Did you know that the median age of US farmers is now is 58? And that the number of people actually farming now equals just one percent of the population? As farmers, chefs, food vendors and policymakers gathered by the Berry Good Food Foundation explain, those trends are not sustainable. So what to do? How do you make agriculture attractive to young people? What will bring them back to the land? And how do you connect the rest of the community to their sources of food? Watch as these experts make the whole process of growing, harvesting, selling and serving food sound incredibly, what’s the word they used? Oh yes, sexy!
Income inequality refers to the unequal distribution of income among a population. In the United States, income inequality, or the gap between the rich and everyone else, has been growing for the last several decades.
Economist Valerie Ramey of UC San Diego gives an insightful talk charting the rise, fall and rise again of income inequality in America over the last century. She highlights the special circumstances that created a “Golden Age” for the average worker in the 1950s and 1960s and then follows with the economic changes that led to today’s extreme disparity where the top 1 percent of US households earn nearly 20 percent of the nation’s income.
Contributed by John Menier
F. Scott Fitzgerald famously called the 1920s the “Jazz Age,” and recent inventions such as radio and phonograph records helped to spread the popularity of two quintessentially American musical genres, jazz and blues, across the country and beyond our borders. In 1926 a Paris-based music magazine began its review of recorded jazz with the observation that “Jazz truly rules the world,” and a growing number of influential European composers were jazz fans, including Hindemith, Milhaud, Weill, Honegger, and Poulenc. Maurice Ravel spent several happy nights with George Gershwin at Harlem’s Savoy Ballroom listening to jazz, a testament to the music’s appeal.
For a time these foreign composers included jazz elements in some of their works, with varying degrees of success, but by the mid-1930s their ardor had cooled as new forms of modernism took hold on the Continent. It was left then to American musicians to continue nurturing the confluence of their native jazz and “serious” music that began in the early 1920s, and they did so brilliantly.
Three of the foremost practitioners of this hybrid form were George Gershwin, Duke Ellington, and Aaron Copland. Though they came from different backgrounds and training, and each developed a singular musical personality, they shared an interest in elevating the jazz/classical fusion from a novel experiment to a vibrant art form. They shared another quality, harder to quantify but nevertheless distinctive: their music was unmistakably American, with all that implies.
This characteristic is perhaps most evident in the Gershwin masterpieces on this program, “An American in Paris” and “Rhapsody in Blue.” In both pieces, the jazz/blues influences are on prominent display, as the music alternates in mood from contemplative to nostalgic to swaggering, and from Paris to Harlem. Gershwin insisted that both pieces are examples of sonata form, but whether sonata or tone poem or concerto or potpourri, it’s not important how it’s categorized. What matters is that this is fun music, as full of personality as anything you’re likely to hear.
It’s been said that Duke Ellington embodied the very soul of jazz. Ellington wrote some of the first extended jazz compositions to appear in the concert repertoire, and the two pieces on this program, “Mood Indigo” and “Solitude,” amply demonstrate his versatility and sophistication as a composer. Ellington was also an innovative, idiosyncratic orchestrator, and what became known as the “Ellington Sound” is a constant feature of his music – elusive, hard to define, harder still to imitate, but once heard, unmistakable.
Aaron Copland was a city boy who brought a certain polished urbanity to his work. After extensive studies in Paris Copland initially worked with then-voguish European styles, but gradually his native “Americanism” emerged and he established himself as the premiere American composer of his generation. “Quiet City” is a mood piece, a tone poem in miniature, originally written for a friend’s play. The play failed but the music lives on as a popular concert selection. The influence of jazz and/or blues is perhaps less overt in this haunting work than in the Gershwin and Ellington pieces, but it’s there in the tones and phrasings of the featured trumpet and oboe combined with the dotted rhythms of the string orchestra.
The program is rounded out with an exhilarating premiere work by Asher Tobin Chodos, “Concertino for Two Pianos and Orchestra.” Joining the composer on piano is Cecil Lytle, who also performs on “Mood Indigo,” “Solitude,” and “Rhapsody in Blue.”
The 12th NASA Administrator, Charles F. Bolden Jr., shares how NASA’s programs and missions function as an instrument of international cooperation, demonstrating the steady guidance of the United States as the world’s leader.
Rob Knight, the academic superstar who is leading the Center for Microbiome Innovation at UC San Diego, says it’s important for kids to get dirty! He explains that exposing children to natural bacteria in the environment trains their immune systems how to respond to foreign threats. So, resist that urge to sterilize everything kids touch because you’re not helping. Instead, let them roll around in the grass, swim in rivers and the ocean, and cuddle with dogs. You might wince at the contact, but the germs they meet will make them stronger in the long run.
To learn more, check out Rob’s book, “Dirt is Good,” or watch him here: