Podcast appearances and mentions of charles pratt

During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more.    History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future.        On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were  Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes.  For more information abbot Romanesquwe architecture you can find that, here.  Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes  that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary  on the sōsaku hanga movement during that time.  Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer,  carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Yellow Iris (1953)  Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.     Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic.  Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City.  Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Far Eastern Madonna (1939) white line woodblock print  Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here.  House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko.  Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature.  Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.  担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program.  Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.  Landscape (1934)  College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ  established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here.  Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here.  Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here.  U.S Army Officer (1948)  24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here.  Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here.  Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858.  Sarah Lawrence College - is a liberal arts college in Yonkers, New York.  Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here.  Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic.  Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams.  James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan.  PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art -  is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here.  Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972.  Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world.  The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note Records (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

Hello Interactors,Most people think roads were planned, designed, and built for cars, but that’s not true. They’re public spaces intended to bring social and economic benefit by increasing mobility. Economically they’re successful, but socially they not only are failing us…they’re killing us.As interactors, you’re special individuals self-selected to be a part of an evolutionary journey. You’re also members of an attentive community so I welcome your participation.Please leave your comments below or email me directly.Now let’s go…WALKING AND BIKING TO DEATHToday is “Bike Everywhere Day” in the Seattle area. Once known as “Bike to Work Day”, it would typically inspire an estimated 20,000 people to grease the chain, pump up the tires, strap on the helmet, and tepidly merge into the smooth, rolling polluted river of concrete nestling up alongside menacing machines of masculinity hastily rushing to work. Commuting patterns have been disrupted by Covid the last couple years. But with the League of American Bicyclists declaring May as “Bike Everywhere Month” commuting to and from work isn’t the only reason to slide onto the saddle. If you dare to do so.According to the CDC, “bicycle trips make up only 1% of all trips in the United States. However, bicyclists account for over 2% of people who die in a crash involving a motor vehicle on our nation’s roads.” It’s important to note the CDC use the human-centered word ‘bicyclist’ to describe the victim but an object-oriented word ‘motor vehicle’ to describe the killer. It’s not the motor vehicle’s fault these people died, it’s the fault of motorists. As gun enthusiasts like to remind us, ‘guns don’t kill people, people do.’ The same is true for cars and both machines can be violent killers. The CDC report “Nearly 1,000 bicyclists dying and over 130,000 injured in crashes that occur on roads in the United States every year.” But that’s only those reported. Most cyclists, especially in disadvantaged communities, don’t bother reporting crashes. And not all police nor hospitals report or rate car-related bike and pedestrian injuries consistently…if at all. And different sources report different numbers.The Consumer Product Safety Commission reports “425,910 emergency department-treated injuries associated with bicycles and bicycle accessories in 2020.” The National Highway Traffic Safety Administrations reports “932 bicyclists were killed in motor-vehicle traffic crashes in 2020, an 8.9% increase from 856 in 2019.” The U.S. Department of Transportation announced this week that 43,000 people died on roadways in 2021 – the highest since tracking began in 1975.That’s a 10% percent increase over 2020. Pedestrian fatalities were up 13% and bicycle fatalities were up 5%. They note that during Covid speeding offenses climbed causing a 17% increase in speed-related fatalities between 2019 and 2020 and a 5% increase prior to 2019. It’s unclear how speed factors in the increase in pedestrian and bicyclist deaths during this time, but there is no denying that speed kills.The Transport Research Laboratory out of the UK compared multiple datasets of ‘pedestrians killed’ by the ‘front of a car’ (again comparing people to an object) to better understand the relationship between speed and risk of fatal injury to pedestrians. They concluded “The risk increases slowly until impact speeds of around 30 mph. Above this speed, risk increases rapidly – the increase is between 3.5 and 5.5 times from 30 mph to 40 mph.” This applies to cyclists as well. Choosing to bike on roads in America comes with a risk of dying that is nearly five times greater than choosing to drive a car. And the odds of dying in a car accident are already relatively high – 1 in 101 – the eighth largest risk just behind suicide and opioids in 2020.The ugly truth is the ongoing and rising deaths and injuries to cyclists and pedestrians at the hands of motorists is a seemingly necessary cost to uphold the freedom, comfort, and convenience of automobility that many enjoy. Our political and public administrative services care about saving lives, but evidently not if it means changing road designs, land-use policies, travel patterns, restricting access to some roads, or – heaven forbid – creating viable ways to ditch the car should you choose.But this country did once care about saving lives on the road. As the post-WWII boom in cars and roads continued to balloon so did car-related deaths. Federal, state, and local governments rallied to make cars and roads safe for motorists. The same is true for new bikes purchased for baby boomers. When kids were getting injured and killed on their bikes in the 60s and 70s due to poor design and construction, consumer protection agencies cracked down on manufacturers and the federal government almost made it illegal to bike on the street.It was a bike enthusiast out of Davis, California, John Forester, who fought for a cyclist’s right to use public roads. But as a confident cyclist, and self-proclaimed engineering expert, who prided himself on his ability to ride in traffic, he advocated for ‘vehicular cycling’ which meant treating a cyclist more like a motorist than a pedestrian. He even claimed protected or separated bike lanes were more dangerous than riding with traffic. He was making that claim up until he died in 2020. But he mostly was a bike snob who didn’t want to be burdened with having to share space with kids and slower everyday cyclists on a bike path, so he made it his lifelong ambition to tank efforts to build safer bike infrastructure. Though, it was elite bicycle enthusiasts like him we have to thank for the existence of paved American roads in the first place.A LEAGUE OF THEIR OWN“Every person has an equal right to travel on the highways, either on foot or with his own conveyance, team, or vehicle. This right is older than our constitutions and statutes … The supreme rule of the road is, Thou shalt use it so as to interfere as little as possible with the equal right of every other person to use it at the same time …”This was written in 1897 by a patent attorney named Charles Pratt. He was one of three men who started the League of American Wheelman (L.A.W) in 1880. Now called the League of American Bicyclists, they’re the leading sponsor of today’s “Bike Everywhere Day.” Pratt was joined by a bike importer, Frank Weston, and writer, adventurer, conservationist, Kirk Munroe. Together they grew the L.A.W. to become one of the most influential and powerful organizations of their time. They are also the originators of America’s paved roads.In 1888 the L.A.W. members voted to fund the National Committee for Highway Improvement. Their first publication served as a textbook for road construction called, Making and Mending Good Roads & Nature and Use of Asphalt for Paving. Fifteen-thousand copies were printed and sent to state legislators as well as county, city, and town officials. But they also solicited bike manufacturers and dealers, road construction and pavement companies, and equipment manufacturers. Asphalt and pavement companies eagerly offered their support and financial contributions to the effort.One of the members of the L.A.W., Civil War Colonel and bicycle manufacturer (who later made electric cars), Albert Pope, was one of the most eager supporters of what became the ‘Good Roads Movement.’ In 1889 he offered an upfront contribution of $350 with an offer to fund whatever was necessary to build good roads writing: “Go ahead with the work…and we will pay the whole or any part of the expense you desire.”        If this sounds like a bunch of wealthy cycle enthusiasts coming together to design, fund, and build public roads across America, it is. Recall this is the same model used to build the rail system across the United States in the 1840s. Federal or state funding, or government sponsorship of any public transportation, was not on the minds of elite power brokers of the 19th century…or the 18th century for that matter. Road and highway design, construction, and maintenance was believed to be the job of local governments in partnership with private parties. One L.A.W. member from New York, A.J. Shriver, wrote in 1889 that federal funding of roads was “Socialistic” and thereby “unconstitutional.”But these beliefs and attitudes were largely coming from wealthy urban elites. Bicycling, after all, was something the privileged class enjoyed as a kind of hobby. But in the rural countryside attitudes were different. Most farmers were responsible for maintaining the roads along their property and believed they ‘owned’ them. They were also leery of wealthy city-slickers offering opinions on how ‘their’ roads were to be designed, used, and by whom.The L.A.W. drafted legislation in 1889 calling for a state tax to fund the highway commission for the creation of maps and plans for the construction of ‘good roads.’ The legislation was adopted by nine states, but failed to garner the necessary votes. Farmers were speaking out against this infringement on ‘their’ property. One Michigan farming coalition wrote, “The farmers must bear the expense while bicyclists and pleasure-riding citizens will reap the larger benefits.”The defeats at the state level sent the the L.A.W. back to the drawing board. They realized they needed a different approach. Their president wrote, “We must concentrate first on education, then agitation, and finally legislation.” They created a monthly publication that was an “Illustrated Monthly Magazine Devoted to the Public Roads and Streets” that hit a peak circulation of 75,000 copies by 1895.In 1898 the L.A.W. then published a 41-page book titled, Must the Farmer Pay for Good Roads?. They mailed 300,000 copies to farmers and members of the U.S. Department of Agriculture. It worked. The book’s author, Otto Dorner, later wrote in The Forum magazine that,“… the farmers of the United States are beginning to thoroughly appreciate the need [for] better highways; and the work of the League of American Wheelmen in the direction of State aid is receiving much support from the more progressive among them … The Farmers’ National Congress … [commended] the efforts of the League of American Wheelmen to bring about the general introduction of the State Aid system.”The Model T was just around the corner, but it was the bicycle and bicyclists that made that corner. In 1902 these words appeared in a magazine called The Automobile:“The effect of the bicycle on road improvement has been … phenomenal in the past 10 and 15 years …” …Directly and indirectly the bicycle has been the means of interesting capital in road building to the extent of millions of dollars, and of spreading abroad more accurate and scientific data concerning road construction than was ever before done in so short a time. The bicycle practically paved the way for automobiling.”IT'S ONLY FAIRCyclists today get little gratitude for the early lobbying efforts to build smooth, safe roads. But it should also be noted that these early wealthy and influential cycling enthusiasts quickly became motoring enthusiasts. Henry Ford tends to get all the credit for automobile manufacturing, but it was the early bicycle manufacturers who converted bike factories to car factories. Henry Martyn Leland, before he created Cadillac and Lincoln, was making bike transmission parts for Colonel Pope’s bike company. A car, after all, is just a glorified motorized quad-cycle.Men like these are often portrayed as the protagonist in the power and glory of the early story of bikes, but women rode too. And it wasn’t just high-society women biking either. In 1872, Louise Armaindo, set the American long-distance record, covering more than 600 miles in 72 hours. In 1890, Kittie Knox became the first African American woman to become a member of the League of American Wheelman. She didn’t stop there. She became a successful bike racer and became the first woman to be seen racing in ‘bloomers’ instead of a skirt. Sadly, she still faced fierce discrimination. And while the bicycle plays a huge role in the liberation of women, and a symbol of the suffrage movement, women are still fighting for recognition, acceptance, and necessary leadership opportunities in a the current burgeoning cycling movement. They are also unrepresented in determining the design and use of our roads.Not much has changed since the the 19th century. The design of motorized and non-motorized vehicles, and the transportation infrastructure they require, is still very much dominated by Western, mostly white, men. Just as those early bicycle and pavement businessmen came together around the L.A.W. to “organise capital accumulation, advance[e] elite entrepreneurial agendas, and consolidate[e] urban regimes”, so too are today’s, mostly white male, CEOs of automobile, oil and gas, chemical, concrete and asphalt, and road construction companies.And they’re all in collusion with legions of civil engineers, elected officials, and administrative workers at the federal, state, and local level to provide a transportation system that perpetuates our insatiable need to make more money to buy more things; this requires more roads to move more people and more things by car or truck; which in turn creates more waste, more pollution, and more traffic-related deaths.This approach to planning public land has led to uneven urban and suburban development, perpetuated ethnic and race privilege, and is rooted in attitudes and beliefs stemming from a culture of patriarchy. As a group of transportation researchers out of Belgium observe,“…how across strikingly diverse cities, urban regimes hide and legitimize these logics by applying the discourse of sustainability, framing infrastructural investment as a largely technical and rational response to the problems of congestion or low quality of public space. Instead, approached critically, transport is an essentially political issue of distributing social and spatial benefits and costs of urban development.”That’s from their February 2022 paper, Moving past sustainable transport studies: Towards a critical perspective on urban transport. They call for a critical assessment of the study of transportation, adding that such a “perspective departs from analysing and juxtaposing specific transport modes (e.g. airplanes and private cars against public transport) and related lifestyles (e.g. mass tourism, suburban life and work against cycling and walking), and instead demonstrates their role in sustaining socio-economic structures that enable the capitalist mode of producing urban space and society. Therefore, in sum, being critical about transport means analysing it as a key component of capitalism.”They go on to prove their point by querying existing transportation research for terms like “capitalism” or “capitalist”, “neoliberalism”, “feminism”, and “race” and find there are few results. The words “equity” or “equality”, and “gender” return just 2% of existing publications found in the hundreds of thousands of leading academic transportation and mobility journals. In the larger corpus of over six million Social Science publications the percentage of reports with those three words doubles to 4%.They also point out “unravelling and analysing power and ideology underpinned and reproduced by transport in urban settings is by no means an exercise that hinges on a particular theoretical lens (Marxist, anarchist, feminist etc.) or focuses on a specific social group or factor (class, gender, ethnicity and race, age). But they nonetheless remind us that any critique of a system that has led to a climate-crisis and obscene income disparities has to be grounded in some social theory “because investigated facts are the result of human actions displayed within a given society.”Only with this analytical lens, they write, will we be able to “rais[e] the fundamental question of whether the role of public transport is to provide a public service to its passengers, or rather to generate profits for its shareholders.” We should also raise the question of whether we want to continue to use public land in the form of streets to be a place where too many people fear they will die or become injured. Is that a necessary price for our social system? Richard Van Deusen, an interdisciplinary researcher of the interaction of people and place: “Public space must be understood as a gauge of the regimes of justice extant at any particular moment.”Is the comfort, convenience, and luxury of car-oriented travel patterns worth interrupting in the interest of improving the lives we live, the air we breath, and the water we drink?  And for all those who are forced to live where a car is needed to earn a living wage, or those with impairments, where are the plans for fair, equitable, and just transportation and/or housing alternatives?When the freedom to choose comes with nothing to lose, the costs of social and spatial benefits diffuse. Escape the snare, get out in the air, let’s make our roads more fair. Equitable places in our public spaces means biking and walking everywhere. That may sound utopian, but as Geographer Don Mitchell once wrote, “Utopia is impossible, but the ongoing struggle toward it is not.” This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

True Crime Tuesday presents: Immunity For Murder with Private Investigator/Author David M. Beers. Veronica Taft was a twenty three year old woman who lived in NY with four children.  While she worked nights, her boyfriend, Charles, watched the kids.  One night after getting home from work, Veronica laid down to rest and was awoke to find out from Charles that her 2 1/2 son, Lyric, was dead.   The investigation led to many mistakes, missed opportunities, Unfollowed procedures, and finally, the prosecution of Veronica Taft, despite an airtight alibi during the projected time of death for Lyric.  The author, David M. Beers, was brought in as a private investigator by Veronica's attorney to help right the wrongs committed against her. But, did he succeed?  Get the Book Here: https://amzn.to/3gtdYbx See omnystudio.com/listener for privacy information.

True Crime Tuesday presents: Immunity For Murder with Private Investigator/Author David M. Beers. Veronica Taft was a twenty three year old woman who lived in NY with four children.  While she worked nights, her boyfriend, Charles, watched the kids.  One night after getting home from work, Veronica laid down to rest and was awoke to find out from Charles that her 2 1/2 son, Lyric, was dead.   The investigation led to many mistakes, missed opportunities, Unfollowed procedures, and finally, the prosecution of Veronica Taft, despite an airtight alibi during the projected time of death for Lyric.  The author, David M. Beers, was brought in as a private investigator by Veronica's attorney to help right the wrongs committed against her. But, did he succeed?  Get the Book Here: https://amzn.to/3gtdYbx See omnystudio.com/listener for privacy information.

Presented and produced by Seán Delaney. On this week's podcast I speak to Professor Gregory Cajete from Santa Clara Pueblo and the University of New Mexico about indigenous education and what contemporary western education can learn from such rich traditions. Among the topics we discuss are: Belonging to the Tewa tribe and what is particular about that tribe. Numbers in different tribes such as the Navajo, Cherokee, the Hopi and the Tewa. Being the first member of his family to attend public school Previously native Americans would have attended federal boarding schools (created by Pratt), with a basic academic curriculum Professor Cajete refers to “Charles Pratt” but this may be a mistaken reference to Richard Henry Pratt, to whom the expression “Kill the Indian, save the man” was attributed. Tribal College Union established in the 1970s (36 colleges – like first and second year of colleges; giving 2-year degrees) Defining indigenous education: Distinction between native American students attending US public schools (including the Bureau of Indian affair schools and religious denominational schools) – education as assimilation versus traditional indigenous education including stories, history, customs and language of the people. Relationality as the basis of indigenous education – developing a relationship to the place in which we live In indigenous education people ask the question, “how am I related to this?” versus the predominant “western” question “What is this?” Currently attempts are being made to introduce native American language, culture and traditions into US public schools Epistemology (how we come to know what we know) of indigenous education involves storytelling, ceremony, participation in community, rhythm and dance. Axiology (what is the focus of/what has value in?) of indigenous education is about establishing a balanced relationship with your environment, including human and other-than-human entities; a place-based world view (based on where you live). Logic of indigenous education is ecological and is one of balanced interdependence. It is part of an understanding that everything you do impacts everything around you. The Lakota people say “We are all related.” The “intractable conflict” between indigenous education and public school education in the United States Why the curriculum focused on subject-matter is object-focused and parts-oriented whereas native education is ecological, sustainable and holistic. Shortcomings of the subject-based curriculum include that it doesn’t teach for relationality or about the ecological mandate, the pre-requisite for sustainability; these are “specialised fields” whereas in indigenous education, you learn these from the day you’re born and reinforced consistently throughout one’s lifetime. Consequently you acquire a life-centred focus. Many native artists are entrepreneurial while maintaining a traditional viewpoint. An economic focus is on benefiting the community, not just oneself. Gary Nabhan is not native American but he writes about native forms of agriculture. Enrique Salmón too has written on this topic. Books Greg Cajete has written: Look to the Mountain Igniting the Sparkle: An Indigenous Science Education Model. Native Science: Natural Laws of Interdependence  Spirit of the Game. Indigenous Community: Rekindling the teachings of the seventh fire. Native Minds Rising: Exploring Transformative Indigenous Education Sacred Journeys: Personal visions of indigenous transformation Values that underpin indigenous education O. Wilson’s biophilic sensibility – caring and empathy for each other, caring and empathy for the natural world and caring and empathy for your soul The indigenous stages of developmental learning; finding the essence of your soul. Question: What does it mean to become a full human being? Chant: One must first find one’s face (you identity), one must then find one’s heart, finally one must find one’s foundation (what you stand on) in the context of relationship, responsibility, respect and resonance, with one’s self, one’s community, one’s place, then with one’s world, within the context of your relationship with the cosmos.

Today we celebrate the birthday of a man many of us have heard about, but the details of his life story are even more compelling than the legend that is part of his legacy. We'll also learn about a gardener and broadcaster who was beloved by millions and who started off his lifelong career as a gardener at Windsor Castle. We hear an excerpt today from one of my favorite meditation books on nature. We Grow That Garden Library™ with an oldy but goody - a classic workbook on garden design. And then we’ll wrap things up with the story of a philanthropic gardener who left a mark with her garden, her work at the New York Botanical Garden (NYBG), and the 1939 World’s Fair.   Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy.   The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf. Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org Curated News Sarah Raven on Why the Chrysanthemum is Having a Comeback | Home & Garden | Sarah Raven   Facebook Group If you'd like to check out my curated news articles and original blog posts for yourself, you're in luck. I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. So, there’s no need to take notes or search for links. The next time you're on Facebook, search forDaily Gardener Community, where you’d search for a friend... and request to join. I'd love to meet you in the group.   Important Events March 18, 1845 Today is the anniversary of the death of John Chapman - better known as Johnny Appleseed - who died on this day at the age of 70. Johnny was born in Massachusetts. In fact, the street where he was born is now called Johnny Appleseed Lane. As a young man, Johnny became an apprentice to an orchardist named Crawford. Now the image that most of us have is of Johnny traipsing through the country; planting one apple tree at a time is off-base. That's not actually how things went for Johnny.   Johnny actually traipsed through the country planting entire apple orchards. And then, after he planted an orchard, he would protect the grove by building a fence around it. And then, he'd arrange a deal with a neighboring farmer to sell trees from the orchard in exchange for shares. It was a genius setup. And every time I think of a community garden or hear about a school or a city that rejects a community garden, I always think of Johnny's ingenuity.  Why? Because Johnny knew how to overcome the oft-cited objection of who's going to take care of this garden-  and he incentivized people to do just that. Now during his life, Johnny had a particular high regard for, and relationship with, Native Americans who regarded Johnny as a medicine man. At the same time, Johnny wanted early American settlers to succeed. In fact, Johnny often acted as a one-man welcome wagon. He'd often show up at the door of a family who had just settled in the area, and he'd give them a gift of herbs as a welcoming gesture. And most people are surprised to learn that Johnny was an expert in more plants than just apple trees. In fact, Johnny was one of our country's first naturalists and herbalists. And Johnny regularly used many herbs for healing. Such as Catnip, Whore-Hound, Penny Royal, Rattlesnake Weed, and Dog Fennel. In fact, Dog Fennel (Eupatorium) was also called "Johnny weed"  because Johnny planted it, believing it was antimalarial. Whenever I hear the word Eupatorium, I always think of Joe-Pye Weed, a plant that is closely related to Eupatorium or Dog Fennel. And like the Dog Fennel. It is a prolific spreader in the garden. Unfortunately, Dog Fennel is not something you want in your garden as it is a noxious weed. Toda,y the Johnny Appleseed Center is located on Urbana University's campus in Urbana, Ohio, and it holds the most extensive collection of memorabilia and information on Johnny Appleseed. In 1999, seedlings from the last-known surviving Johnny Appleseed tree were transplanted into the courtyard around the museum.   Now I thought I would end this little segment on Johnny Appleseed by sharing some fun Apple facts with you. First, the crab apple is the only apple that's actually native to North America. A medium apple is about 80 calories, and apples are fat, sodium and cholesterol-free. And the old saying, “An apple a day keeps the doctor away,” is actually from an old English adage that went like this: “To eat an apple before going to bed,  we'll make the doctor beg for his bread.”  Apples are members of the Rose family, and the science of apple-growing is called pomology. And apples come in all shades of reds, greens, and yellows. Now in terms of photosynthesis, it takes the energy of fifty leaves to produce a single apple. And back in 1647, America's longest-lived apple tree was planted by Peter Stuyvesant in his Manhattan orchard. It was still bearing fruit when a derailed train struck it in 1866. And finally, here's my favorite little-known fact about apples. In colonial times, an apple was known by two charming common names: the winter banana and melt-in-the-mouth.   March 18, 1988 And today is the anniversary of the death of the British Gardner broadcaster and writer, Percy Thrower. As a young boy, Percy wanted to grow up to be a head gardener - just like his father. After spending his entire childhood learning from his dad, he became a journeyman gardener at Windsor Castle at the age of 18. Along with 20 other gardeners. Percy worked at Windsor for five years, and he eventually married the daughter of the head gardener, Charles Cook.   By the time Percy and Connie Cook were married, he worked for Queen Mary as the head gardener at Sandringham. In honor of his wedding, Queen Mary gifted the couple a beautiful set of china. During World War II, Percy became a major voice for the “Dig for Victory” campaign. Additionally, Percy put on educational seminars at the local parks, and he spent hours working as a volunteer. And in 1946, at the tender age of 32, he was made the Park Superintendent of Shrewsbury. This was a watershed event; Percy was the youngest Park Superintendent in the history of England. Percy’s job as superintendent was very big. Percy had a staff of about 35 gardeners to manage. And while most people thought he would stay in position for only about four or five years, he actually ended up holding this post for almost thirty years. It was during his time at Shrewsbury that he made his very first television appearance. Of course, during the episode, he featured his garden. This appearance led to a long career in television and broadcasting for Percy. In fact, the great Alan Titchmarsh credits Percy with inspiring him to pursue gardening. Sadly toward the end of Percy's career, he was dropped by the BBC after agreeing to do some commercials for a group called Plant Protection. The move marked a milestone for Percy, and it was bittersweet. Percy later recalled that his deal with Plant Protection was the best contract he'd ever signed. Toward the end of his life, Percy began taking people on tours of European gardens. He even established the Percy Thrower Floral Tours company. When he wasn't taking people on trips to Europe, he spent his weekends showing people English gardens. On one of these trips, Percy's health took a turn for the worse, and he was diagnosed with Hodgkin's disease. He made his final recording from the hospital a week before he died on this day, March 18th, 1988. And I thought you'd enjoy hearing the one little story that I came across in researching Percy's life. When he was first working at Windsor Castle, he found 50 old fuchsias in the greenhouses. Seeing those established fuchsias gave him an idea, and he decided to propagate them -  taking cuttings from the first rootings, and then he began to even root side shoots. Well, the net-result was Percy had over 5,000 new fuchsias to plant around Windsor Castle. And I bet that was something to see.   Unearthed Words The word nature comes down to us from the Latin natura. It is derived from natus, “birth,” and in its original usage, it simply meant physical kinship — the innate characteristics and traits shared among family members as a result of their common genetic heritage. We use this sense of the word today when we refer to “human nature” or to the “nature of things.” But natura was also used in Latin to differentiate the natural world — the world of born — from the manufactured world — the world of made — and it is the twist we have given to this alternative meaning that has gotten us into trouble. For the Romans, the second meaning was a logical extension of the first... For us, it has become a separation between two radically different types of reality, the works of God on one hand and the works of technology on the other. We look at our cities and our automobiles and our computers and our TV dinners and think we have created something.  We have not. All we have done is used pre-created rules to put pre-created things together in new ways.  — William Ashworth, The Left Hand of Eden, (From the prologue)   Grow That Garden Library Garden Design Workbook by John Brookes  This book came out in 1994, and the subtitle is A Practical Step-by-Step Course.  Well, this book is a garden classic. It's an oldie, but goodie. And if you're just starting out in garden design. This is really a book that you should have. John is really a master designer. And in his book, he includes many helpful hints and instructions for creating practical designs for your own garden. Back in the early 2000s, I first bought this book when I became interested in landscape design - so my copy is dog-eared and all marked up. And it's a little bit of a trip down memory lane when I flipped through the pages. This book is 72 pages of learning how to design a garden, including learning how to draw a garden and learning the basic principles of structure. If you want to learn how to draw designs for your garden, then John's book is exactly what you're looking for. You can get a copy of Garden Design Workbook by John Brookes and support the show using the Amazon Link in today's Show Notes for around $1.25   Today’s Botanic Spark Reviving the little botanic spark in your heart It was on this day, March 18th in 1969, that the philanthropist and gardener Harriet Barnes Pratt died. Harriet had married Charles Pratt, the son of the Pratt Institute's founder and a founder of Standard Oil, which became Exxon. Now Harriet and Charles had a beautiful estate in Glen Cove, Long Island. During their free time, the two worked together to install and design their gardens. Charles would site the locations, and Harriet would design the gardens and select the plants. The Pratts called their garden Welwyn, and it was important to them to have continuous bloom throughout the growing season. In this regard, they often referenced something that Sir Francis Bacon had said, “There ought to be gardens for all the months of the year.” Harriet did tremendous work with the New York Botanical Garden throughout her life, and she spearheaded many initiatives - like a beautiful flower show in the museum building back in 1915. But in terms of her horticultural achievements, Harriet is remembered for coming up with the idea for Gardens on Parade - a half-acre, stunning display for the 1939 World's Fair. In addition to pulling together the fifty gardens that made up Gardens on Parade, Harriet led the effort to secure funding for this magnificent exhibition. Now in today's show notes and over on the Facebook group for the show, I've included a link to a website that includes many, many photos of Harriet's beautiful Gardens on Parade, which was described in the Herald Tribune at the time as the most stupendous, most magnificent, most gorgeous exhibition of flowers, shrubs, and other horticultural beauties ever assembled. And today, there are many wonderful quotes from people who had the honor and the privilege of viewing Harriet's Gardens on Parade. One person raved, “I visited the Gardens on Parade at the New York World's Fair this morning. They are delightful. Mrs. Harold Pratt and all the other ladies connected with the gardens were very charming. And they sent me away with a sweet little corsage of carnations, which gave off the most delicate perfume all the way back to Washington.”   Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

Episode 24 The Sonic Suitcase Edition—Harbors   Playlist Thom Holmes, contact microphone on an expresso machine (2021 Connecticut). Cook Laboratories, “Coffee Percolating” and “Pouring,” from Cook Sound Effects Vol 2 (1961 Cook). Cook Laboratories, “Power Sawing.” From Cook Sound Effects Vol 2 (1961 Cook). Cook Laboratories, “Water Dripping.” From Cook Sound Effects Vol 2 (1961 Cook). Argo Transacord, “Evening in Harbour,” from Sounds of the Sea and Ships (1965, Argo). Leo Hurwitz, Charles Pratt, “ Ocean Into Inland Waters” from Here At The Waters' Edge 1 (1962 Folkways). Audio Fidelity, “Sawmill Scene” from Sound Effects Volume 14 (1972 Audio Fidelity). Major Records, “Chopping Tree” from Major Records 5045B (1950). Audio Fidelity, “Hammering Nail and Electric Saw” from Sound Effects Volume 1 (1960 Audio Fidelity). Cook Laboratories, “Water going down noisy drain” from Cook Sound Effects Vol 2 (1961 Cook). BBC, “Heavy Seawash” from Sound Effects No. 1 (1969 BBC). BBC, “Seagulls” from Sound Effects No. 1 (1969 BBC). Thom Holmes, contact microphone on an espresso machine frother (2021 Connecticut). BBC, “Diving, 1 splash” from Sound Effects No. 1 (1969 BBC). BBC, “Diving, double splash” from Sound Effects No. 1 (1969 BBC). BBC, “Threshing water” from Sound Effects No. 1 (1969 BBC). Mcintosh, “Alarm Clocks“ from Thru The Sound Barrier With McIntosh (1955 McIntosh Music). Audio Fidelity, “National Cash Register Electronic Adding Machine” from Sound Effects Volume 1 (1960 Audio Fidelity). Philip S. Gross, random morse codes without vocal instruction (1962 Folkways). Philip S. Gross, vocal instruction without morse code (1962 Folkways). Audio Fidelity, “IBM Electric Typewriter” from Sound Effects Volume 1 (1960 Audio Fidelity). Audio Fidelity, “Royal Typewriter” from Sound Effects Volume 1 (1960 Audio Fidelity). Cook Laboratories, “Power lawnmower.” From Cook Sound Effects Vol 2 (1961 Cook). BBC, “Fireworks - General Display” from Sound Effects No. 1 (1969 BBC). Speedy Sound Effects, “News Effects No. 11: Receiving from a Teletype Machine” from Sound Effects No. G-14 (1950 Speedy). Audio Fidelity, “Railroad Telegraph” from Sound Effects Volume 1 (1960 Audio Fidelity). Major Records, “Space Computer” from Sound Effects Volume 21 (1978 Major). Audio Fidelity, “Serenity: The Silent Surf” from Ambience One (An Adventure In Environmental Sound) (1970 Audio Fidelity). Thom Holmes, rain and thunder (2017 Connecticut). Thom Holmes, chicken coop (2017 Upstate New York). Audio Fidelity, “Fire Island Ferry” from Sound Effects Volume 14 (1972 Audio Fidelity). Mel Kaiser, “Medium Freq. Sweeps (With Echo Re-Verb & Pulses, Drones)” from Science Fiction Sound Effects Record (1958 Folkways). Mel Kaiser, “Low Freq. Sweeps” from Science Fiction Sound Effects Record (1958 Folkways). Mel Kaiser, “Frequency Sweep - Dual” from Science Fiction Sound Effects Record (1958 Folkways). Thom Holmes, bonfire (2017 Upstate New York). Brad Miller, “The Sounds of the Storm” from Nature's Mystic Moods - The Sounds Of The Storm And The Sea (1974 Bainbridge). Thom Holmes, rain drone study (2016 Connecticut). Audio Fidelity, “Sunday Cycling, Central Park” from Sound Effects Volume 14 (1972 Audio Fidelity). Thom Holmes, “Study for Interference (opening)” (2017, Connecticut). Thom Holmes, electronic crickets and birds (2016-17 Connecticut). Mcintosh, “Machinery Sounds“ from Thru The Sound Barrier With McIntosh (1955 McIntosh Music). Cook Laboratories, “Festival” (excerpt) from Mexican Firecrackers (1956 Cook).  

Diving back into the Schlock Audio Theatre archives, we visit with Charles Pratt, co-creator of Schlock Audio, play their treatment of Ed Wood Jr.'s infamous "Plan 9 from Outer Space" and hear Charles' comments afterward.

Diving back into the Schlock Audio Theatre archives, we visit with Charles Pratt, co-creator of Schlock Audio, play their treatment of Ed Wood Jr.'s infamous "Plan 9 from Outer Space" and hear Charles' comments afterward. Learn more about your ad choices. Visit megaphone.fm/adchoices

Diving back into the Schlock Audio Theatre archives, we visit with Charles Pratt, co-creator of Schlock Audio, play their treatment of Ed Wood Jr.'s infamous "Plan 9 from Outer Space" and hear Charles' comments afterward. Learn more about your ad choices. Visit megaphone.fm/adchoices

See how a man born in 1830 became a major influence in a victory at the Rhine River crossing. Listen to both stories to see how they are connected.

But wait, there's more! This time we jump into the swamp with the plastic bag leech monsters in Attack of the Giant Leeches performed by the Schlock Audio Theatre. Then we chat a bit with Charles Pratt, co-creator of Schlock Audio. Get your audio goggles readjusted and prepare to bask in the schlock.

Diving back into the Schlock Audio Theatre archives, we visit with Charles Pratt, co-creator of Schlock Audio, play their treatment of Ed Wood Jr.'s infamous "Plan 9 from Outer Space" and hear Charles' comments afterward. Be sure to adjust your audio goggles - and may the CHEESE be with you.

A new feature called MAD-R which stands for "Modern Audio Drama Revisited". First we listen to Colossus of New York produced by Schlock Audio Theatre and Columbia Audio Theatre around 2004. Then we speak with co-creator Charles Pratt about the work and about Schlock Audio Theatre in general.

The Night of the Roku A Son of Schlock Audio Theatre audioplay Vic decides to do away with his 8mm films and embrace new streaming technology to show his guests. Written by Charles Pratt and Richard Frohlich – Recorded, Edited and Produced by Richard Frohlich. Featuring the voice talents of Reg Platt, Susan McMath Platt, Bryan Douglas, Ken Raney, Dona Safran, Libby Mitchell, and Larry Groebe. It was recorded May 2016 at RF Media studios in Arlington Texas In the next few shows we plan to go back in time and revisit, resurrect and repost some of the classic Schlock audio theatres produced by the Columbia Audio Theatre – and if possible bring Charles Pratt in to give his thoughts and comments on those productions.  

In this special interview from Spring Fighter 2016, we chat with Charles Pratt from the NYU Game Center. Come hang as we talk about Street Fighter V, NYU's Evo Scholarship, and what what makes fighting games so appealing for game designers. Enjoy!

This is the eleventh episode of the Podcast for Social Research. (We have a new numbering system!) In this episode, Heather, Raphaele, and I (Ajay), along with special guest Charles Pratt of the NYU Game Center, get together and have a conversation about “gambling” as a concept, its practice and experience, and in its role in social and economic structures. We're using a slightly different format for our “notations” section this time around since both Heather and Raphaele sent me such fantastic after-show notes that I wanted to include them.

On today's impromptu episode of Daytime Confidential Luke and Nicki visit with mutual friend Meredith about Sonny "leaving" the mob on General Hospital and who is Meredith's favorite Greg Vaughn or Rick Hearst. Meredith gives her take on "The Real Greenlee" campaign and the returns of Angie and Jesse to All My Children and what we think of Charles Pratt as the new Head Writer of the venerable show. Luke and Nicki discuss Guiding Light's alleged budgetary woes and the apparent mass exit of the show's biggest stars.We discuss the class system in soaps, cumulative story telling, Soaphunks' Adonis 2008,  does anyone still date in soaps and who knew that camera angles made such a difference in the perceived height of daytime's actors.

1. Sonic Society Theme3. Jack and Shannon's Intro/Mailbag4. Feature Show- Schlock Audio- Robot MonsterFrom the totally wicked cool Rich Frolich and Charles Pratt!5. Audio Short- Claybourne- Episode 66. Jack and Shannon's Extro7. Sonic Society Theme Out

Special Halloween Episode!(25:51, 23.8 MB mp3, released 2006.10.29)Zombie Pumpkinheads from Outer Space!Written by Amanda FitzwaterProduced by Paul ManneringStarring:Garry Cobbum as Captain Abiteth RamohanChris Snyder as Billigan DuPraeCharles Pratt, Jr. as The AIAmanda Fitzwater as Division ControlPost production by Paul Mannering and Chris Snyder

Episode #7Aired: 10/18/2005 This week we enter into the back row of the movie house to watch two classic frightmares brought to life. Schlock Radio Theatre excels in taking classic B horrors from the screen and re-imagining them for the mind. Taking motion pictures and making audio cinema is nothing new, but the innovative method of rendering what is normally a visual stunt (and usually cheap looking) in a narrative comedic form is a brilliant way to give new life to old reels. We're lucky enough to offer two of Schlock Theatre's works as our features this week- The Attack of the Killer Leeches and The Collossus of New York. Later we'll have a conversation with Mr. Charles Pratt head writer of Schlock Radio, listen to an experimental sketch from No Soap Radio, and continue our weekly serial Robots of the Company with Episode #7.Schlock TheatreSociety Promo: Decoder Ring TheatrePromo: Spaceship RadioCFRU No Soap RadioDream Realm Enterprises