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This interview "Stephen Porges: Resilience" is part of the series "Hardwiring Happiness: The 7 Essential Strengths with Rick Hanson," originally hosted by en*theos.
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https://www.rickhanson.net/writings/just-one-thing/
Original publication: https://www.youtube.com/watch?v=UeN4mWATl9g
In episode 107, Dean Shanahan and Jon Racek, senior lecturer in the IU School of Art, Architecture + Design's comprehensive design program, talk about Racek's start as a firm-owning designer, his foray into playground building and his most recent work in 3D-printing prosthetic hands.
A Conversation with Tom Davenport, an interview sponsored by the American Folklore Society and the AFS Oral History Project of Tom Davenport (Folkstreams) by Tom Rankin (Duke University) about his life and work. Tom Davenport received the 2018 Judith McCulloh Award for lifetime service to the field at the Buffalo meeting. This interview took place at the American Folklore Society's 130th Annual Meeting at the Buffalo Niagara County Convention Center, in Buffalo, New York, on October 18-20, 2018.
Since 1968, John Rappaport has brought laughter, fun and drama into the lives of the American public as a writer and producer of such all-time television classics as Laugh-In, All in the Family and M*A*S*H.
Born in Chicago and raised in Highland Park, Illinois, Rappaport enrolled at IU in fall 1958. He began as a business major, but switched to radio and television/psychology midway through his sophomore year after joining the Indiana Memorial Union Radio Club and hosting a Sunday night jazz record show on WTTS-AM.
As a junior, Rappaport continued his jazzy ways on the powerful WFIU-FM from IU’s Radio-TV Quonset hut. There, he hosted a daily afternoon show of jazz albums and improvised chatter. Rappaport also dabbled in standup comedy, performing at the “Freshman Tyrolean” dance and “Spring Fling” and serving as emcee during the two-day IU Sing competition at the IU Auditorium.
Rappaport had a pattern of making spontaneous life-altering decisions. After leaving IU in January 1963, he moved back to the Chicago area, where he worked as a pop — but not rock — DJ. Nine months later, at 3 a.m. after a New Year’s Eve party during a major snowstorm, he blew a tire on Chicago’s tri-state tollway and had to change it in a suit and no coat.
The next day, he quit his job and moved to California, hoping to be a DJ in a more agreeable climate.
Initially, only the climate was agreeable. After stints as an ad agency copywriter, radio station promotion manager, DJ’s comedy sidekick and syndicated radio comedy writer, Rappaport launched his new career in 1969 when his spec material landed him a staff writing gig on the No. 1 TV show Rowan & Martin’s Laugh-In. He wrote for the show until its cancellation in 1973. During his four years there, he penned 100 episodes and also wrote two comedy specials, including the Emmy-nominated first Lily Tomlin Special.
Itching to break out of the sketch comedy mold, he landed a pitch meeting and then a script assignment at another No. 1-rated show, All in the Family. The script was a hit, and he was hired by Norman Lear as a staff story editor, splitting time between All in the Family and its sizzling spinoff, Maude.
He next moved to The Odd Couple and eventually the legendary war dramedy, M*A*S*H, where he served as head writer and supervising producer for its final four years, topped off with the two-and-a-half hour finale, which was the most viewed episode in television history.
Rappaport also wrote and produced seven pilots for his company, Leeway Productions (named after his wife, Lee) and worked on films featuring screen legends Jane Fonda, Richard Dreyfuss and Burt Reynolds, and The Godfather producer Al Ruddy. He also spent a season on Night Court and was the executive producer of Gung Ho.
Along the way, Rappaport garnered eight primetime Emmy nominations, four People’s Choice Awards, five Writers Guild Best Script award nominations, three Humanitas Prizes and a Golden Globe. He also served on the Producers Guild of America Board of Directors for 14 years and is in the National Association of Broadcasters and the Producers Guild of America halls of fame.
To top it all off, two of his three L.A.-born and -raised children are graduates and devoted lovers of IU.
In episode 86, Emily Miles speaks with Barbara Restle, environmental activist and press freedom advocate. A childhood in 1930s Austria, where Nazi occupation came to suppress independent reporting, led Restle to eventually study journalism at Indiana University. In 2017, Restle contributed funding to the Media School for the study of the Freedom of Information Act and confidential source protections. The music in this episode comes from Greta Keller, Bela Bartok, Jahzzar and Doctor Turtle.
The Sample: In this episode of The Sample, we take a jog through the IU Lilly Library's Slocum Puzzle Collection. We work from Rubik's Cubes to Hot Miso Soup on a tour of the interdisciplinary fun of puzzles.
This talk will present a set of standards for the replication documentation (data, code, and supporting information) that authors should assemble and make public when they release studies reporting the results of research based on analysis of statistical data. We will begin from first principles: What purposes is replication documentation intended to serve? And what must be true of the contents and organization of the documentation for a study if it is to fulfill those purposes? We will then describe how these general principles are embodied in the particular documentation standards we propose. Further discussion will include: (i) a comparison of our proposed standards with existing guidelines, such as TOPS, DA-RT, the BITSS Manual, and the "data policies" that have been adopted by a number of prominent journals, (ii) using the Open Science Framework (OSF), an on-line file management platform, for assembling and sharing replication documentation, and (iii) the curricular resources that are being produced by Project TIER for teaching and learning reproducible research methods.
Nine out of ten institutions administer NSSE on a regular cycle such as every one, two, or three years. The 2018 administration marks the sixth year of the updated version of NSSE, which means that almost all institutions have multiple years of results from the updated NSSE. Of course, institutions eagerly use their multi-year data to enrich analyses and to answer additional questions about the quality of their student learning experiences. The purpose of this webinar is to discuss some of the best approaches to examining changes and trends in engagement patterns, and evaluating specific campus initiatives.
In episode 95, Dean Shanahan and Sustaining Hoosier Communities Director Jane Rogan talk about how her team addresses community-identified needs and opportunities by connecting Indiana towns with IU courses, students, and faculty.
