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Studio 360 with Kurt Andersen

09:43 min | 3 years ago

Studio 360 Extra: Aural History: How Studio 360 Got Started

"Invited the rock the World Wrestling Federation champion to speak at the Republican National Convention. Pupil sock it to me. I became an official painter. I don't express political desires in my novels. I just tell story. Hello I'm Chris Anderson and this is studio three six. That's how studio three sixty began. Its first episode on November. Four two thousand just before we elected George W Bush and we all learned what a hanging Chad was my special guest today in Studio. Three sixty is the artist. Barbara Kruger. Who will talk with us about politics and power in movies and music and even in her own art? I make art about the collision of my days and nights with the culture that has constructed and contains me all that and more coming up in studio three sixty from WNYC and PRI public radio international originally produced out of WNYC. Here in New York. The show is all about the cool but complicated and sometimes strange ways that art touches our lives two decades later. That mission hasn't changed. Even if the people making the show have come and gone I'm Jocelyn Gonzalez executive producer of studio three sixty but I was still wet behind the ears associate producer when the show debuted two decades ago. I was away from the show for about ten years before returning to the staff in two thousand seventeen so as the show draws to a close sadly after twenty years I turned to some of my friends from the formative years of studio three sixty for their impressions. Could we create these beautiful stories that represent all sorts of interesting things that are going on in the country in terms of arts and then have Kurt sit with some of that? He was comfortable with and talk about them. That's Julie Bursting who was executive producer of studio three sixty when the show launched and who wrote the studio three sixty book called spark in two thousand eleven and this is Carrie Hillman who was our first senior producer and is now the executive producer at story car. At the time there had been a lot of magazines shows and it was a way for us to sort of do something different and fresh and it was like a a really creative solution to like a lot of really boring magazine. Formatted programming so I was like really game to try to figure it out. We also had two assistant producers. I'm Michelle Seagull. I started at studio three sixty as a assistant producer. In September of two thousand. I stayed through twenty thirteen as a pretty Sir and I'm now the managing producer of Sleet Studios I'm Tall Milad and I started at St Three Sixty as an intern in the year. Two Thousand and I was there until two thousand fifteen When I left I was senior producer of the show for about ten years before that and I now work at Pushkin Industries Heading up development also on staff during the early days of the show was producer and technical director. Steve Nelson Steve's now a programming executive at NPR Johnson. Do you remember what the working title was when we got there? Oh yeah hot ticket right which is first of all a terrible name and doesn't get to any of the big ideas that studio three sixty does as a name but secondly this is sort of in the relatively this was during the post dotcom boom and someone typed in hot ticket dot com into a website and it was an adult site for general audiences for sure. That was the end of hot ticket as a name every week. Studio three sixty we explore. One big idea in-depth. Today we look at the intersections of art and medicine. The idea of studio three sixty or an art show for public radio had been kind of kicking around for a long time. People were on the ground producing pieces. Trying to sort of see what would stick Eventually they brought Julie Burstein and she had this idea of like putting on pieces that sort of built on one another in having an artist or somebody else react to each piece. We started calling it a through line which was just an idea that we would carry through the show and I think the idea of having a theme came from we have to have some structure in order inside it to be able to play. The idea was that Kurt would open the show with a monologue is always delightful to look back and see that exotic bits of civilization. John Ashcroft was a senator his most celebrated crusade a failed crusade for some years. Now one of my hobby horses has been the blurring lines between news politics crime or and entertainment and then he would have a person in the studio with him and then we would present pre recorded pieces to play for this person. I try in my work to speak to the human in US and That human end to bear kind of witness and in enabled react to it. That's really fascinating That makes me think of this. Yes we looked a lot at the degeneration of people's memories and one of the pieces of research we discovered is precisely why I found listening to that piece so fascinating so it would give us an opportunity. Say something that took them off of their typical talking points that gave us an insight into the way they think their personality It also added some depth. I think to the the pieces themselves because you can't do everything in five minutes and so maybe you have to like leave something on the cutting room floor but you can resurrect it a little bit with with the like well-placed Kirk question so I thought it was really cool. I loved gathering stories from really disparate places and putting them next to each other and then talking about them. It was just so much fun. Do you remember a point when you realize it was working? I have to say. I think that first Shakespeare show because it was a whole show bringing Shakespeare up-to-date but we had Neil Gaiman Willie's just grumbling about the fact that he's a crappy writer and the San man the eponymous Lord of the rings who happens to be in this up goes over to will and offices deal are you will shakespeare. I have we met. We have but men forget in waking hours. And you and Steve or maybe it was Steve. That incredible intro He started it with Scharzenegger's hang on not to be not to be tied in the phase of man when in disgrace with fortune and men's on have we hear. Hello I'm curt Anderson and Mrs Studio Three six. It was so hilarious and it was just. It was like okay. We got it this works. I'm Peter Clowney and I was studio three six I Adler and these days I live in Saint Paul and I'm vp of content strategy for stitcher. It's a struggle sometimes to do a show. That has a theme I approach. That idea would caution now if someone wants to do a show that theme like to say like remember. It's got multiple pieces in it. You're going to have the fifth favourite piece about Gardens in this episode. But it's true that like building on the ideas across an hour is like really meaningful. My name is Eric Linski. I started as an intern. In two thousand four became assistant producer and then decided to become a contributing reporter of which I was to studio three sixty through the beginning of two thousand sixteen and I am now the host and creator of the podcast imaginary worlds. Yeah I remember this one episode where they had Madeleine Albright the through line theme was democracy and so she's sitting in the studio with Kurt and then one of the pieces was about American idol. Which was the hottest thing back? Then and they were talking about how people were taking American idol democracy far more seriously than actual presidential elections. Have you ever had a chance to see American idol? Well I actually have and I've been pretty depressed As I am by television generally these days which seems to be going to the lowest common denominator and I. I don't like the word Elitism as we kind of lost me on this last segment of him and it was really funny here. Man Albright come out of that piece. And what do you think of that? She was not too thrilled with the peace to quality that piece but what she was hearing in the piece. I'm Derek John. I was a producer and editor on the show from about two thousand four to two thousand twelve ish and since then I've done a whole bunch of work in the podcast world but I am now currently an executive producer of the how to with Charles Duhig podcasts. At slate when the theme through line shows worked man they were amazing. I mean it was like we had set this high bar and they were so hard to pull up when they clicked and everything fit together. It was truly fantastic radio and it was hard I would say we had some shows that weren't successful and that's actually what led to having to change one. Really terrible through line. Thematic show was fish the fish just literal fish in the sea. Animals really jumped the shark on that one