In 1920, Italian artist Amedeo Modigliani died at the age of 35, destitute and penniless. Done in by a then uncurable case of tubercular meningitis—and way too much drinking—he was literally so broke that he only ate by trading his work for meals. (That’s, l-r, Modigliani, Pablo Picasso, and critic André Salmon in 1914, Paris, right.)
Of course, today, he is recognized as a genius. In 2004, Jeanne Hebuterne (devant une porte), above, an eponymous portrait of his life’s great love, sold at auction for $31,368,000; a record for his work.
is a comprehensive handbook that provides the information, tools, and techniques, for developing and sustaining a successful art career. It provides answers to the challenges artists face everyday and includes real-life examples, illustrations, step-by-step exercises, and bulleted lists that allow readers to dive in and begin working immediately.
Some artists see poverty as the price they must pay to become great, or even, wrongly, as a sign of it. But Battenfield, right, a gifted visual artist herself, doesn’t dispute that, at points in one’s career, Ramen noodles can be a sculptor’s best friend.
Instead, her core idea is that, equipped with the right information, an artist can run their career, as opposed to having it run them. Modigiliani would, no doubt, agree.
Jackie Battenfield is a guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, December 4, at 2 pm ET.
Then, eight years ago this month, Wax Poetics, right—the chunky, Brooklyn-based bimonthly—began what has become a stellar run of thirty-eight issues to-date. Designed to putty “the once noticeable gap in music journalism—an editorial void between contemporary artists and classic greats,” the magazine effortlessly bridges disparate blends of groove-oriented musiculture.
Today, I’ll be talking with editor-in-chief Andre Torres, as well as writer Michael Gonzales, author of the current issue’s cover story on Super Fly soundtrack creator Curtis Mayfield.
You can hear Jackie Battenfield’s Andre Torres’s, and Michael Gonzales’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
In January, I spoke with historian Dr. Ronald T. Takaki about his book, A Different Mirror: A History of Multicultural America, for my WBAI radio show, NONFICTION. Specifically, we talked about the new Obama administration, and especially the president’s inaugural address, which he’d given mere hours earlier.
Almost exactly four months later, on May 26, Takaki, 70, ended his own life. He was, as his son said, above, seeking a way out of the pain and debilitation of multiple sclerosis., having suffered with the degenerative neurological condition for 20 years..
Had I known that I would never talk to Ron Takaki again, would I have spoken to him longer, more penetratingly, or differently, in some other way? Certainly. But, more, I’m honored that I had the chance to speak with him.
I’d heard him talk in-person once before, at an otherwise middling race conference hosted by Michigan State University, about a dozen years earlier. He gave an explanation of the term “master narrative”—the history of the U.S. popularly held to be true by most people, and that our powerful institutions overwhelmingly support and reinforce.
For the most part, the master narrative is the story of white people, their victories, conquests, and supposed brilliance. Other people are attached to that tale, from time to time, like appliqués to a jacket. But the amazing race dominates the conversation.
Then, after explaining this concept, Takaki told his own version of the nation’s history. What I remember most is how, as he traveled through time in his story, different groups would appear, act, diminish, then reappear and repeat, over and over. It was almost like watching a master weaver, but one whose fabric was temporal and societal, not material.
With his sad and unfortunate death, our nation lost an irreplaceable educator and innovator. (Deeper, still, was his family’s loss of a husband, father, and grandfather.)
Thankfully, still, we have his ideas, in the form of his many books, and we also have his voice: Ronald Takaki is a guest today, on this encore presentation of my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, November 27, at 2 pm ET.
He’s preceded by blues vocalist Shemekia Copeland, right, and director Joe Stevens, co-creator of the 2008, sound-systems-on-BMX-bikes short, Made in Queens.
You can hear their ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
To Istvan Csicsery-Ronay, Jr., right, you can describe it many ways. But, in the end, “more than a literary genre or a social passion,” sci-fi, or sf, “is a way of organizing the mind to include the contemporary world.”
Well and simply said, and there’s more where that came from. In his book, The Seven Beauties of Science Fiction, Csicsery-Ronay is bullish on sf. A professor of English at DePauw University, and coeditor of the journal Science Fiction Studies, he argues eloquently and passionately for a reconsideration of the form, and for its social utility and intellectual depth.
The title of his book alludes to what he describes as “a constellation of seven diverse cognitive attractions,” pulls, or features, sf possesses, and that make it compelling to fans. These include everything from the way it creates new language to how it handles the notion of history.
Like sf itself, Istvan Csicsery-Ronay, Jr. is a mother lode of ideas. He’s a guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, November 20, at 2 pm ET.
One way sci-fi movies used to let you know you were in the future was to make the president Black. But given that he actually is, does that job now fall to Black female rockers, like Danielia Cotton, above, or perhaps journalist Farai Chideya‘s Sophia Maria Clare Lee, the lead in her new novel, Kiss the Sky?
In it, Chideya, right, weaves a fast-moving story of sex, drugs, racial politics, and rock-and-roll; a modern tale of a woman who wants it all, but who also keeps getting in her own way. An ultra-modern woman herself, with credits from Newsweek, MTV, and NPR—where she hosted this blogger numerous times—and other media, Chideya makes no bones about the fact that she’s always wanted to be a novelist. Plus, now that she is one, she gladly shares the good news of how she did it, encouraging others to tell their own unique stories. As she notes in her essay, “How Do I Write A Novel,” “writing — not just the product but the process — is as individual as our fingerprints.”
You can hear Farai Chideya’s and Istvan Csicsery-Ronay, Jr.’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
But it’s the Weebee that got him into author Mimi Zeiger‘s Tiny Houses. In it, Zeiger documents what appears to be a burgeoning movement, seemingly driven toward answering one poignant question: What is the absolute least amount of space that I need to take up in order to live, and by which I can meaningfully reduce my burden on the planet?
With the opposing, little-lamented “McMansion” boom now made disgustingly quaint by the housing crisis and collapse, “the desire to downsize and be more ecologically and economically prudent is a concept many are beginning to embrace,” says her book’s web page.
Tiny Houses, thus, runs whole hog with this notion, featuring modular as well as prefab homes all the way from a relatively palatial 1187 sq. ft….down to a sliver of 10, though most would agree that her Casulo “house” really stretches the limits of that word.
However, Zeiger’s point is not only to present compelling design, but to have
people challenge themselves to live “greener” lives. By using a thoughtful application of green living principles, renewable resources for construction, and clever ingenuity, these homes exemplify sustainable living at its best.
Mimi Zeiger is the guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, April 25, at 2 pm ET.
You can hear her ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
The awesome success of TV magnate Oprah Gail Winfrey—estimates put her income somewhere in the area of $1 million a day—suggests that limits for women in entertainment are astoundingly high.
Thembisa Mshaka is the guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, October 9th, at 2 pm ET.
Then, I was probably just as shocked as you were to hear this morning that President Barack Obama had been awarded the Nobel Peace Prize.
What do you think about the honor, and what does it mean? We’ll be taking calls from our listeners, during the second half of the broadcast, about the stunning news.
You can hear Ms. Mshaka’s and our listener’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
When 19-year-old computer geek Shawn Fanning created and released Napster, his internet file-sharing application, 10 years ago, he had no idea that his little experiment would completely overturn the massive, multi-billion music business. He just wanted a way to share digital music with friends. But what started as an experiment by a bored college student quickly became the loose bolt that would yank the industry from its rapidly rotating axle.
Fanning and Napster were quickly lambasted by many, hailed as heroes by many more. But their story is only a small part of what Chicago Tribune music critic Greg Kot, in his new book, Ripped: How the Wired Generation Revolutionized Music, above, calls “the laptop generation”:
An uprising led by bands and fans networking on the Internet. Ripped tells the story of how the laptop generation created a new grassroots music industry, with the fans and bands rather than the corporations in charge.
after the incredible wealth and excess of the ’80s and ’90s, Sony,
Warner, and the other big players brought about their own downfall
through years of denial and bad decisions in the face of dramatic
advances in technology.
Greg Kot and Steve Knopper are guests today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, October 2, at 2 pm ET.
provides a legal and business roadmap to artists, music industry professionals, entrepreneurs and attorneys. It focuses on the rules pertaining to the music business and the new digital music industry, how artists and entrepreneurs can use the new technologies to succeed, new business models, plus interviews with artists and entrepreneurs who are inventing the future of the music business.
You can hear Kot’s, Knopper’s, and Gordon’s ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
A boo-boo: My NONFICTION conversation withWomen in Boxes‘ filmmakers Blaire Baron Larsen, Harry Pallenberg, and Phil Noyes has been pre-empted by WBAI fundraising. That interview, as well as my conversation with writer/blogger Geoff Manaugh, will air on a future date.
Dr. Leonard Susskind is widely regarded as one of the fathers of string theory. The field’s objectives consist of nothing less than a re-ordering of the universe, and a mapping of its very structure, far, far past the atomic level. In his book, The Cosmic Landscape: String Theory and the Illusion of Intelligent Design, Dr. Susskind illuminates the challenges of his research, the discoveries, and the work still to be done.
Dr. Susskind is the guest today on this previously broadcasted edition of my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, September 18, at 2 pm ET. You can hear his ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
The most interesting fact about a crappy economy is that it often compels people to finally take chances on long-cherished job dreams. In other words, once it becomes clear that, work-wise, nothing is promised, many people figure, “Why not? What have I got to lose?”
Eventually, I realized that my salary wasn’t worth the emotional price I was paying for it. My compensation package was standing in the way of true success, which for me meant doing work that was meaningful and made me happy.
Pamela’s the guest, today, in this repeat edition of my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, September 5, 2 pm ET.
You can hear her talk about how she made her great escape by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
In the book, From Control to Design: Parametric / Algorithmic Architecture, thinkers and practitioners look at the way today’s most aggressive and innovative firms are using computation to make the art of creating space a wholly new and radical venture.
This 26-foot-high, 69-foot-long, 17-ton aluminum sculpture, above, “The Morning Line,” by artist Matthew Ritchie, architects Aranda/Lasch and civil engineers Arup AGU, typifies the kinds of complex structures, and constructions, with which creatives are now playing. As the book reasons, the types of innovation possible are only increasing exponentially.
If the first generation of digital modeling programs allowed designers to conceive new forms and processes, a new breed of digital techniques is being discussed to control and realize these forms. How are these techniques affecting architectural practice and what potentials do they offer?
Architect Irene Hwang, one of From Control to Design‘s editors, is the guest today on my WBAI-NY / 99.5 FM radio show, NONFICTION, this afternoon, Friday, August 28, at 2 pm ET.
You can hear her ideas by tuning in at 2 pm. If you’re outside of the New York tri-state, check out our stream on the web. If you miss the live show, dig into our archives for up to 90 days after broadcast.
In 1920, Italian artist Amedeo Modigliani died at the age of 35, destitute and penniless. Done in by a then uncurable case of tubercular meningitis—and way too much drinking—he was literally so broke that he only ate by trading his work for meals. (That’s, l-r, Modigliani, Pablo Picasso, and critic André Salmon in 1914, Paris, right.)
Some artists see poverty as the price they must pay to become great, or even, wrongly, as a sign of it. But Battenfield, right, a gifted visual artist herself, doesn’t dispute that, at points in one’s career, Ramen noodles can be a sculptor’s best friend.
Then, eight years ago this month, Wax Poetics, right—the chunky, Brooklyn-based bimonthly—began what has become a stellar run of thirty-eight issues to-date. Designed to putty “the once noticeable gap in music journalism—an editorial void between contemporary artists and classic greats,” the magazine effortlessly bridges disparate blends of groove-oriented musiculture.
I’d heard him talk in-person once before, at an otherwise middling race conference hosted by Michigan State University, about a dozen years earlier. He gave an explanation of the term “master narrative”—the history of the U.S. popularly held to be true by most people, and that our powerful institutions overwhelmingly support and reinforce.
He’s preceded by blues vocalist Shemekia Copeland, right, and director Joe Stevens, co-creator of the 2008, sound-systems-on-BMX-bikes short, 
To Istvan Csicsery-Ronay, Jr., right, you can describe it many ways. But, in the end, “more than a literary genre or a social passion,” sci-fi, or sf, “is a way of organizing the mind to include the contemporary world.”
In it, Chideya, right, weaves a fast-moving story of sex, drugs, racial politics, and rock-and-roll; a modern tale of a woman who wants it all, but who also keeps getting in her own way. An ultra-modern woman herself, with credits from Newsweek, MTV, and NPR—where she hosted this blogger numerous times—and other media, Chideya makes no bones about the fact that she’s always wanted to be a novelist. Plus, now that she is one, she gladly shares the good news of how she did it, encouraging others to tell their own unique stories. As she notes in her essay, 
