro Transit, who works with DBE firms. Requirements for participating in the DBE program involve limits on personal net worth (less than $1.32 million), a business-size standard set by the Small Business Administration of less than $17.4 million in annual gross receipts and be at least 51 percent minority or woman owned.

For the Green Line Extension LRT Project’s advanced design contract and for the Blue Line Extension engineering contract, the DBE goal is 19 percent.

Samba was apprehensive about participating in the DBE program, but the company qualified and was looking to grow to rebound from the recession.

In recent years, Sambatek won a contract for work on the Interchange project in downtown Minneapolis where all of the LRT lines and Northstar commuter rail come together. His firm is doing survey work on the Blue Line Extension LRT Project. Sambatek was also awarded a master contract from the Metropolitan Council, which essentially puts the firm on call for a wide range of future work.

Paul Danielson, a senior vice president with Kimley-Horn, a nationally known design consulting firm, was introduced to Samba when Kimley-Horn was pursuing preliminary engineering work for the Southwest LRT Project. Surveying was Sambatek’s primary work on the project, Danielson said. “But what’s worked out well is their willingness to jump in and do just about anything we’ve asked,” he said.

That included support for visual simulations along the Southwest LRT alignment, architectural renderings and storm water management analysis.

“They were our number one DBE firm on Southwest LRT,” Danielson said. “They became an extension of our staff.”

Sometimes the two firms compete on projects, sometimes they’re partners, Danielson said. “We trust each other enough to know that we’ll be team partners and at times we might compete head-to-head,” he said.

In 2014, the company changed its name to Sambatek and moved to new space in Minnetonka, near Interstate 494 and Highway 62. “It shows our confidence in the future of the company,” Samba said.

Sambatek is also opening an office in Bismarck, N.D., to support highway projects there.

Samba, who is married with three children, says his success in Minnesota paid dividends back in India. Years ago, he paid back the student loan that made it possible for him to attend South Dakota State. “Even now, when I go back, I sometimes visit with (the banker) because I’m a very grateful person,” Samba said.

His work in the United States has also allowed him to help all of his sisters get married in India, where paying a dowry to the groom’s family is the norm. “That’s where I get my drive,” Samba said, referring to his ability to help his family back home. If all else is failing, he said his background “teaches me to not take no for an answer.”

Samba is a naturalized citizen and calls Minnesota home now.  “I’m grateful to the country and its people, and its systems that provide equal opportunity,” he said. “For a son of a railroad guard to be a consultant for an LRT system, it’s an incredible honor.”

High Speed Hogs – Meat Processing Raises Questions

Who has an interest in our food supply and the way the USDA is (and is not) looking out for consumers?

We’ve received messages from a group pushing a petition  through to get the government to stop high speed meat inspections.

Assignment:  Look into allegations from the Food Integrity Campaign that Hormel and other meat processors are taking dangerous risks in Minnesota and elsewhere with casual, high speed processing.

Here’s a press release from the Food Integrity Campaign:



Hope all is well. I’m Communications Manager at the Food Integrity Campaign (a program of national whistleblower protection organization, the Government Accountability Project), and was wondering if you had any interest in covering disclosures we’ve received from USDA inspector whistleblowers regarding the agency’s high-speed hog inspection program. It’s been piloted in five plants (including three owned by Minnesota-based Hormel) and inspectors who’ve worked there have raised concerns about high speeds (83 pounds of pork whizzing by every second) and deregulation – causing signs of contamination being routinely missed (such as hair, toenails, feces, cystic kidneys, etc.) and entering the food supply. See our press release below for more information and let me know if there’s any interest in reporting this public health issue.


Sarah Damian
Communications Manager, Food Integrity Campaign
Government Accountability Project
1612 K St. NW, Washington D.C. 20006
Phone: 202-457-0034 ext. 130

January 30, 2015


Inspectors Warn Against USDA’s High-Speed Hog Inspection Program
(Washington, DC) – Today, the Food Integrity Campaign (FIC, a program of the Government Accountability Project) is releasing evidence it has gathered from federal meat inspector whistleblowers who currently work at pork processing plants participating in a high-speed inspection pilot program. These whistleblowers voice concerns regarding the program and warn about the potential public health implications if this plan is instituted on a national level.

FIC is making publicly available affidavits from four U.S. Department of Agriculture (USDA) inspectors that illustrate serious concerns with the agency pilot program that increases the speed of processing lines and reduces the number of trained USDA inspection personnel in the hog plants.

FIC Director, Amanda Hitt, stated:

The USDA already refused to listen to its own inspectors when it implemented a similar high-speed inspection program for poultry late last year. Now the agency is poised to reduce oversight and increase line speeds at plants with hogs. It’s become abundantly clear that the Department of Agriculture is not interested in listening to the food safety concerns voiced by its own staff. Since the government doesn’t wish to heed whistleblowers, we are urging pork producers to reject sub-par meat inspection that places profit before public health.
FIC has launched a petition <> urging Hormel, one of the largest pork producers in the United States, to abandon its use of high-speed inspection. The company owns three out of five hog plants currently participating in USDA’s pilot program.

USDA inspectors stationed at the Hormel pilot plants have informed FIC that the high-speed inspection model will lead to more contaminated and defective products on consumers’ plates. Some of the problems that inspector affidavits raise include:

  • Plant employees take over the duties of government inspectors. While federal employees (including at USDA) have whistleblower protections and can speak on behalf of the plant workers, Hormel employees are in the private sector and have inadequate legal safeguards. They cannot safely report food safety problems or stop the lines without fear of retaliation.


  • Line speeds at pilot plants run up to 20 percent faster than those at plants operating under traditional inspection. Quicker speeds make it even more difficult for plant employees and USDA inspectors to detect contamination on carcasses.


  • Company employees lack adequate training and often fail to identify signs of defects and contamination that could result in foodborne illness or unwholesome products. Inspectors in pilot plants report a higher level of zero-tolerance food safety hazards compared to plants operating under traditional inspection.


  • USDA inspectors are only allowed to conduct inspections on a small sample of hogs. Samples in these plants are not representative, and don’t reflect true pathogen risk.

The affidavits released today can be found at <> .

The names of three of the inspectors, and all identifying information of the specific plants, have been redacted at the request of the inspectors. However, these affidavits have the full backing and endorsement of FIC.

Direct Quotes from USDA Inspectors

– There aren’t enough eyes on the line to monitor carcasses coming by at such high speeds. (Anonymous Inspector, Affidavit #1)

– On numerous occasions I witnessed them [company inspectors] fail to spot abscesses, lesions, fecal matter, and other defects that would render an animal unsafe or unwholesome. (Anonymous Inspector, Affidavit #1)

– When USDA loses the authority to make plant employees engage in corrective actions, the program stops working. This is what has happened at the plant where I work. (Anonymous Inspector, Affidavit #2)

– Other contamination such as hair, toenails, cystic kidneys, and bladder stems has increased under HIMP [pilot program]. Line speeds don’t make it any easier to detect contamination. Most of the time they are running so fast it is impossible to see anything on the carcass. (Anonymous Inspector, Affidavit #2)

– When HIMP was originally implemented, I had high hopes that the program would improve food safety. Over the past few years, I have learned that is not the case. Instead it seems like it is just the USDA’s way of catering to the industry instead of the consumer. (Anonymous Inspector, Affidavit #2)

– The company threatens plant employees with terminations if they see them condemning too many carcasses or carcass parts. (Anonymous Inspector, Affidavit #3)

– It seems like the USDA is doing all it can to make sure the HIMP program succeeds in this plant, even if it means betraying consumers by hiding the truth about their food. (Anonymous Inspector, Affidavit #3)

– It’s no longer meaningful for consumers to see that mark indicating that their product has been USDA-inspected. (Anonymous Inspector, Affidavit #3)

– Food safety has gone down the drain under HIMP. (Anonymous Inspector, Affidavit #3)

– Personally, I will not eat any products that bear the name of the company for which this meat is produced. I don’t think that it is wholesome or safe to consume. (Joe Ferguson, Affidavit #4)

– After working in this plant for more than ten years, I definitely do not support its expansion to the rest of the industry. (Joe Ferguson, Affidavit #4)

Contact: Amanda Hitt, Food Integrity Campaign Director
Phone: 202.457.0034, ext. 159
Email: <>

Contact: Sarah Damian, Communications Manager
Phone: 202.457.0034, ext. 130
Email: <>
Government Accountability Project

The Government Accountability Project is the nation’s leading whistleblower protection organization. Through litigating whistleblower cases, publicizing concerns and developing legal reforms, GAP’s mission is to protect the public interest by promoting government and corporate accountability. Founded in 1977, GAP is a non-profit, non-partisan advocacy organization based in Washington, D.C.