KUOW Presents

When Ellen Forney was diagnosed with bipolar disorder 16 years ago, her first concern was for her creative future. The award-winning cartoonist prided herself on the artwork and stories she'd come up with during periods she described as manic. Right after her diagnosis, Forney was reluctant to try the drug treatments her psychiatrist prescribed for her. Would she lose her creative edge on lithium? But after a serious period of depression, Forney set out on the ongoing journey to achieve and maintain a state of mental balance.Ellen Forney chronicles her experiences in her new graphic memoir "Marbles: Mania, Depression, Michelangelo, and Me." Forney describes it as the hardest work she's ever done. She hopes people struggling with their own mental balance will read her story and draw inspiration from it.

Why do we make art? and Is it worth the personal cost? are two of the central questions in Christine Deavel's poetry collection "Woodnote" (Bear Star Press, 2011). Deavel is the co-owner of a poetry-only bookstore in Seattle's Wallingford neighborhood, and a graduate of the prestigious Iowa Writers Workshop. "Woodnote" has even won the Washington State Book award for poetry. But even so, Deavel describes herself as someone who is almost constantly in crisis about why she, or anyone, writes. KUOW's Elizabeth Austen spoke with Christine Deavel about that ambivalence and how it plays out in her work. In her poem "Economy," Deavel interleaves excerpts from a relative's early 20th century diaries — brief daily entries made faithfully for 54 years — with her own obsessive questioning about how to value the art she makes. Deavel talks about what drew her to the diaries as source material, and why, after devoting her life to poetry, she still questions why she does it. Pianist Robin Holcomb improvises while Deavel reads an excerpt from "Economy," recorded at the Good Shepherd Center in October 2011. About Christine Deavel And "Woodnote" Deavel is co-owner of Open Books: a Poem Emporium, one of just three poetry-only bookstores in the United States. She is the author of the poetry chapbook "Box of Little Spruce" (LitRag Press, 2005) and the collection "Woodnote," which won the 2012 Washington State Book Award for poetry and the 2011 Dorothy Brunsman Poetry Prize. She graduated from Indiana University and the University of Iowa, and currently lives in Seattle.

When Ellen Forney was diagnosed with bipolar disorder 16 years ago, her first concern was for her creative future. The award-winning cartoonist prided herself on the artwork and stories she'd come up with during periods she described as manic. Right after her diagnosis, Forney was reluctant to try the drug treatments her psychiatrist prescribed for her. Would she lose her creative edge on lithium? But after a serious period of depression, Forney set out on the ongoing journey to achieve and maintain a state of mental balance.Ellen Forney chronicles her experiences in her new graphic memoir "Marbles: Mania, Depression, Michelangelo, and Me." Forney describes it as the hardest work she's ever done. She hopes people struggling with their own mental balance will read her story and draw inspiration from it.

Why do we make art? and Is it worth the personal cost? are two of the central questions in Christine Deavel's poetry collection "Woodnote" (Bear Star Press, 2011). Deavel is the co-owner of a poetry-only bookstore in Seattle's Wallingford neighborhood, and a graduate of the prestigious Iowa Writers Workshop. "Woodnote" has even won the Washington State Book award for poetry. But even so, Deavel describes herself as someone who is almost constantly in crisis about why she, or anyone, writes. KUOW's Elizabeth Austen spoke with Christine Deavel about that ambivalence and how it plays out in her work.In her poem "Economy," Deavel interleaves excerpts from a relative's early 20th century diaries — brief daily entries made faithfully for 54 years — with her own obsessive questioning about how to value the art she makes. Deavel talks about what drew her to the diaries as source material, and why, after devoting her life to poetry, she still questions why she does it. Pianist Robin Holcomb improvises while Deavel reads an excerpt from "Economy," recorded at the Good Shepherd Center in October 2011.About Christine Deavel And "Woodnote"Deavel is co-owner of Open Books: a Poem Emporium, one of just three poetry-only bookstores in the United States. She is the author of the poetry chapbook "Box of Little Spruce" (LitRag Press, 2005) and the collection "Woodnote," which won the 2012 Washington State Book Award for poetry and the 2011 Dorothy Brunsman Poetry Prize. She graduated from Indiana University and the University of Iowa, and currently lives in Seattle.

Why do we make art? and Is it worth the personal cost? are two of the central questions in Christine Deavel's poetry collection "Woodnote" (Bear Star Press, 2011). Deavel is the co-owner of a poetry-only bookstore in Seattle's Wallingford neighborhood, and a graduate of the prestigious Iowa Writers Workshop. "Woodnote" has even won the Washington State Book award for poetry. But even so, Deavel describes herself as someone who is almost constantly in crisis about why she, or anyone, writes. KUOW's Elizabeth Austen spoke with Christine Deavel about that ambivalence and how it plays out in her work. In her poem "Economy," Deavel interleaves excerpts from a relative's early 20th century diaries — brief daily entries made faithfully for 54 years — with her own obsessive questioning about how to value the art she makes. Deavel talks about what drew her to the diaries as source material, and why, after devoting her life to poetry, she still questions why she does it. Pianist Robin Holcomb improvises while Deavel reads an excerpt from "Economy," recorded at the Good Shepherd Center in October 2011. About Christine Deavel And "Woodnote" Deavel is co-owner of Open Books: a Poem Emporium, one of just three poetry-only bookstores in the United States. She is the author of the poetry chapbook "Box of Little Spruce" (LitRag Press, 2005) and the collection "Woodnote," which won the 2012 Washington State Book Award for poetry and the 2011 Dorothy Brunsman Poetry Prize. She graduated from Indiana University and the University of Iowa, and currently lives in Seattle.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Stuart Zobel is the guitarist in the Seattle-based band Choroloco. The band plays music from Brazil called “choro.” Stewart says the infectious rhythms and melodies of the music, and the spirit of community associated with the choro style is what draws him to the music. He says:All segments of Brazilian society were involved with it. You had a lot of the upper classes with their pianos, playing music from Europe and fusing it with other styles. And they were actually getting together with other people outside of their class or race and playing. It reminds me a lot of old timey music and jam sessions and circles here in the United States. That happens in Rio with choro and they call these gatherings the "rodas de choro" and that means wheel or circle of choro. Anybody can show up. Any instrument can come.Rosalynn De Roos is the clarinetist and band lead in Choroloco. She put the group together about five years ago when she was studying Latin music styles at Seattle’s Cornish College of the Arts. Rosalynn says choro has its roots in the music of African slaves who were brought to Brazil. There are also elements of European chamber music and indigenous sounds from Brazil’s native population. She and other musicians love the style because there’s something in it from so many traditions, styles and approaches to music making. She says:I’m constantly listening to this music, reading about it, studying up on the composers — and it is a living tradition. As a North American I’m taking this music, re-interpreting it and putting my own spin and voice on it. And so there is a marriage of the old and new. I keep it fresh and different, but also try to protect the tradition out of respect and joy and love for it.Members of Choroloco visited us in the performance studio at KUOW this week and played two pieces from the choro tradition. KUOW sound engineer Eamon Nordquist recorded the session. Choroloco and other Brazilian bands and artists who make their home in the Pacific Northwest will play together on Friday, November 9 at 8:30 p.m. in the Royal Room in Seattle’s Columbia City neighborhood.

Your attitude toward rain and seemingly endless dark skies may be the best litmus test for whether you are a true Northwesterner. Do you resist or embrace the shift toward dark, wet days? In her poems “Under the Graphite Sky” and “Strange How You Stay,” Orcas Island poet Dorothy Trogdon gives us a uniquely Pacific Northwestern view of winter.Trogdon is the author of two chapbooks and a full length poetry collection, “Tall Woman Looking” published by Blue Begonia Press earlier this year. She has a degree in Art History from Wheaton College and earned a Masters of Architecture from Harvard Graduate School of Design in the late 1940s. She has lived on Orcas Island since 1985.Her reading of these and other poems including "Desire, Like a Hungry Lion," was recorded in the KUOW Studios on June 21, 2012.