Podcasts about botstein

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.com

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.com

​​In September 2019, Richard Stallman, a prominent computer scientist and founder of the Free Software Foundation (FSF), resigned from both the Massachusetts Institute of Technology (MIT) and the FSF following controversial comments related to the Jeffrey Epstein case. Specifically, Stallman questioned the use of the term "sexual assault" concerning allegations against the late MIT professor Marvin Minsky, suggesting that the victim may have appeared "entirely willing." These remarks were widely criticized as insensitive and dismissive of the coercive circumstances surrounding Epstein's trafficking of minors.The backlash against Stallman's comments led to his immediate resignation from both institutions. However, in March 2021, he announced his return to the FSF's board of directors, a move that sparked renewed controversy and led to significant criticism from the open-source community. Organizations such as Mozilla and the Open Source Initiative opposed his reinstatement, citing concerns over his past behavior and statements.Leon Botstein, president of Bard College, engaged in a controversial relationship with Jeffrey Epstein, a convicted sex offender, by accepting donations and maintaining contact even after Epstein's 2008 conviction. Epstein contributed $75,000 and 66 laptops to Bard in 2011, and in 2016, he personally gave Botstein $150,000, which Botstein redirected to the college as part of his own $1 million donation. Botstein defended these actions by emphasizing his fundraising responsibilities and Bard's commitment to rehabilitation, stating, "We believe in rehabilitation."Despite knowing Epstein's criminal history, Botstein met with him over a dozen times to solicit further donations, raising ethical questions about engaging with disreputable donors. Botstein acknowledged Epstein's past but justified the interactions as part of his role in securing funding for the college, reflecting the complex dynamics between institutional fundraising and ethical considerations.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

La Segunda Guerra Mundial es, sin ningún género de duda y con Darmstadt como prueba, el factor temporal determinante de la revolución vivida en la música de la segunda mitad de siglo. La música salvó a muchos, si no de la contienda, al menos de parte de sus traumáticas consecuencias._____Has escuchadoAutobiografía intelectual. Luis de Pablo. Entrevista realizada al compositor el 25 de marzo de 2010 en la Fundación Juan March: [Web]Cuarteto de cuerda nº. 8 en do menor. Largo (1960) / Dmitri Shostakovich. Fitzwilliam String Quartet. Decca (1992)Cuarteto n.º 3, op. 46 (1943) / Viktor Ullmann. Cuarteto Bennewitz. Grabación sonora realizada en directo en la sala de conciertos de la Fundación Juan March, el 3 de marzo de 2021. Dentro del ciclo “Terezín: componer bajo el terror. La música de cámara en Terezín”“Tomás Marco habla sobre la “música confinada”. YouTube Vídeo. Publicado por Fundación BBVA, 27 de septiembre de 2022: https://www.youtube.com/watch?v=Q02yvqKCDEMWar Requiem (1962) / Benjamin Britten. Galina Vishnevskaya, soprano; Peter Pears, tenor; Dietrich Fischer-Dieskau, barítono; The Bach Choir & London Symphony Orchestra Chorus; London Symphony Orchestra; Benjamin Britten, director. Decca (1985)_____Selección bibliográficaARNOLD, Ben, “Music, Meaning, and War: The Titles of War Compositions”. International Review of the Aesthetics and Sociology of Music, vol. 22, n.º 1 (1991), pp. 19-28*BOTSTEIN, Leon, “After Fifty Years: Thoughts on Music and the End of World War II”. The Musical Quarterly, vol. 79, n.º 2 (1995), pp. 225-230*DINGLE, Christopher Philip (ed.), The Cambridge History of Music Criticism. Cambridge University Press, 2022*FANNING, David (ed.), The Routledge Handbook to Music under German Occupation, 1938-1945: Propaganda, Myth and Reality. Routledge, 2020*FUNDACIÓN JUAN MARCH, “Terezín: componer bajo el terror” [Programa de concierto]. Ciclo de miércoles 24 de febrero al 10 de marzo de 2021: [PDF]GUILBAUT, Serge, Manuel J. Borja-Villel, Be-Bomb: The Transatlantic War of Images and All That Jazz, 1946-1956. Museu d'Art Contemporani de Barcelona; Museo Nacional Centro de Arte Reina Sofía, 2007*HEILE, Björn, Charles Wilson, et al. (eds.), The Routledge Companion to Modernism in Music. Routledge, 2019*JAROCINSKI, Stefan, “Polish Music after World War II”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 244-258*KRADER, Barbara, “Soviet Research on Russian Folk Music since World War II”. Ethnomusicology, vol. 7, n.º 3 (1963), pp. 252-261*ORAMO, Ilkka, “Sibelius, Bartók, and the ‘Anxiety of Influence' in Post World War II Finnish Music”. Studia Musicologica Academiae Scientiarum Hungaricae, vol. 47, n.º 3/4 (2006), pp. 467-479*POTTER, Pamela M., “What Is ‘Nazi Music'?”. The Musical Quarterly, vol. 88, n.º 3 (2005), pp. 428-455*ROGERS, Julian C., Resonant Recoveries: French Music and Trauma Between the World Wars. Oxford University Press, 2021*ROSS, Alex, El ruido eterno. Seix Barral, 2009*SCHWARZ, Boris, “Soviet Music since the Second World War”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 259-281*VYBORNY, Zdenek y William Lichtenwanger, “Czech Music Literature since World War II”. Notes, vol. 16, n.º 4 (1959), pp. 539-546*WALLNER, Bo, “Scandinavian Music after the Second World War”. The Musical Quarterly, vol. 51, n.º 1 (1965), pp. 111-143* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Max Reger (1873-1916) - Vier Tondichtungen nach A. Böcklin, op. 128 (1913)Quattro poemi sinfonici da Arnold BöcklinDer geigende Eremit Spiel der Wellen 09:00Die Todteninsel 13:15Bacchanale 21:15London Philharmonic OrchestraLeon Botstein, conductor Approfondimento

- Impact of Palestinian-Israeli conflict in Europe and North America - Attempts to stifle pro-Palestinian protests. - Premier of Ontario Doug Ford considers Palestinian flags at protests as symbols of terrorism. - Local politics blinds leaders to the plight of Palestinians. - Discussing the widespread criticism of academic discussion about Israel - Efforts to criticize academic discussions existed before the Gaza conflict. - Bard College faced pressure to cancel a course titled "Apartheid in Israel-Palestine." - The course, taught by Nathan Thrall, aimed to explore evidence of Israel's breach of international laws against apartheid. - The College President Leon Botstein defended academic freedom. Botstein, a child of Holocaust survivors, refuted claims of antisemitism regarding the course. - Questioning the government of Israel in North America - Reference to former President Jimmy Carter's book "Palestine: Peace Not Apartheid" in 2006. - Carter defended the use of "apartheid" in the context of Israel's actions in the West Bank. - Emphasis on Carter's role in the Egypt-Israel peace treaty. - Making Community and Personal Reflections - Seven deaths in the community within two weeks, prompting a reflection on the purpose of life. - Quotes from Imam 'Ali emphasizing the transient nature of the world and the importance of spiritual insight. Friday Juma Khutba November 10th, 2023 Donate towards our programs today: https://jaffari.org/donate/ Jaffari Community Centre (JCC Live)

It's July 18th. This day in 1944, a group of almost one thousand refugees are headed to the United States, where they would eventually be housed at Ft Ontario, in New York. This was the only large group of Holocaust refugees permitted to enter the United States during World War II. Jody, Niki, and Kellie are joined by filmmaker Sarah Botstein to discuss the Ft Ontario group and how the US thought about refugees in this era. Sarah was a co-director and producer, alongside Ken Burns and Lynn Novak, of the documentary series “The U.S. And The Holocaust.” Sign up for our newsletter! We'll be sending out links to all the stuff we recommended later this week. Find out more at thisdaypod.com This Day In Esoteric Political History is a proud member of Radiotopia from PRX. Your support helps foster independent, artist-owned podcasts and award-winning stories. If you want to support the show directly, you can do so on our website: ThisDayPod.com Get in touch if you have any ideas for future topics, or just want to say hello. Our website is thisdaypod.com Follow us on social @thisdaypod Our team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia

El 23 de agosto de 2019 el financiero Jeffrey Epstein se suicidó en una celda del Centro Correccional Metropolitano de Manhattan. En esos momentos se encontraba detenido bajo la acusación de agresión sexual, pederastia y tráfico de menores. Hasta poco antes Epstein había sido un tipo muy popular y solicitado. Se dejaba ver con personajes importantes de las finanzas, la política, el cine y hasta la realeza. La lista de los que frecuentaban a Epstein es muy larga, pero no hace más que crecer con el tiempo. Publicaba este domingo el Wall Street Journal en exclusiva un reportaje sobre algunos de las personas que se relacionaron con él entre los años 2013 y 2017. El diario neoyorquino ha tenido acceso a la agenda de Jeffrey Epstein y ha hecho públicos algunos de los nombres que no aparecían en el conocido como “libro negro” de Epstein que tanto escándalo levantó hace casi cuatro años. En la agenda no sólo aparecen las personas, también las citas que tuvo durante sus últimos años de vida. Así encontramos, por ejemplo, que William Burns, hoy director de la CIA, programó tres reuniones con Epstein en 2014, cuando era subsecretario de Estado. Se conocieron en Washington y luego Burns visitó a Epstein en su mansión de Manhattan. Kathryn Ruemmler, consejera del presidente Barack Obama, tuvo varias reuniones con Epstein tras salir de la Casa Blanca y antes de convertirse en una de las principales abogadas de Goldman Sachs en 2020. Junto a Epstein viajó a París en 2015 y visitó dos años más tarde su isla privada en el Caribe. Pero las amistades de Epstein no se limitaron a la política. En su agenda se encuentran nombres provenientes del mundo de la cultura y la universidad. Gente como Leon Botstein, director de orquesta y rector del prestigioso Bard College de Nueva York. Botstein invitó a Epstein al campus, éste aceptó la invitación y se llevó a un grupo de mujeres jóvenes con él en helicóptero. Noam Chomsky, un renombrado lingüista, profesor del MIT y conocido activista político, también trató a Epstein. Según se desprende de su agenda, Epstein y Chomsky cenaron juntos en la casa del primero en 2015. Ninguno de estos nombres aparece en el “libro negro” ni en el registro de pasajeros que viajaron en su avión privado, una información que se hizo pública hace años y que ha ocasionado más de un terremoto. La agenda muestra que Epstein organizó múltiples reuniones con toda esta gente a pesar de haber sido condenado en 2008 por un delito sexual, algo de lo que todos eran conscientes. La agenda no revela el propósito de esas reuniones y tampoco se sabe si se llegaron a celebrar, pero algunos de los señalados se han visto obligados a dar explicaciones. Unos arguyen que se vieron con Epstein porque era rico y estaba bien conectado. Respecto a su condena por agresión sexual, todos coinciden en que la conocían, pero ya había cumplido su condena y estaba limpio y rehabilitado. Botstein asegura que se puso en contacto con él para conseguir donaciones para el Bard College, Chomsky que le vio para discutir temas de naturaleza política y académica. Burns se reunió con Epstein hace unos diez años cuando estaba a punto de dejar la Casa Blanca. Se lo presentaron como un experto financiero, pero, según la portavoz de la CIA, nunca tuvieron relación personal. Ruemmler si llegó a tener una relación con Epstein, pero de tipo profesional en calidad de abogada. Asegura que nunca llegó a viajar con Epstein y que lamenta haberle conocido en persona. Todos se utilizaron mutuamente. Ellos querían dinero y contactos. A Epstein, por su parte, le gustaba presumir de amistades importantes no sólo en el mundo de la política y las finanzas, también en el de la cultura. Colaborar con una orquesta sinfónica o con una universidad abre muchas puertas y da muy buena imagen. Con los políticos era diferente, ahí buscaba poder e influencia para seguir ganando dinero y, ya de paso, para obtener protección cuando la necesitase. En La ContraRéplica: - Los límites de la libertad - Bukele, Fujimori y los cirujanos de hierro - Conspiranoia · Canal de Telegram: https://t.me/lacontracronica · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. 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Ken Burns, Lynn Novick and Sarah Botstein with Rabbi Sharon Brous - Lessons from Their Holocaust Documentary

Lynn Novick and Sarah Botstein, co-creators of the new Ken Burns documentary, "The US and the Holocaust"

In this episode of 92NY Talks, award-winning filmmakers Ken Burns, Lynn Novick, and Sarah Botstein discuss their PBS documentary series, The U.S. and the Holocaust.  The filmmakers are joined by Daniel Mendelsohn, bestselling author of The Lost and a descendant of Holocaust victims, who is also featured in the film, and moderator Kara Swisher, co-host of the Pivot podcast. The conversation was recorded on September 14, 2022 in front of a live audience at The 92nd Street Y, New York.

We talk with Ken Burns, Lynn Novick and Sarah Botstein about their new film, The U.S. and the Holocaust. The three-part, six-hour documentary series premiered on PBS September on 18-20, 2022, and examines America's response to one of history's greatest humanitarian crises. Ken Burns states "that he won't work on a more important film". As well as discussing their latest and important film, they talk about the magic of their team and working together, their professional callings, the craft of filmmaking, and "the how" of tackling difficult topics.

Filmmakers Ken Burns and Sarah Botstein join Margaret Hoover to discuss their new three-part documentary series, “The U.S. and the Holocaust,” which examines America's response to Nazi atrocities, why the U.S. failed to take in more refugees, and how themes from the past echo today. They discuss how Hitler was inspired by the brutality levied on Native and Black Americans and how rampant anti-Semitism in the U.S. led President Franklin D. Roosevelt to limit the scope of the U.S. response to the humanitarian crisis. They also discuss what Americans knew of Hitler's acts, when they knew it, and how public opinion shifted as imagery from death camps began making its way into American newspapers. Botstein and Burns reflect on how the documentary's themes resonate with contemporary America, as genocide continues around the globe and pro-authoritarian sentiments threaten democratic institutions. The series, which Botstein says “can be a warning,” starts this Sunday, September 18th on PBS. Support for “Firing Line for Margaret Hoover” is provided by Stephens Inc., Robert Granieri, Charles R. Schwab, The Fairweather Foundation, Asness Family Foundation, The Rosalind P. Walter Foundation, Damon Button, Pritzker Military Foundation on behalf of the Pritzker Military Museum and Library, and The Marc Haas Foundation.

On today's episode of the Sharon Says So Podcast, we are thrilled to sit down with documentary filmmakers Ken Burns and Sarah Botstein. Their new docuseries, The U.S. and the Holocaust, airs on PBS on Friday, September 18th, 2022 and highlights the nuances of America's response to the Holucaust. Ken and Sarah talk about their work, and about how it can often be the little known, everyday people–citizens and desk-sitting bureaucrats–who can make a lasting impact on history. Heroism does not mean absolute perfection, and many historical leaders struggled with making decisions, sometimes wrongly or too late. But as Americans, we are often at our best when we commit to considering and acting on behalf of our fellow human neighbors. Hosted on Acast. See acast.com/privacy for more information.

Larry is joined by award-winning filmmakers Ken Burns and Sarah Botstein to discuss their new PBS docuseries 'The U.S. and the Holocaust' premiering Sept. 18th. They begin the conversation by detailing the United States government's inadequacies in their response to the Nazi's persecution of the Jews during WW II. Next, they offer a brief history of xenophobia in American society leading up to the events in the film(7:10) and talk about how the number of casualties and the sentimentality of certain portrayals of the war like 'The Diary of a Young Girl' by Anne Frank may have been different if America would have reacted more quickly.(19:06) After the break they dive into Charles Lindbergh's anti-semitism and how it drastically contradicted his celebrated public persona while also shining a light on some of the lesser known heroes of the Holocaust (29:35) They end the pod by collectively pondering how humanity is capable of committing atrocities like the Holocaust and debate if the current political climate in the U.S. is heading towards a similar atmosphere.(40:09) Host: Larry Wilmore Guests: Ken Burns and Sarah Botstein Associate Producer: Chris Sutton Learn more about your ad choices. Visit podcastchoices.com/adchoices

President Botstein shares insights from his remarkable career which started as the youngest college president in the U.S. at just 23, when he joined the experimental Franconia College in New Hampshire and has continued through 46 years as the visionary leader of Bard College. He describes in detail 4 major innovations he has launched at Bard: 1) the Early College network in 7 cities across the U.S., 2) the Bard Prison Initiative, 3) the Open Society University Network of dual degree liberal arts programs around the world that culminated in a $500 million matching gift from George Soros, and 4) the development of Bard as a leader in music education and performance, including a Conservatory, a Frank Gehry-designed performing arts center, and Orchestra Now, a Master's program that trains world-class musicians. He describes the differences along with some commonalities between being a top conductor, for the American Symphony, the Jerusalem Symphony and many leading orchestras, and a successful college president. David Finegold is the president of Chatham University. Learn more about your ad choices. Visit megaphone.fm/adchoices

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

The short film "United We Play" features music by pianist/composer Marcus Roberts with the American Symphony Orchestra, led by Leon Botstein. Roberts and Botstein talk about the film and the music.

Democracy and Education Democracy and education are inextricably linked. A democracy can only work when voters have an open mind, the ability to think critically, and are tolerant of others and their beliefs. A good education should be designed to cultivate these instincts, and the result should be we well-rounded citizens who respect each other, engage in healthy public discourse, and are able to think critically to uncover lies and bad ideas. Education should prepare all citizens to properly participate in civic life. The 4 Pillars of Good Education First, students should gain a firm grasp on language, and be able to read and write critically, uncover lies and discuss opinions respectfully. Second, students need strong mathematic, scientific, and computational literacy. Third, we need to understand and be able to think critically about the past, because the way we understand history has an impact on what we do in the future. Finally, we need to encourage creative thinking, and learn to understand the beauty and importance of things like poetry, art, and design. The Bankruptcy of US Education Our education system does not prepare us for the nation and the economy we live in. First, a high school degree does not prepare students for a life of work. With the current level of specialization and technology, we must make higher education free in order to give graduates a way to succeed. Our education system is also failing us civically. Most adults can’t name the three branches of government, a huge percentage of the electorate can be easily manipulated by obvious falsehoods, and many lack critical thinking skills as evidenced by COVID denial. Find out more: Leon Botstein’s entire life and his work in all its aspects is devoted to one mission: the improvement of peoples’ lives through education and exposure to the arts. A child of a generation that experienced extreme prejudice and barbarity, his firm belief that a better and more equitable world can be created by cultivating the life of the mind remains the principle that informs and connects all of his performances, writing, public service, and teaching. He was born in Zurich and immigrated to the US as a child. He studied history and philosophy at the University of Chicago and earned a PhD in history from Harvard University. In 1975 Botstein became the president of Bard College, a position he still holds. Under his leadership, Bard has developed into a distinctive liberal arts institution offering a vast range of undergraduate and graduate programs. In 1990 Botstein established the internationally admired Bard Music Festival, the success of which helped in the development of the beautiful Richard B. Fisher Center for the Performing Arts, a multi-functional facility designed by Frank Gehry on the Bard College campus. Opening in 2003, the Fisher Center inspired a programmatic expansion, Bard SummerScape, that includes opera, dance, theater, and cabaret over six weeks every summer. In 1992 he was named music director of the American Symphony Orchestra, a position he still holds. During his directorship, he transformed ASO into a pioneer, presenting great works that have long been ignored by history, alongside the acknowledged masterpieces, in concerts curated thematically, using history and ideas to catch the imagination of a wider and non-traditional audience. On January 23, 2020, Botstein was named chancellor of the Open Society University Network, of which Bard College and Central European University are founding members. We've started a referral program! Refer us to your friends to get a free button or Moleskine notebook. Please use this link to get your personal referral code: https://refer.glow.fm/future-hindsight, which you can then forward to your friends.

Steven Colbert has called him a smartypants and an egghead. Bard College President Leon Botstein says he’s one of those people who’s easy to make fun of and he’s okay with that. In addition to being the head of an institution of higher learning for the past 45 years, Botstein is the Conductor of the American Symphony Orchestra. And while other educators are worried about what’s going to happen to colleges now, Botstein says the creativity of students will save the day.  “Now What?” is produced with the help of Gabe Zimmer, Steve Zimmer and Stephanie Marie Horton. Audio production is by Nick Ciavatta.

This episode of the Policy Matters features Todd Lamb talking with Clara Haskell Botstein. Clara is the Associate Vice President of the Bard Early Colleges.  The schools are tuition-free early college programs where students are taught by college faculty and can earn an associate in arts degree from Bard College concurrently with a high school diploma. Bard Early College is changing the lives of students, especially students in underserved areas. Bard High School Early Colleges are located in Manhattan, New York; Queens, New York; Newark, New Jersey; Cleveland, Ohio; Washington D.C.; and Baltimore, Maryland. We hope you enjoy. 

In this bonus episode, Josie Duffy Rice and her co-host Derecka Purnell talk to Lynn Novick and Sarah Botstein, the creators of College Behind Bars. College Behind Bars, which was directed by Novick and produced by Botstein, is a four-episode documentary series about the Bard Prison Initiative, one of the most innovative and challenging prison education programs in the country. Josie and Derecka talk to Sarah and Lynn about the years they spent making the film, what they learned, and the future of prison education in America. For transcripts please visit theappeal.org

Show #258 | Guests: Lynn Novick and Sarah Botstein | Show Summary: Lynn Novick and Sarah Botstein examine the transformative power of education through the eyes of a dozen incarcerated men and women trying to earn college degrees, in their groundbreaking film College Behind Bars: Documenting The Bard Prison Initiative's Impact On Prisoners. Novick and Botstein, long-time associates of legendary filmmaker Ken Burns, invested years into filming inside the New York State prison system. College Behind Bars airs on PBS November 25 and 26, 2019.

Two veterans of Ken Burns films, https://www.pbs.org/kenburns/about-the-filmmakers/lynn-novick/ (Lynn Novick) and https://www.pbs.org/kenburns/about-the-filmmakers/sarah-botstein/ (Sarah Botstein), have recently completed work on their documentary film, four-part PBS series, https://www.pbs.org/show/college-behind-bars/ (College Behind Bars).  And I had the pleasure of speaking with the both of them about some of their experiences working on Ken Burns' films as well as what it was like going off on their own for their most recent work. Topics Discussed how teaching classes in prison inspired Lynn Novick and Sarah Botstein to make College Behind Bars Novick and Botstein detail the logistics of making a documentary film in a prison how working with Ken Burns over the years informed their whittling down of 400 hours of verite footage into four hours of a series Novick and Botstein discuss how we, as doc filmmakers, experience profound change in our lives making our films and working with our subjects   Additional Resources Watch the extended trailer for, College Behind Bars https://www.youtube.com/watch?v=K8ec3QpnaiU   Watch an extended look, The Vietnam War https://www.youtube.com/watch?v=3j-3Xi5BcKs     Sponsors & Thank Yous  ° http://freemusicarchive.org/ (Free Music Archive) – Special Thank You to recording artist, http://freemusicarchive.org/music/Dlay/ (Dlay) who supplied music for this week's episode of TDL. You too can download his music or other artists' music by going to http://freemusicarchive.org/ (Free Music Archive) today!   Subscribehttps://podcasts.apple.com/us/podcast/the-documentary-life/id1112679868 (Apple) | https://open.spotify.com/show/0wYlYHJzyk3Y7fHzDDwvmp (Spotify) | https://www.stitcher.com/podcast/thedocumentarylife/the-documentary-life (Stitcher) |  Rate and ReviewIf you have found value in this podcast please leave a review so it can become more visible to others. Simply click the https://itunes.apple.com/us/podcast/documentary-life-filmmaking-documentary-films-documentary/id1112679868?mt=2 (link) and then click on the Ratings and Reviews tab to make your entry. Thank you for your support!  

Leon Botstein, music director and conductor, scholar, and president of Bard College in upstate New York, had once thought that the Berlin Wall would never come down. And he found the revolutions surrounding 1989 “frightening” because they could lead to the ascent of unregulated capitalism and the release of suppressed nationalism. Botstein explains that democracy “is harder than people expected” and worries that we are spending too much time staring at our smartphones and “mesmerized by nothing” rather than finding meaning and value by our own activity. Referenced in the interview: https://www.pbs.org/kenburns/college-behind-bars/

For 30 years, Lynn Novick has been directing and producing landmark documentary films about American culture, history, politics, sports, art and music. With co-director Ken Burns, she has created more than 80 hours of acclaimed programming for PBS, including The Vietnam War, Baseball, Jazz, Frank Lloyd Wright, The War and Prohibition. This duPont–Columbia and Peabody-Award winning filmmaker's new documentary series, College Behind Bars, reveals the transformative power of higher education through the experiences of men and women trying to earn college degrees while incarcerated. Executive produced by Ken Burns and produced by Sarah Botstein, College Behind Bars is Novick's solo directorial debut and will air November 25 and 26 on PBS stations. The four-hour series, distilled from nearly 400 hours of cinéma vérité footage, explores the lives of a dozen incarcerated men and women as they struggle to earn degrees in the Bard Prison Initiative (BPI), one of the most rigorous and effective prison education programs in the country. In this era of mass incarceration, America is the world's largest jailer, with more than 2 million men and women behind bars; 630,000 are released annually, and nearly 50 percent end up back in prison within five years, trapped in a cycle of imprisonment, release and reincarceration. Once commonplace in American prisons, higher education declined precipitously after 1994, when Congress ended federal Pell Grants for inmates as part of the Clinton crime bill. In the nearly 20 years since BPI began, more than 500 alumni have been released, and fewer than four percent have gone back. The program currently enrolls 300 men and women in six prisons and costs $6,000 per student per year, most of it privately funded. Here's a chance to get a preview of the series and hear a discussion with the filmmakers and formerly incarcerated BPI students featured in the film about the power of education to transform lives and benefit society at large. NOTES In association with KQED For a sneak peak of the series, go to: https://www.youtube.com/watch?v=K8ec3QpnaiU Learn more about your ad choices. Visit megaphone.fm/adchoices

SPEAKERS Lynn Novick Director, College Behind Bars; Principal Collaborator with Ken Burns on The Vietnam War, Prohibition, Jazz, Baseball and The War Sarah Botstein Senior Producer, College Behind Bars; Producer with Ken Burns on The Vietnam War, Prohibition and The War Giovannie Hernandez Graduate, Bard Prison Initiative Brian Watt News Anchor, KQED—Moderator This program was recorded in front of a live audience at The Commonwealth Club of California in San Francisco on September 19th, 2019.

The "Star-Spangled Banner" that kicks off opening night concerts across the U.S. is often believed to be a great patriotic tradition. But some people think it's out of place and out of mood. The Fort Worth Symphony recently drew criticism over its practice of playing the anthem before every concert. A Dallas musician sounded off on Facebook that orchestra concerts were not meant to be patriotic events, and that the anthem ruined the mood a conductor was trying to set. Many others agreed. In this week's podcast, two experts weigh in on the anthem at the orchestra. Marc Ferris, author of Star-Spangled Banner: The Unlikely Story of America's National Anthem, says he has no problem with the piece's appearance, which is a holdover from 9/11 in many concert halls. "Just to shoehorn it in there just for the sake of doing it could take away from the thematic program," Ferris said. "But you don't have to do it at the beginning. You could do it after intermission. You could do it at the end." He notes that the first time it was played at a baseball game was during the seventh-inning stretch at 1918 Brooklyn Dodgers game. Leon Botstein, the conductor of the American Symphony Orchestra and president of Bard College, is more ambivalent. "I don't think it necessarily spoils the mood," he said in the second part of the segment. "But to repeat it at every concert is a kind of cheap patriotism. It has, unfortunately, a negative effect. It's like repeating a prayer every day without understanding its meaning."  However, Botstein believes the "Star-Spangled Banner" can be effective when American orchestras play it on international tours. He also thinks it provides an opportunity for an otherwise passive audience to participate in a concert. Ferris dismisses the notion that the anthem's octave-and-a-half range and complicated lyrics are overly challenging. "It's a real myth that this is hard to sing," said Ferris. "What, a professional singer can't remember 81 words? We're only singing the first verse." Botstein disagrees. "The 'Star-Spangled Banner' is not a great national anthem," he said. "It happens to be ours. It's slightly unsingable and the words don't really make a lot of sense. But it is our national anthem. If the audience actually likes it, maybe it doesn't spoil the mood." Listen to the full segment at the top of this page and leave a comment below: How do you feel about playing the Star-Spangled Banner before concerts? After four years, this is Naomi Lewin's final episode as host of WQXR's Conducting Business. We thank her for her steadfast dedication to the show, her commitment to quality arts journalism, her sense of humor and willingness to dive into a wide range of topics involving classical music. We wish her best of luck in her next endeavors.

One of the most interesting people I met up with at NAMM was Sam Botstein of Tipsy Circuits. Sam is the producer of The Distillery, a podcast that also talks to media art people, focusing primarily on music (and often analog) people. But Sam was at NAMM showing off a new Eurorack module - the Emperor, an Intel-loaded computing box-in-a-module. I have to admit that it was pretty damned cool to see Max, Maschine and other products running within a Eurorack system. So we set up an interview date/time and pulled it off. But it turned out that Sam has a much more diverse background than most folks - in this discussion, he took me on a journey from playing with the Extreme Trumpet Mafia, through Keith McMillen's CalArts and Mills tribes, slipstreaming through turntablism and lymphoma, and ending up on the NAMM show floor with a Great Big Module and an even bigger plan. It was a wild ride. And he's only 21. An amazing individual share an amazing story. Enjoy!

This episode is a recording of the second panel of the day entitled Ethics and Working in a Diverse World. The panel was chaired by Bob Grand, Wabash College class of 1978 and Managing Partner of Barnes Thornburg LLP, and consisted of Leon Botstein, President of Bard College; Bobby Schnadel, Dean of the School of Informatics and Computing at Indiana University; David N. Shane, Wabash College class of 1970 & retired CEO of LDI, Ltd., LLC. The panel discussion centered around the question: How did each panelist benefit from the liberal arts for developing a deeper sense of ethics and the capacty to work effectively in a diverse world, and how would each change liberal arts education to make it more effective? (Episode 34)

On May 29, 1913, the Paris premiere of Igor Stravinsky's ballet The Rite of Spring provoked a riot: whistling and booing, catcalls and fisticuffs overran the performance and the police were called in to quiet the angry crowd. It became one of the most celebrated scandals in music history. Today, The Rite of Spring is practically an audience favorite and rioting in concert halls is unthinkable. But is this a good thing? Does classical music need more shock value, more scandals? In his latest column for BBC Music Magazine, music critic Richard Morrison argues that classical music needs more Rite-style uproar. "Never in my 30 years as a critic have I witnessed that kind of reaction," Morrison tells host Naomi Lewin in this podcast. "It just struck me that maybe we’re a bit too polite these days and composers aren’t provoking us enough." Composers today rarely seek the label enfant terrible, added Morrison. "I think they rather like to be liked rather than creating an uproar." Leon Botstein, the music director of the American Symphony Orchestra and president of Bard College, believes the reason audiences were shocked by the Rite of Spring was a sense of ownership over a received musical language. Classical music signaled respectability to audiences "and these young composers were sticking their proverbial finger in their eye." But Botstein believes that many of today's concert-goers lack a frame of reference for challenging new music. "The problem is the audience is musically illiterate and therefore if you want to do something very daring and sophisticated you’re presuming a literate audience," said Botstein, who will devote the 2013 Bard Music Festival to Stravinsky. "So there’s very little for a composer to push back on. That’s the dilemma they face." To some extent, it isn't possible to shock audiences because everything seems to have been done. By the 1960s, composers had explored the outer extremes of total Serialism, computer music and John Cage-style chance. The hybrid, postmodern styles embraced by composers in the last two decades, by contrast, are seldom driven by a need to provoke. Even Minimalism, a style that provoked an uproar with the 1973 premiere of Steve Reich's Four Organs, is now part of the mainstream, featured in film scores and TV commercials. Morrison believes that classical music has long shifted between radical and conservative modes. "If you look at the history of classical music, it’s a very fine balance between tradition and revolution," he noted. "You had Haydn and Mozart, who were craftsman in an established tradition. But then you had Beethoven who came and turned everything upside down. You need both polarities." But Botstein doesn't believe that headline-making disturbances are what's needed to move classical music forward in the name of progress. "I don’t think classical music should be about scandal or riots," he argued. "Leave it to football matches, leave it to political rallies. This is an entirely different art form and I think we should walk away from the way Hollywood makes success." Weigh in: Should classical music do more to shock audiences? Is it possible to shock anymore? Take our poll and leave your comments below. .chart_div { width: 600px; height: 300px; } loadSurvey( "music-shocks", "survey_music-shocks");

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to digicomm@uchicago.edu. Leon Botstein, AB '67, offers remarks after accepting an Alumni Medal at Rockefeller Memorial Chapel on June 2, 2012. Botstein reflects on the power of nostalgia and the importance of scholarly discourse. He is president of Bard College, music director of the American Symphony Orchestra, and conductor laureate of the Jerusalem Symphony.