Discussing his play "Orphans" and the Imagination Workshop with playwright, director and Imagination founder Lyle Kessler. The Imagination Workshop is a non-profit theater group that brings together professional artists and "at risk" children, the mentall

Lute Jerstad discusses "Everest Diary." Includes passages from Lute Jerstad.

Studs interviews Lukas Foss about his career as a classical composer and conductor. Foss talks about his work with the Milwaukee Symphony Orchestra. He reflects on how teachers influenced his career and how he learns from each orchestra that he works with. He shares his love for poetry and explains how he makes music from poems and uses "Thirteen Ways of Looking at a Blackbird," a poem by Wallace Stevens, to illustrate. They discuss how Foss composes and how it is very similar to the way Jazz is composed with improvisation.

Luis Valdez, author of the play, "Zoot Suit," and editor of "Aztlan: An Anthology of Mexican American Literature," discusses the Chicano experience; music by Mexican-American artists is played and discussed throughout the program.

Discussing the book "Brown River, White Ocean: An Anthology of Twentieth-Century Philippine Literature in English" (published by University of Rutgers Press) with editor and poet Luis Francia.

Poet Lucien Stryk discusses Zen poetry and Zen philosophy. Styrk focuses this conversation on “Satori," a Buddhist term for “the awakening”, and its influence on Zen philosophy. Styrk also discusses and reads from a book edited by him and Takashi Ikemoto entitled "Zen: Poems, Prayers, Sermons, Anecdotes, Interviews." Stryk reads a poem from “Triumph of the Sparrow” by Shinkichi Takahashi. Studs plays "His Eye is on the Sparrow" - Mahalia Jackson (1958).

French author Lucien Bodard discusses the genocide of indigenous tribes in Brazil, which dates back to the 16th century.

French author Lucien Bodard discusses his book which explores the genocide of indigenous tribes in Brazil, dating back to the 16th century. Content Warning: This conversation has the presence of outdated, biased, offensive language. Rather than remove this content, we present it in the context of twentieth-century social history to acknowledge and learn from its impact and to inspire awareness and discussion.

Being a Pisces, Pavarotti says he's always looking for perfection. He admits the biggest critic of his work is himself. Pavarotti said that he loves the charm of the French language and he likes to learn new languages. He talks of recording some music in Russian. Being able to reach those high C notes, Pavarotti says, is the most athletic part of his voice.

Pavarotti recalls his meeting with the Pope was very special. Singing "Ave Maria" for him was like God lit up, explained Pavarotti. There are more younger people in the audience, said Pavarotti. They're very surprised that opera's so beautiful, as they believed it was an old fashioned thing.

Instead of being called "The King of the High C's," Pavarotti would rather be known as "The King of the Bel Canto". Pavarotti said he didn't have the greatest of enthusiasm prior to performing his first concert. However, it ended up being a phenomenal experience, he said. A great singer, Pavarotti added, is very human and romantic. One needs to feel what one's singing and lastly, one must be a beautiful person inside.

Lucia Chase discusses the rehearsal and performance of Swan Lake of the American Ballet Theater at the Civic Opera House. Includes Peter Ilich Tschaikovsky music from Swan Lake.