Host Ed Goldberg interviews Audrey Niffenegger, author of Her Fearful Symmetry, a ghost story involving two sets of twins.
Audrey Niffenegger is a visual artist and a guide at Highgate Cemetery. In addition to her bestselling debut novel, The Time Traveler’s Wife, she is the author of two illustrated novels. She lives in Chicago.
Host Ed Goldberg interviews local writer Matthew Flaming, author of The Kingdom of Ohio, a speculative about science in 1900. "The Kingdom of Ohio" is a love story set against New York City at the dawn of the mechanical age, featuring Nikola Tesla, Thomas Edison, and J. P. Morgan." After discovering an old photograph, an elderly antiques dealer living in present-day Los Angeles is forced to revisit the history he has struggled to deny. The photograph depicts a man and a woman. The man is Peter Force, a young frontier adventurer who comes to New York City in 1901 and quickly lands a job digging the first subway tunnels beneath the metropolis.
Dmae Roberts presents "Oregon Treasures" - the first in a new series of features about veteran artists and arts organizations. The inaugural piece features the 75th anniversary of the Oregon Shakespeare Festival in Ashland. And in the second half, Portland Taiko joins us to talk about their encore production of "The Way Back Home."
The guest is Damian Platt, co-author with Patrick Neate, of CULTURE IS OUR WEAPON: Making Music and Changing Lives in Rio De Janeiro.
Damian will talk about his work with the Rio-based NGO AfroReggae, a group who uses music and art to keep the children of Rio’s favelas out of the pervasive drug trade. AfroReggae was forged out of the 1993 police massacre of 21 people in one of the favelas. Founded by ex-drug traffickers, AfroReggae works to take young people out of the drug/gang culture and harness the ingenuity and creativity of their communities to provide positive alternatives for young people. It shows the side of Rio beyond the tans of Ipanema and the pageantry of Carnival - the Rio you won’t find in any tourist guidebook.
Hosted by Bill Resnick and featuring the powerful protest music of Mavis Staples, this show includes a discussion of the real feasibility of replacing coal and nuclear power with wind and solar; a conversation critical of the "reality" show "Undercover Bosses"; and an analysis of the quagmire in Afghanistan.
Host Maire Cullen speaks with Portland writer and musician Dave Rovics. His music has been featured on Democracy Now!, BBC, Al-Jazzeera and other networks. His essays are published regularly on CounterPunch and Truthout and the 200+ songs he makes available on the web have been downloaded more than a million times.
Dmae Roberts talks with Don Horn, Shawn Price and Wendy Westerwelle about two shows at Triangle Productions. "Hats" - a musical about women over 50 and "Rose" starring Westerwelle about a Jewish surivor of the Warsaw Ghetto. Triangle Productions celebrates its 20th season in Portland.
Timothy Scott Dalbow has an interesting show up at the New American Art Union called “I Don’t Know Anyone in Paris.” The artist moved into the space, using it as his studio, painting mostly at night. On the opening night, there was only a big white, bare canvas, a couple of rockers lined up as if they were to view the ocean, some small ink drawings and signs of preparation and anticipation. The ongoing process of creating a big painting while viewers come and go over a period of six weeks is the show.
Thank you for tuning in to Un-Herd Archive series episode 14. This show dates to Nov 23 2009. This program was originally shared with episode 13 featured performance Deeds. Now its time for something totally different, the artist we call Soup Purse. Todd Dickerson, a performer and scholar of noise, a seer of visions, he is the man behind Soup Purse. He is nothing less than a fixture of the Portland noise scene and a respected fellow for that matter. His performance is more than sound, its divination. He borrows from the early surrealists in terms of method but not necessarily form. He also incorporates some spoken theatrical performance in to each show, but not in this program, oddly, perhaps he prefers an audience to feed from.