Podcast appearances and mentions of Aaron Copeland

From Texas, the US & Canada, 1st for Weekly neo-traditonal, classic Country & the 90's spirit from France program Fred's Country 2025 w # 12: Part 1: - Mark Chesnutt, Blame It on Texas - Too Cold At Home - 1990 - Case Hardin, Are You With Me - S - 2024 - Jon Wolfe, If I Had A Bar (Live) - Live at Billy Bob's Texas - 2025 - Presley Phillips, PS Cowboy - S - 2025 Part 2: - Mackenzie Carpenter ft. Midland, I Wish You Would - Hey Country Queen – 2025 - Randy Houser, Country Round Here Tonight - Note To Self (Deluxe) - 2025 - Aaron Copeland, Baby Needs Some Neon - S – 2025 - George Strait, Kicked Outta Country - Strait Out of the Box II – 2016 Part 3: - Charlie McCabe, Two Steppin' - S - 2025 - Gord Bamford, Cowboys Were Kings ~~ Bobby Wills, Comeback Town - S - 2025 - Cody Johnson, She's Acting Single (Acoustic) - S - 2022 - Savanna Chestnut, Trailer Number 3 - S - 2025 Part 4: - Jon Pardi, She Drives Away - Honkytonk Hollywood TBR 04/11 - 2025 - Jake Worthington feat. Marty Stuart, I'm The One - S – 2025 - Wynn Williams, Country Therapy - S – 2025 - Josh Ward, Walkin' In My Boots - Same Ol' Cowboy, Different Rodeo – 2025 - Garth Brooks, If Tomorrow Never Comes - Garth Brooks – 1989

This week, Scott sat down with his Lawfare colleagues Benjamin Wittes, Anastasiia Lapatina, and Eugenia Lostri to try to make sense of the week's biggest national security news stories, including:“Kursked.” This week, even as Ukrainian President Volodymyr Zelensky rolls out his “Victory Plan” to Western allies, Russian forces have made progress reclaiming what some have described as a key part of that plan: the region of Kursk within Russia, which Ukrainian forces seized earlier this year. How central is Kursk to Zelensky's vision for how to end the conflict? And how will Russia's apparent progress impact his plans?“The Waiting Game.” The world remains on the edge of its seat, waiting to see how Israel will pursue its promised response against Iran for the volley of missiles the latter launched against it earlier this month. What sort of response does Israel seem to have in store? And what role will the United States be playing?“Tap Tap Tapping.” A coalition of China-associated hackers called “Salt Typhoon” is believed to have hacked the system used by telecommunications companies to comply with U.S. legal warrants. How big a deal is this? And what might its implications be for the United States surveillance system writ large?For object lessons, Ben shared his electronic composition “Trump Portrait” (with apologies to both Aaron Copeland and Abraham Lincoln). Nastya recommended “The Road to Unfreedom,” by Timothy Snyder, as an essential portrait of the road to Russia's brutality. Scott sang the praises of the Slate podcast “One Year,” especially for those seeking informative and (mostly) family-friendly podcast fare. And Eugenia endorsed the series “Nobody Wants This,” the most grounded and realistic rabbi-meets-sex podcaster romcom you've ever seen.Support this show http://supporter.acast.com/lawfare. Hosted on Acast. See acast.com/privacy for more information.

This week, Scott sat down with his Lawfare colleagues Benjamin Wittes, Anastasiia Lapatina, and Eugenia Lostri to try to make sense of the week's biggest national security news stories, including:“Kursked.” This week, even as Ukrainian President Volodymyr Zelensky rolls out his “Victory Plan” to Western allies, Russian forces have made progress reclaiming what some have described as a key part of that plan: the region of Kursk within Russia, which Ukrainian forces seized earlier this year. How central is Kursk to Zelensky's vision for how to end the conflict? And how will Russia's apparent progress impact his plans?“The Waiting Game.” The world remains on the edge of its seat, waiting to see how Israel will pursue its promised response against Iran for the volley of missiles the latter launched against it earlier this month. What sort of response does Israel seem to have in store? And what role will the United States be playing?“Tap Tap Tapping.” A coalition of China-associated hackers called “Salt Typhoon” is believed to have hacked the system used by telecommunications companies to comply with U.S. legal warrants. How big a deal is this? And what might its implications be for the United States surveillance system writ large?For object lessons, Ben shared his electronic composition “Trump Portrait” (with apologies to both Aaron Copeland and Abraham Lincoln). Nastya recommended “The Road to Unfreedom,” by Timothy Snyder, as an essential portrait of the road to Russia's brutality. Scott sang the praises of the Slate podcast “One Year,” especially for those seeking informative and (mostly) family-friendly podcast fare. And Eugenia endorsed the series “Nobody Wants This,” the most grounded and realistic rabbi-meets-sex podcaster romcom you've ever seen. Hosted on Acast. See acast.com/privacy for more information.

If you are exploring the rise of prog rock, it doesn't take long until you encounter the power trio of Emerson, Lake & Palmer.  This progressive rock band is actually a supergroup.  Keyboardist Keith Emerson came from The Nice, vocalist and guitarist Greg Lake was in King Crimson, and percussionist Carl Palmer was from Atomic Rooster.  Emerson, Lake & Palmer formed in 1970 and would make their mark as a prog rock band which adapted classic and symphonic music into the rock genre, with elements of jazz, acoustic, and art rock coming into play.  Most ELP songs are long and complicated, not making any attempt to stay within the confines of the “hit single” pop track.Trilogy is the trio's third studio album, following their eponymously named debut, their second studio album entitled “Tarkus,” and their live album, Pictures at an Exhibition.  Trilogy continues a tradition of combining original material with adaptations of classical music.  It was also a challenging album for the group to make, utilizing more overdubs than previous albums.  The upside is a great sounding, polished album.  The downside is that the music was difficult to duplicate live, causing a number of the songs from Trilogy to be minimally used in set lists.The album was considered both a critical and commercial success, reaching number 2 on the UK albums chart, and number 5 on the US Billboard 200 chart.ELP would continue as a force in the 70's, breaking up in 1979.  Both partial and full reunions would continue through the 1980's and 1990's, with their final performance being held in 2010.  Both Keith Emerson and Greg Lake died in 2016.Wayne takes us through this prog rock masterpiece for this week's podcast. FugueWe open with an instrumental featuring Keith Emerson on keyboards.  A fugue is a style of music involving counterpoint, popular in the Baroque musical era of the 1600's.  You will get exposure to a lot of serious musical compositions and style listening to this group.From the BeginningThis is the "hit" from the album, if you think of Emerson, Lake & Palmer in terms of popularity.  It went to number 29 on the US charts, and is the highest charting US single.  Greg Lake wrote the music and lyrics, and plays the acoustic guitar for this ballad.  The lyrics take on a philosophical sone, emphasizing the importance of the present moment, while not missing past mistakes and missed opportunities.  The SheriffKeith Emerson wrote the music and Greg Lake wrote the lyrics to this western-themed track.  It tells the story of an innocent man fleeing the law, encountering the law in the form of the Sheriff, then taking the Sheriff's place after shooting him.  It ends with a great honkytonk piano solo.HoedownImmediately following “The Sheriff” on the album, the group creates an adaptation of Aaron Copeland's iconic “Hoe-Down,” written for his classic ballet entitled “Rodeo” in 1942.  This tune became well known after being used in advertisements by America's Beef Producers.   ENTERTAINMENT TRACK:Main theme from the motion picture “Super Fly”Curtis Mayfield created this song for the black-oriented crime drama film of the same name. STAFF PICKS:Best Thing by StyxBruce leads off the staff picks with the first single from Styx's first album.  Dennis DeYoung and James Young wrote the song and trade off on lead vocals.  It peaked at number 82 on the Billboard Hot 100.  This is a great tune to hear and grasp what the early days of Styx sounded like.  Rock and Roll, part 2 by Gary GlitterRob brings us a glam rock anthem made famous today by its use in sports stadiums nation wide.  This single off “Glitter,” the debut album by Gary Glitter, is the only one of his singles to crack the U.S. top 10.  Both “Rock and Roll” part 1 and part 2 peaked at number 2 on the UK singles chart.Brandy (You're A Fine Girl) by Looking GlassIt is a mystery how Lynch was able to pick up this well-known classic of yacht rock this late in the podcasts.  This track tells the story of a waitress who gives her love to a sailor, knowing that he would never be on shore for long.  Will It Go Round in Circles by Billy PrestonWayne's staff pick is a funky tune from the man often known as the fifth Beatle.  Preston played with a number of musicians, including Ray Charles, Little Richard, Sam Cook, Eric Clapton, Aretha Franklin, Joe Cocker, and of course the Beatles.  This soulful tune sold over a million copies and topped the Billboard Hot 100 chart. INSTRUMENTAL TRACK:Walk In the Night by Junior Walker & the All StarsThis jazz-infused (largely) instrumental track closes out the podcast for the week.  Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

Welcome to SUPERSTARS WEEK! This week I'm rebroadcasting my interviews with five Superstars: Judy Collins, Al Kooper, David Amram, Ron Carter and Oscar Hammerstein II. David Amram is a National Treasure. He's a Musical Giant in Classical, Jazz and Popular music. He's performed with a Who's Who in all three genres including Aaron Copeland, Thelonious Monk, Dizzy Gillespie, Bob Dylan, Willie Nelson and Judy Collins. Leonard Bernstein named him the first Composer-In-Residence for the New York Philharmonic. Joseph Papp hired him to compose scores for the New York Shakespeare Festival. He's written movie scores for “Splendor In The Grass” and “The Manchurian Candidate” among others. And at 93 years young he's still going strong!My featured song is “It Is A Miracle To Me” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“THE GIFT” is Robert's new single featuring his song arranged by Grammy winning arranger Michael Abene. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES” is Robert's recent single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with David at:www.davidamram.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

David Amram is a National Treasure. He's a Musical Giant in Classical, Jazz and Popular music. He's performed with a Who's Who in all three genres including Aaron Copeland, Thelonious Monk, Dizzy Gillespie, Bob Dylan, Willie Nelson and Judy Collins. Leonard Bernstein named him the first Composer-In-Residence for the New York Philharmonic. Joseph Papp hired him to compose scores for the New York Shakespeare Festival. He's written movie scores for “Splendor In The Grass” and “The Manchurian Candidate” among others. And at 93 years young he's still going strong!My featured song is “It Is A Miracle To Me” from the album East Side Sessions by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“LOU'S BLUES” is Robert's new single. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------“THE RICH ONES”. Robert's recent single. With guest artist Randy Brecker (Blood Sweat & Tears) on flugelhorn. Click HERE for all links.—---------------------------------------“MILES BEHIND”, Robert's debut album, recorded in 1994, was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Intro/Outro Voiceovers courtesy of:Jodi Krangle - Professional Voiceover Artisthttps://voiceoversandvocals.com Audio production:Jimmy RavenscroftKymera Films Connect with David at:www.davidamram.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Lords: * CisHetKayfaber * BaseCase Topics: * Raising third cultural kids as a second cultural individual * Figuring out how to do creative projects that take longer than a weekend when you aren't getting paid for them. * Someone sent me money on Venmo and now I need to sign up for Venmo if I want to have the money * Farmyard Song * https://en.wikipedia.org/wiki/Farmyard_Song * https://www.elyrics.net/read/a/aaron-copland-lyrics/i-bought-me-a-cat-lyrics.html * We've been subscribed to Universal Yums for over a year now, and the sweet snacks range from "unremarkable" to "unbelievably great" to "not my cup of tea but interesting", whereas the savory snacks are mostly bad. What's going on there? Microtopics: * Not being permitted to plug anything. * A unique situation in which you are gendered a lot less. * Australian Treat Arnott's Mint Slice. * Crossover of snacks from Australia to Japan. * Gentleman's agreements among cookie manufacturers. * Patenting your cookie recipe. * Touring school administrators. * Being friends with a lot of Coca Cola people. * Really enjoying multiculturalism. * Producing a good person. * Taking credit for the time your daughter didn't play Mario for six months. * Focusing on the aspects of the situation that you find meaningful. * What does and doesn't count as a childhood development milestone. * Being good at the work people are expecting you to do. * Doing worksheets outside. * What children report back from their experience at school. * Attempting to pirate the Montessori curriculum. * A really fun month. * Projects you can accomplish in a weekend. * Why you don't have more to show for all your free time. * Refusing to call someone stupid or lazy and having to figure out why they're actually failing. * Coping strategies to get things done. * Advice that is not helpful for neurodivergent people. * Breaking a task into subtasks and putting them on a schedule. * The first time you encountered the concept of a to-do list. * Brain tech. * Hammock time. (Or shower time.) * Showers: It's Wet In There. * Exultation of showers. * Watching someone start a hobby and immediately excel at it. * Finding a good community to learn how to do a thing. * Joining a discord with experts in many things. * Learning how to program and realizing that this makes you good at everything because programming is the hardest thing humans do. * Sending money to a phone number vs. sending money to an email address. * Canadians wishing each other money. * Nice things to do when you don't want to defraud people. * Opening a whole raft of phishing opportunities. * Visa getting a cut of every transaction that happens ever. * Whether every person in the world could live in Canada. * The Cocaine Mayor. * A traditional that is credited to Aaron Copeland. * Cats saying "fiddle-eye-fee." * Not being a raging misogynist but engaging in raging misogyny anyway. * The era when the onomatopoeia for a dog barking was "bow wow." * Onomatopoeia that is literal like "bang" vs. onomatopoeia that is more of a stretch like "shimmy shack shimmy shack." * Riffing on Aaron Copeland's sexuality. * Trying to shit enough to keep up with your toilet paper subscription. * A product built for people who have kids but do not have kids. * The mechanism by which the "Launch Frog Fractions 2" button launched Frog Fractions 2. * The great Loot Box crash of 2019. * Snacks that come with an instruction manual. * Ketchup flavored potato chips. * What you reach for when you're feeling snacky. * A potato chip palate that is just far too sophisticated. * Smoked ham potato chips. * Harry Potter jelly beans ruining snacks forever. * Only liking eating things that taste good. * This is bad, but is it bad in a new, interesting way? * The worst kind of bad. * Observing a terrible sprawling work and thinking "wow, you really did a thing here." * The recontextualization of earlier elements based on later knowledge. * Discord Lords. * Listening to ads because you have gloves on. * How to join the Topic Lords discord. * A recently minted lord who edits the show. * Lords Eat Free.

Today's Best & your All Time Favorites From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w50: Part 1: - Cody Johnson, That's Texas – Leather (2023) - Jon Pardi, Luke Bryan, Cowboys And Plowboys - S (2023) - Kyle Park, Hill Country Home – S (2023) - Marshall, The Workin' Kind – If My Heart Had Windows (1988) Part 2: - Robby Johnson, Oh! Sant a, Please - S (2023) - Jon Pardi, 400 Horsepower Sleigh - Merry Christmas From Jon Pardi (2023) - Skip Ewing, Mister Snowman - S (2023) - Alan Jackson, Let It Be Christmas - Let It Be Christmas (2002) - The Ranch Hands, Til Santa's Gone (I Just Can't Wait) - Country Christmas (2023) Part 3: - Nicole Croteau, Little Things - S (2023) - Aaron Copeland, Lovin' On You – S (2023) - Aaron Watson, Country Radio - Red Bandana (2019) - William Michael Morgan, In Walked You - S – 2023 Part 4: - Maddie & Tae, It's Beginning To Look A Lot Like Christmas – We Need Christmas (2023) - Blake Shelton, The Very Best Time of Year - Cheers, It's Christmas (2012) - Brett Kissel, I Want A Massey Ferguson For Christmas - S (2023) - Randy Travis & Drew Parker, There's a New Kid in Town - S (2021) - Music Travel Love ft Francis Greg, Dave Moffatt & Anthony Uy, Its Christmas Time - S (2023)

Guest host FFRF Communications Director Amitabh Pal first recounts the state/church watchdog's achievements over the past few days — and the resulting media coverage. Then, he talks with University of Turin Professor Marzia Casolari about her groundbreaking book, “In the Shadow of the Swastika,” spotlighting the influence of Italian fascism and Nazism on the Hindu nationalist movement currently governing India. And interspersed throughout the show is the music of freethinker Aaron Copeland, whose birth anniversary we are observing this week.

Today's Best & your All Time Favorites From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w43: Part 1: - Marty Stuart, A Honky Tonk Song - Cool Country Favorites – 2008 - Marshall, The Workin' Kind - S – 2023 - Jon Wolfe, If I Had a Bar - S – 2023 - Annie Bosko, Neon Baby - S – 2023 Part 2: - Cody Johnson, That's Texas - Leather TBR – 2023 - Aaron Copeland, Lovin' On You - S – 2023 - Catie Offerman ft. Hayes Carll, Ask Me To Dance - S – 2023 - James Lann, Here with You - S – 2023 Part 3: - Curtis Grimes, How The Hurtin Goes - S – 2023 - Billy Currington, Anchor Man - S – 2023 - Zach Neil, Till The Numbers Run Out - S – 2023 - George Strait, Troubadour - Troubadour – 2008 - Caroline Jones feat Zac Brown Band, Million Little Bandaids - Homesite – 2023 Part 4: - Jon Pardi, Luke Bryan, Cowboys And Plowboys - S – 2023 - Alex Miller, Puttin' Up Hay - Country – 2023 - Aaron Watson feat. Kylie Frey - 9 To 5 - Cover Girl TBR – 2023 - Kyle Park, A Broken Heart Like That - S – 2023 - Jake Bush feat. Lorrie Morgan, Kentucky Bluebird - S – 2023 October 1983/2023 40 years on the air !!!

Today's Best & your All Time Favorites From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w42: Part 1: - Donice Morace, Through The Jukebox - Long Live the Cowboy – 2019 - Jade Eagleson, Some Cowboy - Do It Anyway – 2023 - Brad Paisley, Son Of The Mountains - Son of The Mountains : The First Four Tracks – 2023 - Cody Johnson, That's Texas - Leather TBR – 2023 - Jon Wolfe, That's not very Texas of You - It All Happened in a Honky Tonk (Deluxe) – 2013 Part 2: - Jon Wolfe, If I Had a Bar - S – 2023 - Marshall, The Workin' Kind - S – 2023 - Jaden Hamilton, Buy You a Beer - S – 2023 - Nicole Croteau, Little Things - S – 2023 Part 3: - Aaron Copeland, Lovin' On You - S – 2023 - Chaser Crouch, Houston We Got A Problem - S - 2023 - Ryan Talley, My End Of The Bar - S – 2023 - Jenna Paulette, You Ain't No Cowboy - The Girl I Was – 2023 - Highway 101, Walkin', Talkin', Cryin' Barely Beatin' Broken Heart - Paint the Town – 1989 Part 4: - Cody Johnson, Work Boots - Leather TBR – 2023 - Alex Miller, Puttin' Up Hay - Country – 2023 - Carly Pearce, Heels Over Head - S – 2023 - Annie Bosko, Neon Baby - S – 2023 - Dan + Shay, Neon Cowgirl - Bigger Houses – 2023 October 1983/2023 40 years on the air !!!

“I remember about the rabbits, George.”Capturing Steinbeck and Americana on the Big ScreenHaving been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck's novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel' and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone's 1939 film Of Mice and Men.Here's a hint at what we talk about.For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it's this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There's also the moralistic, religious, and humanistic angles we discuss. The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck's pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.This film stands strong as a version of this film that's worth remembering. It's definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find places to watch this at JustWatchTranscriptTheatrical trailerPoster artworkLetterboxd(00:00) - Welcome to The Next Reel • Of Mice and Men(01:10) - 1940 Academy Award Best Picture Nominees Series Continued(02:15) - Revisiting the Novella(03:51) - Deceptively Small Story(05:09) - Initial Thoughts, Play, and Expanding Story(09:02) - Big Issues(12:48) - Caretaking(18:32) - More on the Dog(22:21) - Comparison to Lenny(23:34) - Good Deed?(24:20) - Parallel Issues(25:18) - Lenny as Sympathetic Character(26:21) - Race(32:29) - Gender Issues and Mae(35:30) - Kindness to Mae?(38:45) - Lewis Milestone(41:54) - Cast(47:55) - Title Origins(49:29) - Credits(50:25) - Other Versions(51:54) - Awards(55:24) - The Box Office(56:28) - Last Thoughts(56:52) - Coming Next Week • Wuthering Heights(58:18) - Letterboxd(01:00:23) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

“I remember about the rabbits, George.”Capturing Steinbeck and Americana on the Big ScreenHaving been writing novels for 10 years, it made sense that eventually, Hollywood would turn to John Steinbeck's novels as a source for the silver screen. The first film to make the transition was Of Mice and Men, a novella he originally wrote as a ‘playable novel' and then as a play itself. To that end, it was already the perfect size for adapting. And to that end, the film works just as well as the story. Join us – Pete Wright and Andy Nelson – as we continue our series on 1940 Academy Award Best Picture nominees with a conversation about Lewis Milestone's 1939 film Of Mice and Men.Here's a hint at what we talk about.For a relatively simple story, a lot happens and the story works through a variety of topics. How does the story handle a character with an intellectual disability and what does it say about those who take care of others, whether it's this character or an aging dog? What about race relations? (To that end, it may be less pointed than the book but the film still feels like it handles race better than Gone With The Wind does.) The script changes how Mae – the only female character in the book and the only one with any real presence in the film – fits into the story. Here, we get a sense of the tragedy of this character, which does a lot to paint the gender differences in this place at this time. There's also the moralistic, religious, and humanistic angles we discuss. The casting is fantastic. Burgess Meredith and Lon Chaney, Jr. play our two leads and deliver complex, compassionate performances that are the beating heart of this film. Betty Field plays Mae and rounds the character out with resonance and depth that never were on Steinbeck's pages, even if possibly inferred. The rest of the cast fits impeccably into their roles. Lewis Milestone directs and handles the story effectively and efficiently. And having Aaron Copeland score the film only enhances its feel of Americana.This film stands strong as a version of this film that's worth remembering. It's definitely one of the best films of the year and certainly worthy of its Best Picture nomination. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesLearn more about supporting The Next Reel Film Podcast through your own membership.Find places to watch this at JustWatchTranscriptTheatrical trailerPoster artworkLetterboxd(00:00) - Welcome to The Next Reel • Of Mice and Men(01:10) - 1940 Academy Award Best Picture Nominees Series Continued(02:15) - Revisiting the Novella(03:51) - Deceptively Small Story(05:09) - Initial Thoughts, Play, and Expanding Story(09:02) - Big Issues(12:48) - Caretaking(18:32) - More on the Dog(22:21) - Comparison to Lenny(23:34) - Good Deed?(24:20) - Parallel Issues(25:18) - Lenny as Sympathetic Character(26:21) - Race(32:29) - Gender Issues and Mae(35:30) - Kindness to Mae?(38:45) - Lewis Milestone(41:54) - Cast(47:55) - Title Origins(49:29) - Credits(50:25) - Other Versions(51:54) - Awards(55:24) - The Box Office(56:28) - Last Thoughts(56:52) - Coming Next Week • Wuthering Heights(58:18) - Letterboxd(01:00:23) - Wrap UpThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5640170/advertisement

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 32: Part 1: - Garth Brooks, The Beaches Of Cheyenne - Fresh Horses – 1993 - Will Banister, Right Where We Belong - S – 2023 - Brian Callihan, On Top Of The World - S – 2023 - Kyle Park, Fit For The King - Beggin' For More - 2013 Part 2: - Ronnie Dunn feat Parker McCollum, Road to Abilene - 100 Proof Neon – 2022 - David Lewis, Hard To Hold A Bottle - S - 2023 - Aaron Copeland, Lovin' On You - S - 2023 - Dean Brody, Memory Lane - Beautiful Freakshow - 2016 Part 3: - Holly Tucker, Rhythm Of You - You're Gonna Know My Name (Deluxe) - 2023 - Scotty McCreery, It Matters To Her - Same Truck – 2022 - Jade Eagleson, She Don't Know - Honkytonk Revival - 2021 - Jamey Johnson feat Ronnie Dunn, A-11 - Living for a Song A Tribute to Hank Cochran - 2012 - Haley Kerr feat Luke Aaron, Back to Tennessee - S - 2023 Part 4: - Clay Walker, Boogie Till The Cows Come Home - If I Could Make A Living - 1994 - David Adam Byrnes, Still Have Some Cowboy Left - S – 2023 - Wynn Williams, All Over Me – S - 2023 - Rodney Atkins, Family - Take A Back Road – 2011

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 32: Part 1: - Garth Brooks, The Beaches Of Cheyenne - Fresh Horses – 1993 - Will Banister, Right Where We Belong - S – 2023 - Brian Callihan, On Top Of The World - S – 2023 - Kyle Park, Fit For The King - Beggin' For More - 2013 Part 2: - Ronnie Dunn feat Parker McCollum, Road to Abilene - 100 Proof Neon – 2022 - David Lewis, Hard To Hold A Bottle - S - 2023 - Aaron Copeland, Lovin' On You - S - 2023 - Dean Brody, Memory Lane - Beautiful Freakshow - 2016 Part 3: - Holly Tucker, Rhythm Of You - You're Gonna Know My Name (Deluxe) - 2023 - Scotty McCreery, It Matters To Her - Same Truck – 2022 - Jade Eagleson, She Don't Know - Honkytonk Revival - 2021 - Jamey Johnson feat Ronnie Dunn, A-11 - Living for a Song A Tribute to Hank Cochran - 2012 - Haley Kerr feat Luke Aaron, Back to Tennessee - S - 2023 Part 4: - Clay Walker, Boogie Till The Cows Come Home - If I Could Make A Living - 1994 - David Adam Byrnes, Still Have Some Cowboy Left - S – 2023 - Wynn Williams, All Over Me – S - 2023 - Rodney Atkins, Family - Take A Back Road – 2011

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 26: Part 1: - Darius Rucker, Come Back Song - Charleston, SC 1966 - 2010 - Cody Johnson, Honky Tonk Hardwood Floors - Cody Johnson & The Rockin' CJB Live – 2022 - Sunny Sweeney, Staying's Worse Than Leaving - Sunny Sweeney - EP – 2011 - Ryan Lindsay, If Your Heart Aint In It - Seasons – 2023 Part 2: - Craig Campbell, That's Music to Me - Craig Campbell – 2011 - Wynn Williams, All Over Me - S – 2023 - Jade Eagleson, Honky Talkin' - S – 2023 - Jenna Paulette, One Two-Step Away - The Girl I Was - 2023 Part 3: - Aaron Copeland, Lovin' On You - S - 2023 - Jake Worthington, I Ain't Goin Anywhere - Jake Worthington – 2023 - David Lee Murphy, Party Crownd - Out with a Bang – 1995 - Aaron Watson feat Jolee Kate Watson, Never Grow Up - S – 2023 - Ian Munsick, Ranch Hand - White Buffalo – 2023 Part 4: - Donice Morace, What I'm Tonkin About – This Life I Love - 2023 - Megan Moroney, Lucky - Lucky – 2023 - Hot Country Knights, Midknight Rodeo - S – 2023 - Brennen Leigh, I Ain't Through Honky Tonkin' Yet - Ain't Through Honky Tonkin' Yet - 2023 - Terri Clark feat Dierks Bentley, Golden Ring - Classic – 2012

Hello friends! We're the ladies of Stone Cold Country with the April edition of the #TexasSixPack. This time around there are seven songs from amazing Texas artists that you should add to your playlists, radio station, blogs and share across social media.The Texas Six Pack was a feature we created in late 2018 for our Stone Cold Country radio show. Due to the incredible popularity of the segment, in January 2023,we decided to roll it out as a stand alone podcast with new episodes on the 23rd of each month.Before we dig in, we like to share some noteworthy news from the longhorn state. Yes, great news about Gruene Hall. Firstly it is still going strong after 145 years in existence, good god. Yes, and It is Texas' oldest continually operating dance hall. Some friends in Texas are very particular. I made the mistake of calling it a honky tonk because the rest of us call any place that plays country music and serves alcohol a honky tonk, don't you know.Featured in this podcast: Wade Bowen, Aaron Copeland, Aaron McDonnell, Kendall Shaffer, Richie Bustillo, Matt Castillo, and Robert Ray.

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 17: Part 1: - Sammy Kershaw, Honky Tonk Boots - Honky Tonk Boots - 2006 - Chancey Williams, Look Good Leavin' - One of These Days – 2023 - Jake Worthington, Honky Tonk Crowd - Jake Worthington – 2023 - Jessie Wilson feat Sam Banks, How ‘Bout We Find Out - How ‘Bout We Find Out EP – 2023 Part 2: - David Adam Byrnes, Drinking Games - S – 2023 - Drew Parker, Middle Of Nowhere Class - At the End of the Dirt Road EP TBR– 2023 - Aaron Copeland, Lovin' On You - S – 2023 - Jake Blocker, You Could've Had Me When I Cared - S – 2023 - Waylon Jennings, Rainy Day Woman - The Ramblin' Man – 1974 Part 3: - Donice Morace, Like This - This Life I Love – 2023 - Hunter Thomas Mounce, What She Forgot - Right Where We Left Off – 2023 - Zach Neil, All The Pretty Horses - S – 2022 - Rob Crosby, Summer Star - The End of the Island – 2023 Part 4: - Alex Miller, Girl I Know A Guy - S – 2023 - Drew Parker with Mallory Parker, King Of Country Music - At the End of the Dirt Road EP TBR– 2023 - Ian Munsick, Ranch Hand - White Buffalo – 2023 - Lionel Cartwright, Give Me His Last Chance - Lionel Cartwright - 1989

New logo, new six pack of tunes, same old Miss Helen and Producer Kyle! We're talking tunes from Taylor Tumlinson, Cooper Mohrmann, Kylie Frey, Aaron Copeland, Ryan Lindsay and Jake Bush!Huge thanks to our friends at More Than Music Creations for supporting the show! Find all of our podcast episodes in audio or video format at www.texastoastpodcast.com! Spread the love by subscribing on YouTube, following us on socials @texastoastpod and MOST IMPORTANTLY, tell your friends about us!Support the show

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 16: Part 1: - George Strait, Adalida - Lead On - 1994 - David Adam Byrnes, Keep Up With A Cowgirl - Keep Up With A Cowgirl – 2022 - Donice Morace, Like This - This Life I Love – 2023 - Ashley Monroe Duet With Blake Shelton, You Ain't Dolly (And You Ain't Porter) - Like a Rose– 2013 Part 2: - Ian Munsick, Ranch Hand - White Buffalo – 2023 - Dan Lepien, God Bless Kwik Trip - S – 2023 - Jenna Paulette, Anywhere The Wind Blows - The Girl I Was – 2023 - Travis Tritt, Take It Easy - VA, Common Thread: The Songs of the Eagles – 1993 Part 3: - Aaron Copeland, Lovin' On You - S – 2023 - David Lewis, Hard To Hold A Bottle - S - 2023 - Donice Morace, What I'm Tonkin' About - This Life I Love – 2023 - Jake Bush, Name On It - S – 2023 - Clint Black, No Time To Kill - No Time To Kill – 1993 Part 4: - Randall King, Green Eyes Blue - S – 2023 - Jenna Paulette, One Two-Step Away - The Girl I Was – 2023 - Jake Worthington, Without You - Jake Worthington – 2023 - Brandi Behlen, Thinkin' Bout Cheatin' - S - 2022

I met Kenny Aronoff through LinkedIn and thought he would be a fairly interesting podcast guest. Boy, was I wrong! Not fairly interesting, but incredibly interesting and fascinating.   As you will learn, Kenny was named by Rolling Stone Magazine as one of the top 100 drummers of all time. In his biography, you will see a partial list of the people and bands that have benefited from his talents.   You will get to hear how he eventually decided to start playing modern music. This story is one in a million and it, I must say, captivated me right from the outset. I hope it will do the same for you. I do hope you enjoy it. I'm not going to give it away. Listen and see for yourself.     About the Guest:   Kenny Aronoff is one of the world's most influential and in demand session and live drummers. Rolling Stone Magazine, in fact, cited him as one of the “100 Greatest Drummers of All Time” and Modern Drummer named him #1 Pop/Rock Drummer and #1 Studio Drummer for five consecutive years. The list of artists he's worked with on the road and/or in the studio reads like a who's who of the music industry, and includes:    John Mellencamp, The Rolling Stones, Bruce Springsteen, Paul McCartney, Ringo Starr, Tom Petty, Sting, The Smashing Pumpkins, Billy Gibbons, Lady Gaga, Bruno Mars, Bob Seger, Bob Dylan, John Fogerty, Jon Bon Jovi, Elton John, Rod Stewart, Eric Clapton, Willie Nelson, Waylon Jennings, Johnny Cash, Kris Kristofferson, Jerry Lee Lewis, Little Richard, Ray Charles, B.B. King, Joe Cocker, Steven Tyler, Dave Grohl, Chris Cornell, Garth Brooks, Don Henley, Melissa Etheridge, Keith Urban, Lynyrd Skynyrd, Stevie Wonder, Alicia Keys, John Legend, Beyonce, Mick Jagger, Slash, Bonnie Raitt, Ricky Martin, Santana, Crosby Stills and Nash, Celine Dion, Lenny Kravitz, Vince Gill, The Buddy Rich Big Band, Leonard Bernstein, Aaron Copeland, Hans Zimmer and many others.    With a style of playing that combines power and finesse, his unique and versatile sound has been instrumental on over 60 Grammy-nominated or awarded recordings representing over 300 million in sales, with more than 1300 that were RIAA certified Gold, Platinum or Diamond.    Kenny's winning approach to drumming and to life has given him the ability to sustain a successful career for over four decades.                                                                                                                                     In addition to performing and creating amazing music, Kenny is an inspirational speaker.He talks about Living Your Life by Your Purpose, Teamwork Skills, Innovation, Creativity, Hard Work, Self Discipline, Perseverance, and staying Relevant in your career and life.  Striving to always be better have been the tools that have kept Kenny at the top of his game for over four decades.     Author is the most recent addition to his long line of credits.  Sex, Drums, Rock ‘n' Roll! The Hardest Hitting Man in Show Business (Backbeat Books, November 15, 2016). This is not about sex; it is about the same passion that drives us all to be the best we can be doing what we love with those with whom we want to share our talents.    How to Connect with Kenny:   IG   https://www.instagram.com/kennyaronoff/   Facebook https://www.facebook.com/KennyAronoffOfficial   Twitter  https://twitter.com/AronoffOFFICIAL   Linkedin   https://www.linkedin.com/in/kennyaronoff/   TicTok  https://www.tiktok.com/search?q=kennyaronoffofficial&t=1660858209914   Website    https://kennyaronoff.com   Youtube https://www.youtube.com/kennyaronoffofficial   Uncommon Studios LA  https://uncommonstudiosla.com         About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson  01:20 Welcome once again to unstoppable mindset. I get to do something today. I have not done on this podcast before. But I've been looking forward to it for quite a while. I get to talk to a real live still absolutely functioning incredible man who is also a musician Kenny Aronoff has been a drummer for four decades he has played with basically anyone that you can imagine, although I'm going to try to stump him with one in a second here. But he's played with all of the people in the who's who have music no matter who they are. And and I'm so really excited to have the chance to talk with with him today. So Kenny, welcome to unstoppable mindset.   Kenny Aronoff  02:08 Thank you for having me. It's great to be here.   Michael Hingson  02:11 All while stump you right at the outset. Have you ever played with George Shearing   Kenny Aronoff  02:14 is that the guitar player who   Michael Hingson  02:16 does know George Shearing was a blind jazz pianist? He died?   Kenny Aronoff  02:20 Okay, I know. I'm thinking is that your is another guy had a close name? No, I never did. Well, there   Michael Hingson  02:25 you go. Oh, well, I found one. Well, I don't know he had a trio that he worked with. But I don't know how much he worked with a number of people primarily he played on his own. So it's not too surprising. But that's okay. But Stevie Wonder John Mellencamp Mellencamp. And have you ever. Oh, I gotta ask Have you ever played with Michael Buble? A.   Kenny Aronoff  02:51 Singer, I think he came onstage for one of these big events. Well, I play with everybody. I think I did play with Michael Boulais. He was one of the guests shows we were honoring whoever was, you know, I'll play with 25 artists in one show. Yeah. Might have. He may have been paired up with somebody else singing. Yeah. So I think I did.   Michael Hingson  03:11 Well, you know, we finally got to see him in Las Vegas. He's been my wife's idol for a long time. And I don't I enjoy him too. He's He's a singer who is saying the Great American Songbook, a lot of the old songs and all that. And he was in Vegas earlier this year. And so we got to go see him. And we actually really were very fortunate because we, we were escorted in early because my wife was in a wheelchair. And so they brought us in. And then the Azure came about five minutes before the show started and said, I've got two tickets that haven't been used down in the orchestra pit and they said I could give them to someone. Would you guys like them if the seats accessible? So of course, we said, Sure. Well, it was and we ended up being 18 rows from the stage, actually two rows in front of his family. And we got to see it was it was great. It was a wonderful concert. So   Kenny Aronoff  04:04 yeah, he's very, very talented. He's created his own niche in his own style. And that's a hard thing to do.   Michael Hingson  04:09 It is. But but he has done it. Well with you. Let's start like I love to start. Tell me a little bit about growing up and where you came from, and all that kind of stuff. Well, I   Kenny Aronoff  04:19 grew up in a very unique little town in western Mass, a group and like an old country farmhouse in the hills of Western Massachusetts to be whatever town was Stockbridge, Massachusetts. Maybe 3000 people but what was unique about that town, it was basically a slice of New York City. I mean, New York City was three hours away. Boston was two hours away. And there was a lot of arts. A lot of you know you had theater people there you had the Boston Symphony Orchestra in the next town over Atlanta, Lenox mass, which is three miles away. You had, you know, Sigmund Freud's protege, Erik Erikson, the wintertime Norman Rockwell, the illustrator lived in our town and he I used to go over to his house and me my twin brother. We I think we were in second grade. We should still cigarettes from him. We had a, you know, let's see. Norman Mailer was the next house down for me when you couldn't see anybody's houses where I lived. It was all woods and fields. But Norman Mailer, the great writer was right down the street from me. Another eighth of a mile was a Patty Hearst used to live in the house which they she had rented from the Sedgwick family, which is where Edie Edie Sedgwick came from that family. Down the bottom of the hill was a summer stock theatre where a lot of actors would come up from New York to get out of the city. So I met like, you know, people like Franklin Joe of Faye Dunaway and Bancroft, Arthur Penn, the movie director lived in our town, and so he would direct some place there. Goldie Hawn, which Dreyfus, they went on and on it. And this, this seemed normal to me. I didn't realize Daniel Chester French, who, whose was the sculptor, who did you know, the Washington Monument and Lincoln Memorial, he he at one point did our area. And when I went to Tanglewood, which is the most elite student orchestra in the country, if not the world, took me four years to get in there. But it's won by the Boston Symphony Orchestra. They only take seven percussionist in the whole world, when you when you audition, I literally failed three years in a row. And in my fourth attempt, I got in, but on that property is Nathaniel Hawthornes house. And he wrote The Scarlet Letter. I mean, I can just go on and on this area was just an extraordinarily extraordinary place to grow up with it was so many arts and intellectual people. But the thing that was amazing about this town was that it didn't matter. If you had money or had lots of money, everybody, you know, houses one locked keys were left in cars. It was a community. It was a it was a community where people support each other. So it's a great place to grow up.   Michael Hingson  07:13 That's one of the things I've always liked about Massachusetts. I lived in Winthrop for three years back in the well, late 1970s, early 1980s. But I always enjoyed the camaraderie and it was really hard to break into the community. If you were from the outside and I was viewed as an as an outsider, though I worked as hard as I could to, you know, to try to be involved. But if you weren't from there, it was really tough. By the same token, people were very kind to me, so I can't complain a whole lot. Yeah. Yeah. It was pretty good. And I was you actually beat me to the question I was going to ask you if you had ever made it over to Tanglewood. I never got to go up in here the symphony in in the winter in the summer. But I did needless to say get over to hear the pops on several occasions and and that was fun. And there's nothing like the Boston Pops. There's other than a Boston Symphony for that matter, either.   Kenny Aronoff  08:13 Well, I got to perform timpani on that stage. And with Leonard Bernstein, conducting Sibelius Fifth Symphony Orchestra, which is a feature of the timpani in and it's, it was incredible. So you know, my parents saw Easter dragged me to the concerts I didn't really want to go. And I ended up then being in we actually did Fourth of July with Arthur Fiedler. And apart from mingled in with   Michael Hingson  08:40 the half shell. Yeah. So you went to school, went to high school and all that, how long did you live there?   Kenny Aronoff  08:48 Well, I lived in non stop until I was 18. After 18, I went to one year at University of Massachusetts at Amherst, which is about an hour down the road. And then I transferred Well, what I did was I got into the Aspen School of Music, one by Julliard after my freshman year. And that's where George gave me the professor of Indiana University School of Music, now called the Jacobs School of Music. He was a he went to the percussion department at the school and this is the number one school of music in the country, if not the world. Yeah. And I wanted then I liked this guy. He was so deep. He was more than just a percussionist. He's a philosopher and a well rounded man. Anyway, I wanted to follow him and go to Indiana University. You have to realize I mean, Indiana was the best school and so I wanted to be in that school. And I demanded an audition up there and he tried to talk me out of it. Try to come back in January and will audition then. Then I said, Absolutely not. I want to audition. Now. I don't want to come to Indiana University, from the Aspen School of Music. It was a summer program. I convinced him I did audition, you had to audition for four different departments to get in. And it just so happened that they had people from four different departments that are you teaching up there like brass, woodwinds, violin percussion. And I auditioned, got in and spent four years at Indiana University. Now, that's when I started to spend more time away from home. Because you know, I was gone. You know, I come home for Christmas and summer, but that was pretty much it. Yeah. And it was an incredible education.   Michael Hingson  10:35 What? So, you, as you said, were dragged kicking and screaming to concerts and so on What changed your mind?   Kenny Aronoff  10:46 When I started to actually study classical music and start to perform in orchestras, I, I appreciate every style of music, and especially if it's done, right. And I've really, really enjoyed classical music. I mean, it was even though when I was a kid, and once rock'n'roll came out, it was like, you know, how was the classical music, but it was still on the soundtrack. To my upbringing, my parents had classical music and jazz on the turntable. They were from New York City. And that was very popular in that that time for them. So I didn't most keep the kid I had too much energy to sit and watch a concert, but performing it, you know, it was a different story. And then I became really good, eventually got into the Jerusalem Symphony Orchestra after I graduated Indiana University. And I actually turned it down, which was a shock to everybody. Because I'd spent five years becoming great at classical music. And I turned it down. Because I mean, and thank God I did is because I was following my heart, my deepest desires, my bliss, or your, you know, whatever you want to call it, I wanted to still be in rock bottom open. Now, let me back up a little bit when I was 10 years old, playing outside of that country farmhouse. And there was nothing to watch on TV back then. There was no case not   Michael Hingson  12:12 much more now, either. But yeah, with the so what year was that?   Kenny Aronoff  12:17 That was 19. I want to say 1950 1963 or 64. And maybe mom yelled at me, my twin brother come in the house. And we were like, Oh my God, what do we do wrong? You know, like, we thought we'd done something wrong. And what it was that we come running across the lawn, and we'll get to the family room, she's pointed a black and white RCA TV set with the rabbit ears to get better reception. And on TV. Also never, you know, for guys playing rock and roll music, you know, electric cars and bass, that long hair, and I don't know who they are. But I heard rock and roll on radio, but I'd never seen it live. And I. I mean, I was at that very split second, I realized what my purpose in life was before I even knew what those words meant. And I just knew I wanted to be doing that. I wanted to be part of that. I want to be part of a team of guys that's playing music, like they are and I said to my mom, who are these guys said, Well, they're the Beatles, The Beatles, I want to be in the Beatles call him up, get me in the band. And give me a drum set. I don't want to play piano anymore. Anyway, she obviously didn't call the Beatles up and didn't get me a drum set. So that was where I was really blown away and realize this is what I want to do. So when I turned on the Jews from Symphony Orchestra, I turned out certainty for possibility or turns down certainty for you know, complete uncertainty. And that was that one we wanted to it's what Yeah, to do. Exactly. And thank God, I followed my heart because obviously it paid off. But it was a struggle, man, it was like took a long time for me to eventually run into a guy like John Mellencamp, who he took a chance with me, and then took a long time for me to, you know, plan a song, play a drums on a song that got on the record, you know, when I first got in the band that I had only and the reason why I got in the middle of combat is because I got the last record that they had, and they were looking for a drummer, and I just memorized everything that all these other drummers did on the record. And well, in that case, it was just wondering what but they I memorize him he played in so I won the audition. And five weeks later, we were making a record in Los Angeles. And I realized that you know, or the producer basically fired me after two days, because I had no experience with making records, you know, to get songs on the radio to be number one hits, and I was devastated. You know, I was like hey, but I played with Bernstein and Bernstein and didn't matter. I had No experience. I didn't understand the value of teamwork the level of it's not about me it's about we it's not about what I'm playing. It's about what can I play to make that song getting the right record that will eventually be played on radio and become a one hit single.   Michael Hingson  15:18 Usually got to add value.   Kenny Aronoff  15:21 Well value to the team   Michael Hingson  15:22 that was the most that's what I mean by adding Yeah,   Kenny Aronoff  15:25 yeah. Because you know, when you try to be great at anything, it's all about you. It's all about me. But to be Tom Brady are a great you know, a leader and be a great you know, do something great for the team. It is about the team. It's not about you serve the band, serve the song serve, whoever's in there. You know, serve, what can I do to get that song to be elevated to be a number one hit single? Because if you if you become an if you have a number one hits, surely you're gonna make millions dollars. It's the way it was when I was a kid.   Michael Hingson  16:00 So for you starting out more doing the I oriented kinds of things, but then moving to the we mentality, which is essentially what I hear you say, how did your style change? How did you change? How did it affect what you did?   Kenny Aronoff  16:17 Well, I wasn't thinking about just what I want to play. I was thinking about what can I do to get this song on the radio so in and I had to think about how I can be the greatest drummer I can be for John Cougar Mellencamp songs. So I started don't my plane down and made it simple and started to simplify what I was doing. And that really worked. I started this into Rolling Stones, Creedence Clearwater, Bad Company, groups, where the drummers were playing with authority. They had they pick the right beat, they kept time, they made it groove. But ultimately, it was to make those songs that song better, you know, and that's what I started changing. I simplified my playing. And I remember thinking, Man, I gotta learn to love this. Because if I don't love this, I'm gonna suck at this. If I suck it this, this, just get another drummer. And so I had to learn how to pivot into serving songs serving the artists.   Michael Hingson  17:15 Did you ever meet Buddy Rich? Absolutely. I've kind of figured, or that other great drummer Johnny Carson.   Kenny Aronoff  17:23 And never met Johnny Carson.   Michael Hingson  17:25 I remember I remember watching a Tonight Show where the two of them Oh, yeah. Did drums together?   Kenny Aronoff  17:32 Oh, it was incredible. But he was tribute record. And that was an such an honor. Playing you know, to to blazing. Well, one was the medium tempo song, big swing face, which was title of an album, and the other was straight, no chaser blazing fast. And it was it was a very meaningful experience for me.   Michael Hingson  17:54 You know, and clearly, you respect that and just listening to you. You, you respect that, that whole mentality and you're approaching it with a humility as opposed to just being conceited, which is, which is great, because that really is what makes for a good team person.   Kenny Aronoff  18:15 Yeah, I mean, yeah, I mean, once again, at that point, I understand a student serving, you know, serving the song serving the artist, serving you know, whoever, whatever it is, what can I do to be great?   Michael Hingson  18:28 That's cool. So you know, you, you've done that you say you started playing, so was your first maybe big break in the whole rock world with John Mellencamp, or Yeah, it happened after you turn down the Jerusalem symphony.   Kenny Aronoff  18:45 Well, after a turn on juicing shift and went home, I started practicing eight hours a day, seven days a week at my parents house, I humbly moved back home, and still didn't know how I was going to break into the Rock and Roll scene. And after a year, I after a year, I decided to move to Indiana and start a band with a bunch of guys and somebody and one of their dads invested a lot of money into getting as a band truck lights, PA, and the business model was to write songs, get a record deal, record those songs, and then go on tour. And after three years, we didn't get a record deal. And I was like, Man, I don't know what what I'm going to do. So I decided I was going to move to New York City, which is one of the top three centers of the music business. And I ended up a week before moving to New York City. I have lunch with the singer songwriter, woman Bootsy Allen, who asked me what I was doing. I said you have gone to New York. Are you going to crush it good luck. And they said you know there's a guy in town I don't know if you've heard of him is John Coogan guy. He's on MTV, this new network and he's made records, you know, who is this? Yeah, for whatever. I wasn't a big fan of his music. It was very basic. And at that point, I was born to technique and chops, which is something you know, usually when you're young, you're like, you want to do more as more. But she said, yeah, man, he's they just got off tour, they were opening up for kiss. And he fired his drummer last night. And I was like, what, and I was in my head of going thinking the meaning of a god, that's records touring, MTV, oh, my God, this this is like being in the Beatles. This is what I dreamed about. I went running out of the restaurant, went to a payphone and called up books, there was no cell phones, and I call up my buddy Mike, and in the band and said, Look, I hear you might be looking for a drummer that got audition. He said, Call me back in two weeks, and we're going to try to sort some things out. And eventually, I do get a call, oh, he called me back. And I did audition. And long and short of it is I, I won the audition, because I prepared intensely practicing six, eight hours a day, trying to learn all the drum parts that were on the last record, a winning audition. And five, we say well, now Nellie making the record which I got fired on, as I mentioned,   Michael Hingson  21:20 then what happened after you got fired?   Kenny Aronoff  21:23 Well, that was crucial. That was a life changing moment, when John said, with a producer, I thought it was John, but it was a producer wanted to get this record done. And I had no experience making records. So he wanted to get it done in eight weeks, which is not a very long time to go toward a new band and do overdubs, get vocals and mix and master. So he wanted to bring in his drummers. And when we had a band meeting, and I kind of knew I could tell something wasn't right, my my spidey sense that something's not right. We had a band meeting and John told me I'm not playing on the record. And the words came out of my mouth and life changing. And he said, You go home at the end of the week, I said, No friggin way. Am I going home. And I remember the band looking like Oh, my God. Can't believe K Dick. Because you know, John was pretty tough guy is pretty tough. And so they felt what's gonna happen next. See what happened was happening there. As I was overwhelmed. I felt like a loser. I felt like a piece of crap. I felt like just I was every negative thing sad, you know, depressed, and I was bummed. He was stealing my purpose, my whole deepest desires. My whole reason that I'm alive. He was taking that for me. I just said, There's no way and I told them, I'm not going home. And that'd be like me telling you, you're fired. And you go, No, I'm not. I'm like, Dude, you're fired. And like, No, I'm not. And What don't you understand about the words you're fired? So I just, I mean, I am. I said, Well, due to my studio drummer, what? And he goes, Well, yeah, but you're not playing on the record. And I started scrambling, I said, Well, I'll go in the studio and watch these other drummers play my drum parts on your record, and I'll learn from them and I'll get better. And that's good. Fuchs, I'm your drummer. He was silent, didn't say a word. Shit. We're okay. You don't have to pay me, I'll sleep on the couch. And then he said, perfect. And that's what happened. And that was a life changing moment. Because if I had gone home, who knows what would have happened, maybe you've gotten another drummer. So that was a jaunt. To me in my autobiography, sex, drugs, rock and roll, he was saying, Wow, he really respected me for that, at that moment, he didn't realize I had that, you know, that I cared that much. And I would, you know, stand up to him and demand to be there. And he respected me for that. So how, yeah,   Michael Hingson  24:02 how much of it was ego and how much of it was really following your heart at that moment?   Kenny Aronoff  24:07 It was more about fear. And about following my heart, okay. No, I was like, I see what you mean about ego. I didn't want to go back home and I would have been ashamed to go back home and, and but but the fear of losing this gig and the fear of the unknown and what comes next was making me want to fight for what I had.   Michael Hingson  24:31 Yeah, um, you know, when there are a lot of people who are excellent in their fields, and they think very highly of themselves, which is fine, except that really detracts from the the team orientation which I know you understand full well. And so, it it's great to hear that it was really more following your heart and really you wanting to do the right thing. and having the courage of your convictions?   Kenny Aronoff  25:03 Well, yeah, I mean, I didn't see any other way out. And I've been banging my head trying to make it for four years after turning down the Jerusalem symphony orchestra. And I was 27. And I thought, Man, I don't know any options. So I want to do this, if I'm going to make this happen. And, you know, if I look back at my life, when I'm passionate about something, I make it happen, you know, it's easy to get along with me, I'm a great team player. But there is definitely a point where I will like, draw a line in the sand. And I might be very nice about it. But um, you know, I this is, I will fight for what I want. And it's usually backed by passion, and desire, and when anything is backed by passion, desire, or purpose, or bliss, or whatever you want to call it, you know, you're gonna, you know, you're gonna get what you want, and it's gonna be hard for people to convince you otherwise. And so yeah, that's pretty much, you know, when John was taking away my, my job, I saw no other options, and I'm seeing torn MTV, regular TV, and making records. And being part of a band that I truly believe was gonna make it and I was like, that, there's no way I was going to just lay down, you know?   Michael Hingson  26:29 Are you a person who reacts to things knee jerk reaction, although they may very right, or would you say that somehow you've internalized and when you make a decision, is because you've really thought it through, which doesn't mean that you have to take a long time to do it. But do you? Do you think that you are the kind of person who when you say, I'm going to do this, it's the right thing to do, is because you've really thought it through?   Kenny Aronoff  26:55 Well, it's both I mean, there's a lot of things I do, because I have thought it through. But there's no question that at any given moment, if something comes across my table, and it strikes me from a place of my heart, not my brain, but my heart, and my passion, I will react. And that's when I'll use my brain to maybe observe and ask questions. But many times I've said Yes, before even, you know, get deep into asking questions when something blows me away, and I'm excited. Paul McCartney called me up and said, I want to make a record with you. I mean, it would just be a mad automatic. Yes. You know, it before it find out no, we're gonna make it in Siberia. And there's no heat in the building or something. And I mean, I'm just gonna say Yes, right away, because it's Paul McCartney. And now Yeah, yeah.   Michael Hingson  27:53 Yeah. I mean, that would make sense. But you've also, you've met him, you know, him, you've learned to trust too. So it's not like it is an unintelligent decision to just immediately say, yes.   Kenny Aronoff  28:07 Yeah, I guess with pa Yeah, of course. But I mean, you know, take somebody else, you know, I don't know. Somebody. That I don't really know that well. Sure. You know, and I would if it's the right person, I'm gonna go Yeah, right away.   Michael Hingson  28:23 Yeah, well, yeah, exactly. But still, and the if it's the right person, part of it is very relevant, it still means that you've done some thinking about it. One of the things I love in listening to you tell the stories is like with John Mellencamp, you really said look, I want to learn now, if I'm if I'm your drummer, and there's a problem with this record, and all that, then I want to learn what I need to do. So it will happen again. And the real great part about it is that you say I want to learn, I love people who are always interested in learning and becoming better and don't think so highly of themselves that they don't have anything else to learn.   Kenny Aronoff  29:03 Well, no, that's true. You know, I've I won't mention names, but I remember going up to a very, very famous singer. And I remember saying I could see he was frustrated, trying to explain what he wanted me to do. I got off the drumset when went up to him, I said, Listen to there's nothing I can do. You know, uh, you just have to be very specific about what you want me to do. And I will do it. Because I can do it. And I want to learn I want to be great. I want to and when you're working for an artist, you're in a place of service. So I want to get it I know I can get it. There was just a disconnect for for for the explanation. And that took took a while to work out but the bottom I saw his frustration, but I was trying to let him know dude, I can do anything you want. I'm capable. And I meant.   Michael Hingson  29:55 Again, the operative part is it sounds like you worked it out.   Kenny Aronoff  30:00 Well, I've worked out enough, you know, I've done so many big show. I mean   Michael Hingson  30:03 with with that person, you're able to work it out. Oh, that person? Absolutely. Yep. Yeah, that's my point. And so you do, you do explore. And that is, that's a wonderful trading characteristic that more of us should develop. And we should have confidence in ourselves to know what we're capable of and know what we're capable of learning, and then go forward, which is what I'm hearing from you.   Kenny Aronoff  30:32 Yeah, absolutely.   Michael Hingson  30:35 The first time I did a speech in public after September 11, I got a call from a pastor of a church and he said, I want you to come and tell your story he had then I'd been on Larry King Live two weeks before first time I'd ever been on CNN and Larry King Live, but it was again after September 11. And I was used to being in a in a public setting. So it didn't bother me a lot. But this guy calls up and he says, I want you to come and tell your story. We're going to be doing a service to honor all the people who were lost from New Jersey in the World Trade Center. And I said, Okay, I'm glad to do that. And then I said, just out of curiosity, any idea how large the service will be? How many people will be there? And he said, Well, it's going to be outside probably about 6000. You know, I've never done a speech before. And my immediate reaction was, it didn't bother me. Okay, great. Just wanted to know, and I've done some things in church before, and I've, I've talked in some public settings, but not to do a real speech like that. Yeah. But, you know, I knew that it didn't matter to me if it was 6000 or six, four, for me. There were techniques to learn. And over time, I learned that good speakers don't talk to audiences, they talk with audiences, and they work to engage people and, and when the in their speeches in various ways, and it's so much fun to do that. But 6000 It really just worked out really well. And there were other people there. Lisa beamer was there, her husband was Todd Beamer, the guy on flight 93, who said let's roll and, you know, it's a pretty incredible night and I'll never forget it. But you know, you know what you can do and when you really know your capability, but are willing to share it and grow and learn. What more can somebody ask for?   Kenny Aronoff  32:30 Yeah, I mean, I, my thing about being alive on this planet is to get the most value out of this life. I'm not I hope there's something after this, but whether there is or not, the point is to get the most value out of this life when it's very short. So I'm not wanting to sit, I'm just wired that way. I'm not sitting sitting on a couch, just you know, hanging out on a daily basis. You know, I I've played on 300 million records sold. I've toured with some of the greatest bands in the day, as diverse as you know, the highwomen, which is Johnny Cash, and Kris Kristofferson whether James will Richard to Jerry Lee Lewis to the Smashing Pumpkins and Tony Iommi, from Sabbath to Boston Symphony Orchestra and Ray Charles and BB King to sting to The Beatles and The stones. And I feel fortunate that I get to play with so many different people because you get pigeonholed in my business. You're a rock drummer, you're a country drummer, you're this, you're that drummer. So and that that definitely ties into the ability to be able to connect, communicate and collaborate with people because who they want in the room with them. It's not just the most talented musician, it's somebody they want to hang out with. Mellencamp is to say, look at, I need people I get along with, I'm lonely on stage for two and a half hours. While the rest of the time I got to hang out with you guys. So I want people like get along with you. Right? You know, and I get I totally got that. Because the thing is, is that to get what I like about getting the most value out of life is that I'm wired to grow and learn. And the beauty it's a building, you know, a skyscraper, you know, the top only exists because you built the foundation from the bottom, you work your way up and you get, you have to be strong and you build and I don't believe in mistakes or failures. They're just events that get you to the top. And if the words mistakes and failures, bring in negative energy to your body, so I don't even use those words anymore. Everything's an event. Something that doesn't work out the way you want is a learning experience. It's a gift. And I'm like, basically Tom Brady, you know, you're always trying to get into the endzone. If you get if you fumble, you get sacked or whatever. Whatever life is filled with sacks and dropping the ball. He said where are you trying to go? What you Northstar or my North Star is the end zone. So that happened, what did I learn from it? How are we getting in the end zone? And that's where I look at life.   Michael Hingson  35:08 Yeah. Well, and, you know, to to extend your, your thought, I agree about the whole concept of mistakes and failures for me. And people have said it. And I and I firmly agree with, like Zig Ziglar, and others who say that there's no such thing as a mistake. It's a learning experience. And the question is, do you learn from it? And that's the real issue, do you learn from it, and I, I, where, after September 11, I started speaking to people and traveling the country and still do, and enjoy it immensely. But one of the things that I realized over the last three years with the pandemic is that I've never taught people some of the techniques that I learned along the way and used just because they came along, to not be afraid. On September 11, I had developed a mindset that told me that I can observe, I can focus and I don't need to be afraid. So we're starting to actually we're, we just submitted the first draft of a book about learning to control your fear so that you don't be an individual who when something unexpected happens, you let fear as I put it, blind you, you learn how to use that fear to help heighten your senses and direct you. And one of the things that I talk about is the whole concept of how much do you at night take time just to be introspective and look at the day? And what happened today? What what do I learn from this? How could I have done this? I was successful with this, but how could I have been even better? Or this didn't go? Well? Why? And what can I do about it and really think about it, you know,   Kenny Aronoff  37:01 that's good stuff that's very valuable, that says, that's a good way to learn, because you can learn from yourself. And, and, and sometimes we have to repeat things, many, many, many times to finally get the lesson. But if you do what you just said, and you take inventory and what went on that day, you could possibly learn that lesson way quicker.   Michael Hingson  37:24 And I've changed my language a little bit, I used to say that you are you're always going to be your own worst critic. And I realized that's negative. I'd rather say I'm my best teacher, if I allow myself to do it. And that is so true, isn't it?   Kenny Aronoff  37:39 Absolutely. That anything negative, you should throw out the window and pivot it, flip it to the it's always positive. And there's definitely always another narrative. And the positive narrative is always going to serve you better than the negative   Michael Hingson  37:55 always will. There's no great value in being negative and putting yourself down. You can be frustrated by something that didn't go the way you thought, Well, why didn't it? It may very well be that there's a legitimate reason why it didn't work out. But if you figure that out, and you allow yourself to teach you about it, you want to make you won't make the same scenario happen again. You will be successful the next time.   Kenny Aronoff  38:22 Yeah, absolutely. Yep. I totally agree with you on that.   Michael Hingson  38:26 So have you done anything in the music world dealing with rap?   Kenny Aronoff  38:34 I've never been on a rap record. But when you know, I remember being in the Mellencamp band. And that was a long time ago, I left in 96. I remember I was listening to some Snoop Dogg and I was grabbing ideas from those records and bringing it to melachim. That's what we were always encouraged to do. Back then they were budgets long we could make spend nine months making a record. And you could do a whole record sort of way and start from scratch. But I was getting ideas with ideas, loop ideas. I remember making sleigh bells on a song. Super I played sleigh bells on a whole bunch bunch of songs on early records in the 90s. And I copy that and John loved it. It's a different thing. And so yeah, in that regard, I did learn a lot from the rap music.   Michael Hingson  39:22 I've I don't know my my view of rap has always been I think it's a great art form. I'm not sure that I view it in the same musical way that that some people do because it's not so melodic, as it is certainly a lot of poetry and they kind of put poetry and words to to music in the background. But I also believe it's an incredible art form listening to some of the people who do rap. They're clearly incredibly intelligent and they're, they're pouring their hearts out about what they've experienced and what they see sometimes in ways that you don't even hear on regular mute. Music?   Kenny Aronoff  40:01 Oh, yeah. I mean, there's no question that it's, it's a, it's a form of music. It's a reflection of, you know, we're societies that you know, I mean, the arts will always reflect where people are at, and is a huge audience of there's a lot of people that can relate to this whole style of, of music or what rap is. It's a lyrics are very powerful in that they it's mostly centered around a beat and lyrics. And yet a lot of attention is drawn to that, as opposed to just take a band where they have, you know, two guitar players playing melodic lines and the keyboard player melodic line. And there's none of that really going on not not to the extent of of that in rap music. And although some people have added Dr. Dre at a lot of stuff, to the people he's worked with, like Eminem, but still, it's more centered around the voice the person.   Michael Hingson  41:04 And message and the message.   Kenny Aronoff  41:06 Oh, absolutely. The message. But you know, the thing is, is it's you, I guess it's up to everybody decide. You can call it whatever you want. And then it doesn't matter. If somebody's digging it. They did. They don't they don't is that?   Michael Hingson  41:23 Well, it is absolutely an art form. And it's an art form that should be as respected as any. In certainly it is to pardon the pun struck a chord with a lot of people and that's fine. And it's in it's great that there's so much of it going on. So what kind of tours have you been on lately? What kind of music have you done or what's coming up?   Kenny Aronoff  41:46 But I just finished the Joe Satriani tour. He was one of the greatest guitar players on the planet. Because it was just an evening with Joe Satriani. It's a very tech the music is very technical. It was, it was great for me because I was, you know, my, my technique excelled tremendously to play those types of songs. I'm going to Europe with him. See, April, May and how to June for nine weeks doing a thing called G four, which is a camp that he does in Vegas, which will feature the guitar players Eric Carroll, Steve Luthor, Steve Morse, C, Peter Frampton, and a bunch of other people. Basically, when I finished the Joe Satriani tour, I had 85 songs waiting for me to learn. Some of which I recorded my studio, I have a studio called uncommon studios. I tried to push back all the records I was going to make while I was on tour to when I got off tour. I did that and then I just finished doing a show maybe three nights ago with Jim Mercer and the owner of the Indianapolis Colts, who's showing his museum is so American collect collectibles as he calls it, a collection snatches musical instruments but it could be like, you know, American cultural type stuff like Abraham Lincoln's handwritten letters, you know, eases Wharton's writings, Muhammad Ali's gloves and belt from the thriller from Manila fight. I mean, it just goes on and on. And so I did a concert with him, but that featured like Kenny, Wayne Shepherd and Wilson from heart, John Fogarty, Buddy Guy, and Stephen Stills, and that was 30 songs. I had to learn and perfect. I write everything out. I know every tempo, I know all the song structure. So my goal is not just a drummer, but it's also to kind of keep everybody in it straight. And in line. We only have 112 hour rehearsal night before and the next day. It's, it's the show, so it's massive preparation. And next week, I'm going to do Billy Gibbons. So this week, on Thursday, I'm gonna do Billy Gibbons, a birthday party at The Troubadour and Swidler no songs, I'm finishing I'm starting to edit my second book. It's a self help book. It's about you know, living your life loud and how important time is in the short life we live. That goes into my speaking world. I have an agent and I do inspirational speaking, I'm mostly corporations. And so that book is kind of like, as a lot of the stuff that's in that speech, but a lot more with a lot of action items and takeaways. I'm just, I just put out a drum book. During the pandemic, a transition to my studio where people send me files, I make records for them, or I play drums on the records. I turned it into a place where new virtual speaking and now I may be launching a very a podcast with I have a whole team that will be you know produced to a director and everything, and I can do that from my studio, I have a wine that just came out. Uncommon wines just won an award. It's a cab serraj. Limited Edition. But yeah, I got a lot going on.   Michael Hingson  45:15 Well, and that keeps you busy. And it's obviously something that sounds like a lot of fun for you.   Kenny Aronoff  45:21 Absolutely. That this point, it's like, if it's not fun, I ain't doing it.   Michael Hingson  45:25 Yeah. Yeah, if you can't have fun, then what good is the world anyway?   Kenny Aronoff  45:32 It's up to you, man. It's up to you. You know, this, you know? We everybody has? Well, most people have options. So, you know, some people, you know, maybe less than others. But, you know, I just said, it's all in your mind. It's a mindset, you know, you can make things better, or more difficult. It is up to you.   Michael Hingson  45:58 And I think you really hit the nail on the head, if you will. Everyone does have options. And a lot of times we have more options. And we think we do we undersell ourselves, we underestimate ourselves, which is why I love doing unstoppable mindset. Because my goal is to help people recognize that, in reality, they probably are a whole lot more unstoppable than they think they are.   Kenny Aronoff  46:20 Yeah, well, exactly. But only you can figure out your power. It's up to the individual. And this is not a mental thing. This is an emotional thing. You have to feel your power. And and I think that's like a thing I call RPS repetition is the preparation for success. And that could be anything, anything you do over and over again, you get better at because you're doing it over and over again. And sometimes it takes longer to get somewhere with one thing then other things, but it's you can't just set it and forget it. You can't just like be successful one day and think that's it for life. No. I used to practice on the Joe Satriani tour, a song called Satch Boogie twice a day. And people go, why may you play that greatest said, because I played every day. And preparing every day? Yeah, playing it at night. That's why it sounds so good at night. And when I don't, then I usually learn a lesson that I need to do that I'm talking about the more technical things, you know.   Michael Hingson  47:24 Sure. Well, and that brings up the question of like, you're preparing to do the event at The Troubadour and so on, how do you prepare? What is it you do to learn the songs? How does all that work?   Kenny Aronoff  47:36 I've read every single note out that I'm going to play. Check out the church right here. For the viewers, I can hold up one sheet of music, very detailed. I write every single note out I got the tempo, and know exactly what to do, then I just drill it. I run through it. I practice the songs. When we're done. I'm going to practice that whole show tonight. Tomorrow, I'll practice it twice. And then Thursday, I'll practice it and then do the show.   Michael Hingson  48:05 Do you record your practice sessions? So you can listen to them? Or do you   Kenny Aronoff  48:10 know that that would be a real? That's a good thing to do? No, I don't. And it's no. That's a good, that's a great way to learn. But it's also time consuming?   Michael Hingson  48:24 Well, it well, it is a but you then get to hear it in a sense from the perspective of listeners.   Kenny Aronoff  48:32 So I do but I will I'm playing I'm listening to Yeah,   Michael Hingson  48:36 I understand. Yeah. And that's why for you, it may or may not be the best thing to do. I know for me, when I do a podcast interview, I will go back and listen to it again. And I do that because I want to see how I can improve it and see easiest way for me to do it. I listened to myself when I'm talking. And I listened to the person who I'm talking with. And I do my best to interpret their reactions and so on. But still, for something like this, I get to learn a lot by going back and listening to it. And as I as I tell everyone I talked with about this, if I'm not learning and it's the same thing with speaking if I'm not learning at least as much as my audience or my guest. I'm not doing my job. Well. Yeah.   Kenny Aronoff  49:27 Well, you don't I mean, there's no question listening to what you do is great. Great way to learn. I'm using is moving so fast and doing so much that just Yeah, I don't have time. But that's no question. I think that's a great way to learn. You know, and when I see myself I feel myself speaking. Oh my god, that's so humbling, right? Yeah. Oh my god. And   Michael Hingson  49:51 it's such a when you're speaking and you're doing an auditory thing like that it probably is best to go back and listen to it. I remember when I was are at the UC Irvine radio station que UCI and was program director. I worked to get people to listen to themselves. And they they would record their shows. So we actually put a tape recorder in a locked cabinet, a cassette machine, and we wired it. So whenever the mic was live, the voice was recorded. And then we would give people cassettes and we would say that you got to listen to it before the next show. Yeah, it was really amazing how much better people were. At the end of the year, some people ended up going into radio because they were well enough. They were good enough that they could be hired and went on to other things. Yeah, and it was just all about, they really started listening to themselves and they realized what other people were hearing. Yeah, no, that's,   Kenny Aronoff  50:51 that's, that's a great, I think that's brilliant. You know,   Michael Hingson  50:56 it's a it's always a challenge. So, so for you. What was the scariest or the, the weirdest show that you ever did or performance you ever did?   Kenny Aronoff  51:10 Well, probably the most one of the more scary moments in my life was when I was 20. Barely 23 And maybe I was still 22 I for my senior recital at Indiana University. You know, I was a performance major. I got you the way we learned how to play melodies and have that type of education because we play violin music or cello music on marimbas. Well, for my seniors I pick the virtuoso Violin Concerto that Itzhak Perlman played as his encore, in his concert I saw when I was a freshman, and so beautiful, but highly technical. And I spent one year, two or three hours a day, learning that one piece one of four pieces on my senior recital. And it was I learned it so well, that my professor won me to audition for concerto competition, and I won, which meant that I performed that piece with the 60 piece orchestra in an opera Hall bigger than the New York met, which is an Indiana University. Now granted, this is the number one school music in the country for classical music. So this is there's no handholding. There's no coddling, there's no trophies. This is like being I want to almost say like being a Navy Seal, especially with my teacher. But that guy helped make me and I was the right student for him become who I am. And the discipline that I learned from was extraordinary. But anyway, I've never, you know, usually when you're a percussionist, you're in the back the orchestra. So this was the hear the rolling the marimba out in front of the this big concert hall. And I'm in the wings, you know, with a tuxedo and I walk out like the solo violinists. And I was crapping my pants in the whole thing was memorized. And oh, man, I was terrified, but I crushed it.   Michael Hingson  53:14 Well, you took control of your fear.   Kenny Aronoff  53:18 I do well, I tend to I tend to take fear and use it as as a not a weapon, but I use it. It'll alternative the power, it is power. But on the other hand, we do have the ability to sabotage ourselves. And that's something is a child would do. Because you have self doubt you're small. everybody around you is big. You've got parents, teachers, coaches, whoever telling you, Kenny, that's wrong, bad, bad, bad. And as a little guy, you know, you're trying to please everybody. Then maybe my teachers saying to me, sometimes when I make a mistake, he'd look at me go, Kenny, are you afraid of success? And I'm like, What is he talking about? But realize that when you're younger, you start to think you're gonna make I'm gonna mess this up. Oh, here it comes. And you do and you do. But now that I'm older, I realize from this, this I hate that so much that I want to be successful so much. I overpower any of those feelings. I'm like, it's more like I got this and I'm gonna get it. And I meet believe it. But I can't tell anybody listening. There's a quick remedy for that. You don't take a pill and all sudden you become that? That's a long talk because I used to think how long am I going to end up being like this why sabotaging myself where your fear takes over. Now, I use my fear as my strength. I don't even know if I want to call it fear. Somebody says you get nervous when you do Kennedy Center Honors or any of these shows. At this point. Hell no. I don't get fearful As I get serious, I'm like in the Superbowl, and I know I can win. But I also know that things will not necessarily go the way you want. Because you're not the only one on that stage. Right? People, it's my job at any moment to be able to adapt, or die. You adapt immediately. You fix it, or you die, and I'm not about dying.   Michael Hingson  55:25 Have you ever had any experiences when you were on stage? And in a sense, you blew it? But then you recovered or anything?   Kenny Aronoff  55:34 Oh, yeah. Okay. Well, what you want to call blow it blowing, to me would be just one note in the wrong places. To me. It's nothing I don't like but the huge. The place I'm in now is I know very, very, very. I know how important is to forget about that. And to stay focused and stay in the game. It's like Tom Brady getting sacked. And his two minute drill to win the game. He gets sacked. He's got to be you can be pissed off for a second but he's immediately focuses on endzone, touchdown, endzone touchdown. One thing I learned from that experience, we aren't run in place that direction, the more we're doing this, you take it and you flip it, it becomes your power. So when something goes wrong, there's a part of me Of course, it's like really pissed off. But I also understand deeply in my gut, that you've got to blow that off and focus on how you're going to be a bad mofo. And I don't talk about my mistakes. A No, I don't have mistakes, I don't talk about the things that don't work out. Because you don't want to talk about them, you're giving it too much power, you just move past it. If somebody brings it up to you, you then can have a discussion. But unless somebody brings it up to you, you just move on, you don't think about it, and you don't dwell on it, because that will weaken you   Michael Hingson  57:00 every time. Absolutely every time. And you know, it's as we said, it isn't No, it isn't a mistake, you you did something, you played a wrong note, but you really spend so much time practicing, you do get it to be and I don't use this as a way to negate it, it becomes very rote. By the time you're playing in the actual performance, you have really worked to make sure that you truly understand what the event is, what the music is that you're supposed to be playing. And you're used to it. I would also wager that no matter how much you practice, when you get up on stage, now you're in a dynamic where you have the whole orchestra or the band or whatever. I wouldn't be surprised if there are times that you adapt on the fly as well.   Kenny Aronoff  57:54 Absolutely you do. I mean thing is, like this concert I just did with all these great artists, they were, you know, people, I have everything written out. But people would drop in courses are dropping parts. And I adapt and I direct, I help people, you know, or if I if I, if there's something I space out or something, I'm very quick at self correcting. And, you know, making it work out.   Michael Hingson  58:22 That's what it should be.   Kenny Aronoff  58:24 That's what exactly that's what it should be. Yeah. And and you, you you will let yourself down, if you get sucked into this bloody ego in, in getting drawn into Oh, woe is me and failure and all that. You got to push that aside, you got to be centered, like, like a Navy Seal or a warrior king, you know, or warrior queen, where you people are looking to lead and looking to you for strength and wisdom. And I want to be that person, I am that person.   Michael Hingson  59:03 And at the same time you also know when you're leading, if you're a good leader, you know when to let somebody else take the lead because they have a skill that works in that particular moment.   Kenny Aronoff  59:15 Absolutely. I call it lead them to lead. Hmm. Help them lead assist them to lead without saying anything. You do this your job to help them feel like they can lead.   Michael Hingson  59:30 So how did you get involved now in starting to do public speaking kinds of things and travel around and do some of that?   Kenny Aronoff  59:38 Well, I wrote an autobiography called Sex, Drugs, rock and roll and people were asking me to speak a little bit. I had done about 30 years of drunk, drunk clinics masterclasses where I would speak it was a show so but to speak. Like we're talking about I had to really work develop a craft it wasn't you know, I I worked to some writers, I built websites and got rid of them got different ones, I went and spoke to an agent and he told me what it really means to be a speaker what you need to do, I did what he told me doing, came back to him two years later, and showed him what I had done. And he was blown away. He said, I want to work with you. So he started, we started working together, and he started telling mentoring me and I started to put together a show. So filmed, you know, and I kept developing it and honing it down. And, and now you know, I've got, you know, teamwork, leadership, innovation, creativity, connecting communication, collaboration, realize your purpose, staying relevant speech. And it's I do perform. During the speech, I have a set of drums there, that's the entertainment part. People want to see me perform, because I'm a drama. But the the message is very powerful. And it's it. It's not just, I mean, I've done this, my success in the music business is a proof of, you know, how to go from this little kid from a town of 3000 to 40 years. Well, not 40 years later, it's a lot years later. And after that, at this point, it's 60 years later, how I became what I had, how they became successful, successful, and they've stayed successful. And a lot of those skill sets. And what I learned in the music business applies to these other businesses I do, which also applies to other people's businesses. So I speak about that. And just to answer your question a little bit more specifically, I just, I put together a show I have an agent, and we've been building off of that. And I just am doing more and more of that.   Michael Hingson  1:01:48 Tell me about your book a little bit.   Kenny Aronoff  1:01:50 Well, sex One immediate the autobiography, the one one,   Michael Hingson  1:01:53 now the firt. Right now, the autobiography The first one.   Kenny Aronoff  1:01:57 Yeah, that's basically my life story. It's about how I came from that middle town of Western Mass Stockbridge and how I went to, you know, how I went from there to where I am now, basically, in a nutshell, and there's all kinds of stories, you know, Smashing Pumpkins, Bob Seger, John Mellencamp Bon Jovi, The Rolling Stones, meeting Bill Clinton, you know, there's a little bit of funny stuff, there's little bit of drama, is a little bit of rock and roll wildness. But the bottom line is the big message that the thread through the whole book is, I've worked my ass off and still working my ass off.   Michael Hingson  1:02:36 And I hear you stay in great shape. I must be from all those beating of the drums.   Kenny Aronoff  1:02:41 It is. But it's also I in my new book, I have the healthy life as a wealthy life, which is a basic eight step program on how to stay healthy, which affects you mentally, physically, emotionally, spiritually, you know, I won't go through all the details of it. But it's, it's definitely a setup. And you know, I'm aware of what I'm eating. And you know, I'm not perfect, but I'm aware of everything I put on me. So in other words, if I have a day one, eating not as well, as I, as I usually choose to, then I know how to make up for it the next day, and I do exercise every day. And of course, playing the drums. I mean, you're doing a three hour show. You're burning 1000s calories. Yeah. So there's that, you know,   Michael Hingson  1:03:24 which is, which is really pretty cool. And so you're, you're in a profession that keeps you active anyway, which is which is good. You cannot it's hard to tough to, to argue with that, isn't it?   Kenny Aronoff  1:03:38 Yeah. It's great. It's phenomenal. I love that unit.   Michael Hingson  1:03:42 Did you self published the first book? Or did you have a publisher,   Kenny Aronoff  1:03:45 I have a publisher for that was a hell, Leonard backbeats, which is now there now is Rowan and Littlefield did an audio version, this new book I have is is going to be self published. I am working in writing it for the second time. And it will be they have a marketing team. And but I own the book. And I may possibly look for a publisher after that. But this new book is more self help book. It's basically as I think I mentioned earlier, it's taking what I'm seeing in my speech, but with a lot more information, extending you know that information. So people can you know, if they want to hear more about what my my philosop

From the US, Texas & Canada 1st for Weekly neo-traditonal & classic Country program Fred's Country 2023 w # 15: Part 1: - Cody Johnson, 'Til You Can't - Human: The Double Album - 2021 - Aaron Copeland, Lovin' On You - S – 2023 - Jenna Paulette, One Two-Step Away - The Girl I Was – 2023 - Lee Ann Womack, If You're Ever Down In Dallas - Some Things I Know - 1998 Part 2: - Ronnie Dunn feat. Parker McCollum, Road to Abilene - 100 Proof Neon – 2022 - Dan Lepien, God Bless Kwik Trip - S – 2023 - Jake Bush, Putting Country Back In Country - S – 2023 - Kyle Park, Me When I Drink - S – 2023 - Vince Gill with Reba McEntire, Oklahoma Swing - When I Call Your Name – 1989 Part 3: - David Lewis, Hard To Hold A Bottle - S - 2023 - Jake Worthington, Ain't Got You To Hold - Jake Worthington – 2023 - Wynn Williams, Your Love - S – 2023 - Randall King, Green Eyes Blue - S – 2023 Part 4: - Braxton Keith, Honky Tonk City - S – 2023 - Jenna Paulette, We Know How To Friday Night - The Girl I Was – 2023 - Jake Worthington, I Ain't Goin Anywhere - Jake Worthington – 2023 - Jesse Daniel, Streets of Watsonville - My Kind of Country Live at the Catalyst - 2023 - Laura Aston, Sweet Dreams Duet - The Patsy Cline Songbook – 2023

The Energies to Live - authored and recited by AlephBa, with background music by Aaron Copeland. --- Support this podcast: https://anchor.fm/alephba/support

Happy Birthday to Louise Brooks, Aaron Copeland, and Antonio Gades! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Vic government woos private school vote with $717 million package. Fighting for the next generation. Chris Bonner's "Schools in crisis- solutions in disarray". Restoring equity in school funding- as though it were ever equitable to begin with! U.S. -book banning in Missouri.Great State School of the week - Glenroy Central Primary SchoolMusic - intro, as always, Fanfare for the Common Man by Aaron Copeland. A choral piece by Schola Cantorum called La Date Dominumand finsihing, as we do each week with Paul Robeson's version of Joe Hillwww.adogs.info

WHAT WILL THE AUDIENCE LEARN?Learn about folk culture and heritage with Evan Hatch, Executive Director of Folkmoot USA. Listen to this episode, as he dedicated this to all folks who carry forward their heritage through music, dance, and song!EPISODE SUMMARY:What's the Folkmoot USA all about? Discover all about the Folkmoot USA with Evan Hatch on our podcast! Tune in as Joseph interviews Mr. Hatch, an expert folklorist with almost two decades of experience as a Grammy Award-winning record producer, event production coordinator, vernacular artist, documentary filmmaker, and recorder of oral history, as well as holding high-level management experience with some of the most prestigious cultural organizations in the Southeast. Hatch is currently the Executive Director of one of the oldest and most popular educational centers and festivals in the Southeast—Folkmoot – with headquarters in Waynesville, N.C. He holds degrees from both UNC and Ole Miss and resides in Waynesville. He's going to tell us all about the Folkmoot USA, including what it is and how you can get involved! He will also share what makes this festival so unique, as well as how he got involved in this industry and how he got started. Don't miss this episode! LinkedIn: https://www.linkedin.com/in/evanhatch22/ Website: https://www.folkmoot.org/‍EPISODE QUOTE: “If you want to get to know your future ancestors I would definitely talk about going to my website, Narrate Project, which is a business I;'m still running and still love to do.” Tune in for this fun conversation at TalkRadio.nyc or watch the Facebook Livestream by Clicking Here. SHOW NOTESSEGMENT 1Originally from North Carolina, 1980 to 2000. His father was in the military so they traveled a lot as a family and in his retirement, they settled in North Carolina. He returned to school in 1996 to find his career interest. He recalls his teachers as brilliant and experts with interesting backgrounds. High/ popular culture has caused the folk culture to be looked down upon.SEGMENT 2He won a Grammy for Best Album Notes in 2008 and goes into detail behind the inspiration of his work for that award. Bill Monroe was inspired by black artists and he praises musicians who are not racists and truly care about music and collaborations. He gets hired to do extensive interviews with families' loved ones, so they can hold onto their legacy through his work. Ethan gives a shout-out to Folkstream.net, which has the best documentaries of folks from the 1950s. The festival that he had the most fun organizing is The National Folk Festival in Nashville.SEGMENT 3Folkmoot has been around for 38 years as a festival and the organization has been around for 50 years. The meaning of Folkmoot is “meeting of people '' and the creator, Dr. Border was inspired by the European folk festivals. The Folkmoot Friendship Center is taking part in renting out a historic school's classrooms which date back to 1935 and was founded by WPA. People can use it as galleries and workspace. Soar Academy also provides outdoor school.SEGMENT 4Since the Folkmoot Summer Fest will be smaller they are enabled to invest in Fal and Spring programming. Hatch has been able to turn something many views as a hobby into a career.--------------------------------------------------------------------------------TRANSCRIPT00:00:37.020 –> 00:00:39.900 Joseph McElroy: howdy welcome to the gateway to the smokies.00:00:39.900 –> 00:00:48.630 Joseph McElroy: podcast this podcast is about America's most visited National Park, the great smoky mountains National Park in the surrounding towns.00:00:49.350 –> 00:00:57.780 Joseph McElroy: This area is filled with ancient natural beauty deep storied history and rich mountain cultures that we explore with weekly episodes.00:00:58.530 –> 00:01:12.720 Joseph McElroy: I am Joseph Franklyn McElroy man of the world, but also with deep roots in these mountains my family is living the great smokies for over 200 years my businesses and travel, but my heart is in culture today we're going to talk about.00:01:13.890 –> 00:01:23.550 Joseph McElroy: Folkmoot USA and beaten with the Executive Director Evan Hatch reversed a few sponsor messages and some events coming up.00:01:25.380 –> 00:01:32.700 Joseph McElroy: I want you to imagine a place evocative of the motor court of the past, yet modern and vibrant with a chic Appalachian feel.00:01:33.450 –> 00:01:44.910 Joseph McElroy: a place for adventure and for relaxation imagine a place where you can have fish and mountain heritage trout stream grill the catch on fire and eat accompanied by fine wine or craft beers.00:01:45.420 –> 00:01:57.690 Joseph McElroy: Imagine a place of old-time music and world cultural sounds, there is no other place like the Meadowlark Motel Maggie Valley North Carolina your smoky mountain adventure starts with where you stay.00:01:58.920 –> 00:02:09.690 Joseph McElroy: Another sponsor is smokies adventure.com that smokies plural of interesting either the smoky mountains and surrounding area is a vacation destination for all sees.00:02:10.290 –> 00:02:17.760 Joseph McElroy: Some of the nation's best hiking trails waterfalls outdoor adventures and fans of family entertainment can be found, right here.00:02:18.300 –> 00:02:25.410 Joseph McElroy: start your adventure by using smokies adventure calm to explore all the wonderful features of the great smoky mountain National Park.00:02:25.920 –> 00:02:37.050 Joseph McElroy: The trails the waterfalls the cage coven the elk and more then check out all the awesome family attractions and entertainment you're retired family can enjoy.00:02:37.410 –> 00:02:44.940 Joseph McElroy: Fine lodging find places to stay find places to eat find where you can do outdoor life events like weddings and honeymoons.00:02:45.600 –> 00:02:53.220 Joseph McElroy: it's all at the smokies adventure calm, which is the leading information portal for adventure experiences of the great smoky mountains.00:02:53.910 –> 00:03:17.310 Joseph McElroy: So events coming up at the Meadowlark on this coming Saturday, July 23 at 6pm we're having smoky Blue Rain it's a trio of Len Graham Fillmore name is Jackson their brand of Americana music is infectious blend folk light rock blues jazz touch of traditional country.00:03:18.360 –> 00:03:30.990 Joseph McElroy: They met through a mutual friend and that and that first group know realize that they had something special so come on over to the metal or motel and there's also a Barbecue and and and another find.00:03:32.640 –> 00:03:41.490 Joseph McElroy: Things to enjoy starting at 6 pm and the mission is free for hotel guests and imperatives club members and it's just $10 for everybody else.00:03:42.060 –> 00:03:56.610 Joseph McElroy: So rsvp is required for the Barbecue dinner so call eight to 89261717 for tickets and come enjoy some food and bbq now some of you might know that there was recently a.00:03:57.750 –> 00:04:01.320 Joseph McElroy: A viral event on tick tock or.00:04:02.700 –> 00:04:20.520 Joseph McElroy: cloggers from Western North Carolina especially specifically down on Jonathan creek here in a wood county went viral and got seen by like 100 million people's names ED and he's part of the J creek cloggers and so they're coming to the metal Arc motel on July 30 at 7:30 pm.00:04:21.960 –> 00:04:22.680 Joseph McElroy: We have.00:04:23.790 –> 00:04:31.200 Joseph McElroy: two great mountain heritage events put on by the metal Arc smoky mountain heritage Center and also include an evening at dinner and dancing.00:04:32.460 –> 00:04:50.640 Joseph McElroy: begins with the bbq had six and then the performance of the jquery cloggers at 730 and that's that includes music, they will perform a bunch of examples of traditional mountain dancing as well as teaching the audience several fun dance steps there's going to be.00:04:52.200 –> 00:05:00.420 Joseph McElroy: interactive performance or everybody will get to dance and then there'll also be a short talk by Kim Ross who was on the show here a few weeks ago.00:05:00.810 –> 00:05:17.130 Joseph McElroy: On the history, and traditions of mountain dancy so Dr you grab your partner and come on by admission is free for hotel guests and parents come Members as 20 bucks for people that are not a standard hotel just call eight to 89261717 to reserve your spot.00:05:18.180 –> 00:05:31.200 Joseph McElroy: And then, a big event we got coming up August 12 or 13th is a songwriters can, and this is a, this is a serious one, this is a Grammy award-winning songwriters you got Jim Lauderdale who's written.00:05:31.680 –> 00:05:42.240 Joseph McElroy: hits many of George strait's it he wrote that song king of the broken hearts and then you got Charles Humphrey The third is another grammy award winner, along with the.00:05:42.900 –> 00:05:49.860 Joseph McElroy: Award-winning artists, such as their Nicholson clay mills and Charles chambers.00:05:50.460 –> 00:05:58.860 Joseph McElroy: And you know Darren Nicholson one of the main musicians and balsam range as big around these parts so it's going to be a fantastic event.00:05:59.220 –> 00:06:08.910 Joseph McElroy: it's going to be a two-day event of interactive songwriting instruction so there'll be both candles but they're also be working individually with all the arts.00:06:09.840 –> 00:06:21.210 Joseph McElroy: world-class musicians and they'll get a DEMO tape producer one of your songs they're also a concert on a Friday night by the songs from the road band.00:06:22.620 –> 00:06:34.290 Joseph McElroy: Which is Charles Humphreys band, and then a Barbecue dinner and all-star concert with all those artists, on Saturday night, this is a unique event like no other and space will be limited, ensure that everybody gets attention.00:06:35.370 –> 00:06:52.860 Joseph McElroy: So the songwriter campus 678 $75 a person includes all the activities and DEMO tape and everything else, and you also can get yourself a room at the middle like motel if you're coming from out of town and it also includes dinner and breakfast and things like that.00:06:54.210 –> 00:07:06.810 Joseph McElroy: If there's also a limited number of tickets available for just coming to the concerts either on Friday or Saturday night so call eight to 89261717 to get your ticket and reserve your space.00:07:08.730 –> 00:07:21.360 Joseph McElroy: Somebody knows a lot about events Now is our guest tonight his name is David hatch he's an expert folklorist with almost two gay two decades of experience as a grammy award-winning.00:07:21.720 –> 00:07:28.950 Joseph McElroy: record producer event production coordinator vernacular artists documentary filmmaker and recorder of oral history.00:07:29.370 –> 00:07:37.170 Joseph McElroy: As well as holy high-level management experience with some of the most prestigious cultural organizations in the southeast.00:07:38.070 –> 00:07:47.790 Joseph McElroy: hatches Evan hatches is currently the executive director, of one of the oldest and most popular educational centers and festivals in the southeast folks.00:07:48.300 –> 00:08:05.040 Joseph McElroy: With headquarters, right here in haven county in Waynesville North Carolina he holds degrees from both unc and old mess resides and waiting for, where he enjoys cooking camping photography, and reading and is limited spare time I don't know how he has a spare time how you doing.00:08:06.360 –> 00:08:09.510 Evan: I'm good Joseph thanks for having me here thanks for making me sound like.00:08:10.590 –> 00:08:15.480 Joseph McElroy: A listen when you do accomplishments it doesn't take much does that make you sound good because you are.00:08:17.460 –> 00:08:20.850 Joseph McElroy: So you said you're only been here for three and a half weeks and welcome a wood county.00:08:21.090 –> 00:08:23.490 Evan: Right three and a half months but it.00:08:24.000 –> 00:08:25.410 Evan: might mean a half yeah.00:08:27.180 –> 00:08:28.200 Joseph McElroy: it's all right well.00:08:28.860 –> 00:08:38.250 Joseph McElroy: Well I'm so excited that you gotta know this new job both books as I used to do some great things, but first I want to talk a little bit about your background.00:08:38.610 –> 00:08:42.180 Joseph McElroy: sure how you've worked, both in North Carolina and Tennessee Where are you originally from.00:08:43.050 –> 00:08:45.750 Evan: I'm actually from North Carolina I grew up in North Carolina.00:08:46.830 –> 00:08:55.230 Evan: Graham North Carolina's my hometown and I was raised there from let's say 1980 and.00:08:55.710 –> 00:09:10.290 Evan: to 2000 you know, and so I was born in California actually moved around my dad was in the military for a little while and then he retired and we settled down in a small town North Carolina Graham write down and try.00:09:11.220 –> 00:09:18.360 Joseph McElroy: it's right yeah I spent a number of years in the Durham wait for Jerry Raleigh Durham area.00:09:19.920 –> 00:09:22.950 Joseph McElroy: Though you know a middle stage is also a lovely place.00:09:24.240 –> 00:09:27.510 Evan: 20 minutes from there, but yes, I spent a lot of time there myself yeah.00:09:27.720 –> 00:09:28.980 Joseph McElroy: yeah no i've.00:09:29.460 –> 00:09:29.910 Evan: grown it.00:09:31.860 –> 00:09:36.360 Joseph McElroy: How did your love for folklore cultural history music begin and.00:09:38.280 –> 00:09:43.710 Evan: Good question man, and you know, sometimes I've asked myself that over and over and over again, you know I would say.00:09:45.210 –> 00:09:53.640 Evan: um I went I started college a little bit too early and I had too good of a time in my first couple of years.00:09:54.660 –> 00:10:03.090 Evan: After I decided to kind of get serious went back to school and in 1996 and I started taking classes.00:10:04.380 –> 00:10:16.200 Evan: In what my parents said just try stuff find out what you like see what you enjoy and I started taking classes and folklore and American studies and I found.00:10:16.680 –> 00:10:26.430 Evan: I really enjoyed these classes, because my teachers were brilliant they were so smart and they were so entertaining and they had just like.00:10:26.850 –> 00:10:36.270 Evan: They got to study things that I just thought were super cool and one teacher who was an expert on coney island in the 19 you know, in the heyday and.00:10:39.270 –> 00:10:49.860 Evan: wow yeah another Professor Robert Cantwell wrote a book called ethno mesas and also we're about a bluegrass break day, so these books, although.00:10:50.400 –> 00:11:10.320 Evan: Very academic and above my head, it was just cool to be able to study you know stuff that I thought that you know that the common every day the things that surround us all the time and the history of the folk you know I find that to be really, really fascinating I am.00:11:11.520 –> 00:11:15.990 Evan: You know it's hard to look at it's not really a correct way of looking at it, but if you look at.00:11:17.280 –> 00:11:20.700 Evan: Culture saying you want to look at it through the lenses of.00:11:21.780 –> 00:11:31.140 Evan: Music you got you to know your high culture, which is very you know very respected and academic and if you look at music, you can say that's simple.00:11:32.310 –> 00:11:48.330 Evan: If you're looking at pop music, you could say well that's lady gaga or and then you can start looking at folk music and it's you know it's traditional fiddles that's what you know people have been playing for years and years for fun and.00:11:49.380 –> 00:11:59.490 Evan: And for living and for you know and just to be bearers of culture and I just find that stuff absolutely fascinated often seem that people respected high culture.00:12:00.810 –> 00:12:02.190 Evan: And that.00:12:03.300 –> 00:12:11.400 Evan: There is some sort of inherent coolness and outsiders do not have to look at folk culture and I.00:12:12.300 –> 00:12:12.930 Joseph McElroy: Would you say.00:12:13.050 –> 00:12:15.060 Joseph McElroy: What do you say hi culture is actually.00:12:16.110 –> 00:12:23.220 Joseph McElroy: it's it's more of a just fashion choices necessarily as a quality choice, I mean I think a lot of folk.00:12:24.840 –> 00:12:39.870 Joseph McElroy: folk what we consider folk entertainment is actually quite high quality but it's you know the fashion, is you know Jen driven by you know decisions and not necessarily even in the nature of the music and.00:12:40.920 –> 00:12:42.810 Joseph McElroy: arts things like that right.00:12:42.840 –> 00:12:53.190 Evan: The total Joseph that stuff combines right you think Aaron Copeland the great American composer he was writing about American folk subjects you think of Ricard Wagner little ride of the valkyries.00:12:54.390 –> 00:13:00.930 Evan: he's a silly wrote a symphony but he wrote it about a German folk tale, so all this stuff online forms one.00:13:02.070 –> 00:13:06.090 Joseph McElroy: All right, well, we got we were hitting our first break already so um.00:13:06.570 –> 00:13:07.620 Evan: yeah yeah.00:13:07.710 –> 00:13:10.590 Joseph McElroy: yeah I I talked to us but.00:13:12.420 –> 00:13:17.310 Joseph McElroy: So we will come back we'll talk more about your background and get away with stuff you're doing today to.00:13:18.000 –> 00:13:18.630 Evan: That sounds great.00:13:19.680 –> 00:13:20.190 Evan: Thanks Joseph00:15:36.450 –> 00:15:52.260 Joseph McElroy: howdy this is Joseph Franklin McElroy back with the gateway to the smokies podcasts and my guest Evan Hutch so Evan so you ended up graduating from Carolina and then a paid your masters at Ole miss.00:15:52.350 –> 00:15:53.370 Joseph McElroy: And then you had.00:15:53.880 –> 00:16:05.790 Joseph McElroy: have had a successful two-decade career that's actually spanned a lot of variety of interesting fields and hopefully, we'll get into a little bit of that, but the one that jumped out to me, you know, being an artist.00:16:06.900 –> 00:16:20.700 Joseph McElroy: And performer myself, is that you, you were involved with spring fed records and you want to Grammy Award for producing an album so tell me about the spring federal records and how you became involved and what was the Grammy awards.00:16:22.140 –> 00:16:40.920 Evan: moved to Tennessee in 2002 we started a record label over at the art Center Camden county the idea was to highlight some of the hillbilly music, that was the pro country that led to the beginnings of bluegrass music and old-time music so.00:16:42.030 –> 00:16:48.690 Evan: We took a lot of historical recordings that were in archive stuff that hadn't been heard, except by you know.00:16:49.230 –> 00:16:58.800 Evan: Musicologists are people who recorded them and years and worked closely with the families to reissue those records and clean them up on audio.00:16:59.100 –> 00:17:08.190 Evan: offered really strong liner notes, so that people could kind of understand their history of the recordings, the first thing we did was uncle Dave making at home, he was the.00:17:08.850 –> 00:17:16.620 Evan: King of the hillbillies he was the first superstar of the grand Ole opry and one of the greatest entertainers ever country music.00:17:17.820 –> 00:17:22.470 Evan: We also did a really strong Corey with salmon Kirkwall key who are.00:17:23.610 –> 00:17:33.840 Evan: Co conspirators are co creators with uncle Dave making and one of the first brother do those on the grand Ole opry and all those guys I understood showmanship you know kind of that still goes through.00:17:34.650 –> 00:17:43.800 Evan: That still go through country music today that kind of joking, and the costume where and and and you know people really engage with the audience as entertainers.00:17:44.310 –> 00:17:44.880 Joseph McElroy: You also.00:17:45.990 –> 00:17:48.480 Joseph McElroy: Get the legendary blues man john heard on there wasn't.00:17:48.660 –> 00:17:53.400 Evan: We didn't that's correct, yes, and that was actually a recording that was made in 63.00:17:54.300 –> 00:17:55.830 Evan: long after john hurt.00:17:56.130 –> 00:18:03.930 Evan: finished his recording career and this crazy dude from Bob Hoskins excuse me, Tom Hoskins.00:18:04.410 –> 00:18:16.110 Evan: drove all the way down from Washington DC and he was going to go pay his respect john hurts grave site and when he found up wound up in Avalon Mississippi he found Mr hurts still very much alive.00:18:17.520 –> 00:18:17.970 Evan: and00:18:18.300 –> 00:18:21.870 Evan: hit record, and that is, those recordings from 63.00:18:21.990 –> 00:18:28.680 Evan: From that john, hurt says wow you have a chance to a second career went back and started playing folk festivals.00:18:29.220 –> 00:18:30.060 Joseph McElroy: that's fabulous.00:18:31.290 –> 00:18:33.630 Evan: was pretty lucky to do that work with a family.00:18:34.200 –> 00:18:37.830 Joseph McElroy: And you have other iconic what you had other iconic black artists on there right.00:18:38.280 –> 00:18:47.940 Evan: yeah so the one that we won the Grammy for is called john work three recordings that culture john work with third was a classically trained composer.00:18:49.020 –> 00:18:59.280 Evan: But at the same time it's 1930s and 1940s, he worked at Fisk University, he also really appreciated folk music the brilliant thing about john work is that.00:19:00.060 –> 00:19:10.440 Evan: He was a like a trust classically trained composer so he can hear music and then write it down a notation so it didn't have to be recorded, but he could write it down.00:19:10.890 –> 00:19:19.050 Evan: So he did all these studies of a folk music can eat record and frazier and Patterson is a black string band country string band and nashville.00:19:19.500 –> 00:19:30.450 Evan: He recorded blues music in Georgia and sacred heart sing in northern Alabama just stuff that people, no one ever heard about he then came to be known, he was picked up.00:19:31.620 –> 00:19:47.010 Evan: befriended by Alan lomax who some of your viewers are probably know the right folklorist and together they recorded the Co houma county study in Mississippi and the Center of that study was a gentleman named mckinley Morgan field.00:19:48.090 –> 00:19:49.920 Evan: Who was later, known as muddy waters.00:19:50.490 –> 00:19:52.830 Evan: wow yeah somebody.00:19:55.410 –> 00:19:55.830 Joseph McElroy: Was.00:19:55.860 –> 00:19:59.910 Evan: very flattered to be recorded by these gentlemen, he said, well these guys want to hear me.00:20:00.690 –> 00:20:16.080 Evan: Maybe i'll grow up Chicago and become muddy waters and that's what he did so that was a 1942 record was made some of the end all those recordings were john works, and so we reissued those cleaned up the sound recordings and.00:20:17.160 –> 00:20:24.450 Evan: get some really extensive liner notes Bruce number of that wrote those that's what we won that grammy for best liner notes best.00:20:24.450 –> 00:20:26.340 Joseph McElroy: album what were you did you win the grammy.00:20:27.150 –> 00:20:29.550 Evan: oh eight I guess you could say.00:20:30.240 –> 00:20:42.990 Joseph McElroy: All right, so uh I don't know I don't have all your career milestones in chronological order, but you had you were an assistant director of an organization called black and global roots, can you tell me about that.00:20:44.850 –> 00:20:54.060 Evan: Yes, I worked with Dr CC conway CC is she's a professor at appalachian state and is one of the leading experts on.00:20:55.110 –> 00:21:05.430 Evan: The banjo and black culture and so she actually is one of the first people to trace those roots of the the banjo as it came from Africa and started to influence American music.00:21:06.390 –> 00:21:12.180 Evan: Actually, she is, I think, probably the most in most senior we're putting together the Carolina chocolate drops so she.00:21:13.440 –> 00:21:14.940 Evan: hosted them at the.00:21:16.080 –> 00:21:25.920 Evan: Black banjo gathering and appalachian state a few years ago and kind of put them all together and they went off to become the Carolina chocolate drops.00:21:26.580 –> 00:21:39.420 Evan: So what she wanted to do a data conway wants to do is to give venues and give audiences to underrepresented folk performers so so she would.00:21:39.900 –> 00:21:50.700 Evan: We be playing concerts and being able to pay, working artists to give them an audience they wouldn't usually here and that range from blues to cajun zydeco to.00:21:51.870 –> 00:21:56.550 Evan: Country music but mostly from underrepresented artists yeah and that was.00:21:57.030 –> 00:22:06.900 Joseph McElroy: It wasn't the introduction of the banjo really brought up the custom element to say a scratch iris ballad during and really created bluegrass.00:22:07.950 –> 00:22:15.240 Evan: I would say, so I mean I know the bill Monroe created bluegrass is definitely learned a lot that he learned from black musicians for sure.00:22:16.530 –> 00:22:31.020 Evan: And I think that's the coolest thing about musicians right is that they are kind of the first anti racist they don't care what color you are they don't care where you're from as long as you can play music you speak a common language and that gets passed a lot of stuff you know.00:22:31.740 –> 00:22:42.840 Joseph McElroy: Oh yeah so I was looking at a new, I was looking at your linkedin profile and you've been until you know you ever had a company called Mary what is nary.00:22:43.800 –> 00:22:44.280 well.00:22:45.420 –> 00:22:50.760 Evan: That was a probably ill conceived business that I started during during the coven.00:22:52.890 –> 00:22:55.740 Joseph McElroy: What better time to create a business that feel.00:22:56.280 –> 00:22:56.850 Evan: Like everybody.00:22:58.260 –> 00:22:58.650 Evan: Every.00:22:58.980 –> 00:23:04.230 Evan: Every feeble minded person I know started the business now i'm just kidding it's been a really great.00:23:04.770 –> 00:23:06.090 Joseph McElroy: run my business went to die.00:23:08.430 –> 00:23:19.080 Evan: Well yeah so we had lots of time and essentially it's all history business so families or people hire me to do extensive interviews with their loved.00:23:19.110 –> 00:23:28.470 Evan: ones, so that those interviews wow there are well researched and you know and deeply conducted then.00:23:29.010 –> 00:23:38.730 Evan: By doing that interview and recording that and essentially gives the legacy to the family, so that they can hold on to those recordings somebody.00:23:39.150 –> 00:23:50.220 Evan: yeah loved one before they pass away and the idea came, you know there's everybody always has a story about I wish i'd listened to my grandmother I wish I had saved.00:23:50.880 –> 00:24:00.390 Evan: Her last storytelling or I wish i'd say that last phone message, and if you don't it's too late and it happens to everybody so try not to wait.00:24:01.710 –> 00:24:14.580 Joseph McElroy: Now I I felt that you know I I recorded I did video tapes my grandmother and her brother, you know just a year so before she died because I i've always felt that need yeah.00:24:15.060 –> 00:24:22.530 Evan: Yes, it did it i'm glad this everybody's got a story to tell everybody's got knowledge to pass on.00:24:23.340 –> 00:24:33.180 Joseph McElroy: Now I don't know this term Bob you know plot who works with me, you know put together some information, he said, this is called vernacular art Is that correct.00:24:34.290 –> 00:24:41.580 Evan: um yeah I think that's a really good way of looking at it, I think that term to me, you know, because the vernacular as a as a as a way of speaking.00:24:42.120 –> 00:24:57.390 Evan: And that's what this artwork does is it a you know it puts it in a Community puts it in a place, but it also it's how it's how it's a common language that people share and that's communicated so yeah I think vernacular what's fair and good way this fabulous.00:24:58.500 –> 00:25:10.710 Joseph McElroy: Now shift yeah The more I look at your your your your history of us just a lot of things, I mean you are also been an event festival director and coordinator.00:25:11.910 –> 00:25:17.190 Joseph McElroy: Right and then you create a document documentary film on southern music what was that.00:25:18.240 –> 00:25:24.420 Evan: um well, let me say I did a couple of we did do a couple of documentaries.00:25:25.500 –> 00:25:28.230 Evan: And just I think your viewers my liking if I could plug.00:25:29.790 –> 00:25:34.830 Evan: Great website called folk streams.net.00:25:35.130 –> 00:25:35.580 Joseph McElroy: Oh it's.00:25:36.690 –> 00:25:53.730 Evan: The best collection of folk documentaries made from the 1950s forward and they're all available for free just for streaming on that website, you will find the coolest vernacular art forms on there anything from music to basket tree to.00:25:54.780 –> 00:26:01.050 Evan: You know pottery to dance, you know so all that stuff guys covered very well.00:26:02.790 –> 00:26:14.850 Evan: a couple of music documentaries that we made were they were again those three issues, so one my favorite I guess was Raul mash and that was a.00:26:16.290 –> 00:26:31.410 Evan: Sol Sol Korean and blame Dunlap had produced in the 1970s, a portrait essentially a video portrait of hamper mech be who is Tennessee's popcorn Sutton.00:26:32.040 –> 00:26:42.810 Evan: Essentially, he was like the greatest moonshot are the most famous moon shatter in Tennessee history, not to mention a fine balance Center he was a great.00:26:43.290 –> 00:26:58.080 Evan: roaring baritone acapella ballad singer and that movie raw mash which is available and folks streams, is basically a 30 minute portrait of hamper but also how to make moonshine from start to finish.00:26:58.650 –> 00:26:59.160 wow.00:27:01.350 –> 00:27:11.430 Joseph McElroy: That sounds good, thank you for the reference for that i'm gonna go i'm gonna go to that site start doubting my my new passion for vernacular art.00:27:13.230 –> 00:27:14.610 Evan: Do you like it.00:27:15.330 –> 00:27:26.730 Joseph McElroy: yeah and you've done a lot of festivals, he did the local fast and hillsborough and some others, what is the most notable or fun festival that you helped to originator develop.00:27:27.330 –> 00:27:36.750 Evan: Tom and it was it was a total failure, but it was the best festival I ever did it was a national boat festival in Nashville Tennessee and.00:27:38.070 –> 00:27:45.180 Evan: We didn't have like people we did it on Labor day weekend, not a great idea or nationals of free music town so.00:27:45.660 –> 00:27:50.310 Evan: Not everybody came out to it, because you can see, you know you can see, free music everywhere in nashville but.00:27:50.970 –> 00:28:10.740 Evan: content was amazing and we did the history of the music business, so we had tour buses, we had flatt and scruggs tour bus that people could tour, we had a modern tour bus we had hair cutters and hat show France costume makers like man well was out there, it was an amazing show.00:28:11.040 –> 00:28:11.580 Evan: wow.00:28:12.060 –> 00:28:24.120 Joseph McElroy: really well i'm i'm i'm impressed and, but I want to do now is take a break and then we'll come back and talk about your new position and what you're doing with the folks who ne ne we can.00:28:24.900 –> 00:28:25.980 Evan: Thanks Joseph sounds good.00:30:32.220 –> 00:30:39.240 Joseph McElroy: howdy this is Joseph Franklin McElroy back with the gateway to the smokies podcasts and my guest Evan Hatch, So Evan,00:30:39.780 –> 00:30:44.760 Joseph McElroy: I've been we've been talking about your career and some of the things we didn't get into but they're incredible is that you're.00:30:45.120 –> 00:30:52.740 Joseph McElroy: A director of programming in a forest folk art Center in Tennessee and then you were the director of programming for procedures organizations like the North Carolina.00:30:53.130 –> 00:31:09.150 Joseph McElroy: folklife life Institute, but what's exciting to me and those of us around the game with his focus is that you're now taking on a new role as the Executive Director of folk I'm sure you're excited about that.00:31:11.100 –> 00:31:17.430 Joseph McElroy: And, and for the sake of our audience may not know about it, can you tell us what Folkmoot is?00:31:18.510 –> 00:31:19.890 Evan: yeah you know.00:31:21.030 –> 00:31:30.450 Evan: I feel challenged by this task because there are so many people in this in this county and Haywood county you know so much more than I ever will about it.00:31:30.870 –> 00:31:35.880 Evan: And because I've taken this job three months ago it's become my job to talk about it.00:31:36.570 –> 00:31:47.580 Evan: My understanding of folkmoot is that it is a festival that has been around for 38 years and the Organization has been around close to 50 gentlemen named.00:31:48.270 –> 00:32:02.730 Evan: Dr. Borders, who was a surgeon here and Haywood county was a great lover of folk music and took some trips to Europe and experienced some folk festivals at the old English folk festivals.00:32:03.510 –> 00:32:07.200 Evan: which were also named folkmoot over there and then I felt moved.00:32:07.710 –> 00:32:22.980 Evan: As an old English term for a meeting of the phone so essentially it means folk meet that's what people come together they exchange ideas they exchange culture and dance and music probably some beer to I wouldn't be surprised.00:32:25.980 –> 00:32:34.230 Evan: So after seeing that he realized Dr border realizes that it's not that dissimilar from what's going on here and.00:32:34.620 –> 00:32:42.510 Evan: You know, in the great smoky mountains, there are people who play music who get together we share this dance through you know.00:32:43.320 –> 00:32:55.500 Evan: folk code culture, they get together they sing on front Porches they practice religion together they dance together and he thought that this was.00:32:55.950 –> 00:33:05.760 Evan: The parallels between English culture European culture and other folk cultures around the world was just all the same, and so it was a great opportunity to get all these folks together.00:33:06.660 –> 00:33:21.240 Evan: To you know to do this to bring the world to Main Street in Waynesville so 1984 was the first festival he had six-seven groups, I think, from around the world, Europe.00:33:21.900 –> 00:33:36.930 Evan: Asia, Africa, and South America, who came here and stayed with local audience day with local audience members and got together and dance for one another, they all realize.00:33:37.980 –> 00:33:43.800 Evan: stuff's all on the phone we all experienced this it's not that different it doesn't matter what color your skin is it doesn't matter.00:33:44.970 –> 00:33:50.550 Evan: What language do you speak there are things that cross all, yeah and that's the coolest thing about folk culture than.00:33:51.180 –> 00:34:08.790 Joseph McElroy: I was you know I got to see that the one I think I think in the first year back then yeah I love food for many years yeah I just I was just graduated from Duke and coming back and got the experience it before I head to head off to my career.00:34:09.960 –> 00:34:12.870 Evan: More than I do that's what were the two.00:34:13.230 –> 00:34:24.480 Joseph McElroy: I grew up with it yeah so I mean now I mean I think back then, it was just in Haywood County right is, I think I think it was at the stamping grounds right the first few.00:34:26.280 –> 00:34:28.770 Evan: yeah you stamping ground was historic.00:34:28.800 –> 00:34:31.170 Joseph McElroy: For performances it.00:34:31.470 –> 00:34:39.690 Joseph McElroy: started out the software now, which is about you know about three quarters, I mean less than half a mile away from the metal Arc where I'm sitting right now.00:34:40.170 –> 00:34:42.810 Joseph McElroy: So it was easy for me to walk up there and go to.00:34:45.600 –> 00:34:52.290 Joseph McElroy: But now, what is it it's in cities, all over the smoky reasons and as far east as hickory is that still the truth, the case.00:34:52.950 –> 00:34:57.540 Evan: A little bit changed, as you may know, Koba changed everything and.00:34:58.890 –> 00:35:07.590 Evan: So the festivals, in the past, the idea was to bring dancers from around the world to bring them to Waynesville as a central point.00:35:07.860 –> 00:35:23.430 Evan: And then to take that culture, cultural Gatorade and spread it out, you know hickory you know even down in the South Carolina but all you know counties all around North Carolina and Tennessee and those things so.00:35:24.660 –> 00:35:36.120 Evan: it's gotten hard to bring in international groups, especially since covid and so the festival over the years, became smaller just by necessity.00:35:36.570 –> 00:35:46.140 Evan: So this year we're focusing strictly on Haywood county and a lot in Maggie that so half of the festival is going to be down here in.00:35:46.590 –> 00:36:00.450 Evan: In Waynesville downtown and also the food friendship Center and hazelwood and then the other two performances are going to be at the magic valley festival ground which is probably another half a mile away from the song.00:36:01.590 –> 00:36:03.510 Evan: Beautiful as we just out there today.00:36:04.380 –> 00:36:12.120 Joseph McElroy: But actually very close to each other we're only half a mile from the festival grounds so we're all in with you guys on that yeah.00:36:13.380 –> 00:36:17.430 Joseph McElroy: yeah yeah you got to staging ground here, if you want to take advantage of it.00:36:19.170 –> 00:36:23.250 Joseph McElroy: yeah worry, we got a nice little pavilion for small three cursor shows.00:36:24.360 –> 00:36:25.320 Evan: To get an idea.00:36:25.680 –> 00:36:31.200 Joseph McElroy: yeah right yeah no I mean that I'm always a big believer in creating tastes before you create something.00:36:31.800 –> 00:36:42.030 Joseph McElroy: Do the big one, because it gets people all involved in stuff like that, but yeah This must be a logistical nightmare, because you bring in all these people from all over the world, and you have to house them.00:36:43.350 –> 00:36:44.760 Joseph McElroy: How do you manage all that.00:36:45.510 –> 00:36:56.940 Evan: So, again this year wasn't too hard, well, it is it, no it's a logistical nightmare that's fair, I think I have it easier than a lot of the festivals, in the past, and the fact that.00:36:57.390 –> 00:37:04.830 Evan: We don't have a lot of international groups, this year, so we haven't had to get folks to help with visas or anything like that we have.00:37:05.250 –> 00:37:14.670 Evan: International groups from within the US so we've got an Irish group coming from Chicago we've got a bit and swelling group coming from Miami we have.00:37:16.200 –> 00:37:30.270 Evan: A Ukrainian group promo and they're going to be driving down from Wisconsin all authentic you know of their country, but people who are just living here in the US now practicing it.00:37:32.070 –> 00:37:38.340 Evan: We also are going to be running a big old hotel that weekend, we have a lot of people staying with us at the folkmoot friendship Center.00:37:38.400 –> 00:37:44.190 Joseph McElroy: Oh that's right you guys got a big old building there right, so you can set up some campground sort of thing in there right.00:37:45.030 –> 00:37:55.230 Evan: we've actually got some books, probably a little better than army style last got a great big cafeteria here we're going to be feeding everybody trying to use local produce.00:37:56.250 –> 00:38:02.070 Evan: local food makes sure that everybody gets good, healthy meals before they go out and dance and perform so.00:38:04.080 –> 00:38:06.690 Evan: yeah everybody stay in here it's going to be a hootenanny.00:38:07.350 –> 00:38:12.930 Joseph McElroy: When you go international good I put in a plug for wife she has a travel agency, they do all that stuff.00:38:14.610 –> 00:38:16.110 Joseph McElroy: Oh yeah big time.00:38:16.890 –> 00:38:17.610 Evan: right there.00:38:17.640 –> 00:38:26.670 Joseph McElroy: that's great services that just do that all that's All they do is manage that the story I tell is that when we first got together, we wanted to go to.00:38:28.110 –> 00:38:40.500 Joseph McElroy: All of a sudden, we decided like at the beginning of the week, they wanted to go down to cartoon to mardi gras well essentially mardi gras it's called a carnival and that.00:38:41.280 –> 00:38:42.360 Joseph McElroy: Right, where she's from.00:38:42.390 –> 00:38:43.140 Evan: 20 years ago.00:38:43.410 –> 00:38:53.910 Joseph McElroy: yeah and turns out my passport is expired, but she arranged everything and within three days I get everything I was.00:38:54.990 –> 00:39:02.640 Joseph McElroy: Within you know from the moment of the decision to be another plane going down there were three days so but anyway.00:39:03.810 –> 00:39:04.620 Joseph McElroy: things can be done.00:39:06.300 –> 00:39:15.330 Joseph McElroy: But let's talk about we're talking about yeah I'm interested in funding your nonprofit, but this has to be costly and where's your funding coming from.00:39:16.950 –> 00:39:25.770 Evan: Well it's got you know the Organization has changed over time and one of the things that I am very proud of.00:39:27.750 –> 00:39:35.220 Evan: And I've grown up in this we don't see too many nonprofits that are entrepreneurial or as entrepreneurial as we are.00:39:35.730 –> 00:39:45.210 Evan: So that's how I learned a long time ago that nonprofits need to generate income to survive their business, just like any other business.00:39:45.840 –> 00:39:57.810 Evan: So some things that we're doing here at the folk move friendship Center, which is a 40,000 square foot historic school digging in 1935 built by the WPA Thank you, Roosevelt.00:39:59.490 –> 00:40:19.470 Evan: We have a large selection of school rooms former classrooms that are being rented out by some very talented artists, so we have really great rates, where people can come in rent the space use it as a gallery but also use it as a.00:40:20.640 –> 00:40:36.780 Evan: As a workspace or workshop, if you will, so we've got weaver's painters, we have glass artists costumes and and jewelers who rent space here and that helps to bring in income for us to.00:40:36.840 –> 00:40:45.420 Joseph McElroy: keep this building, but don't you ever been when i've got a tour of that place of a couple years ago and they were going to put it, a huge coffee shop there was somebody who do that, that that happened.00:40:46.080 –> 00:40:47.040 Joseph McElroy: Or to Coca Cola.00:40:47.220 –> 00:40:48.330 Joseph McElroy: Coca Cola and.00:40:48.330 –> 00:40:49.950 Evan: no idea what happened sounds like a good.00:40:49.950 –> 00:40:51.270 Joseph McElroy: idea Oh, they were gonna.00:40:51.300 –> 00:40:55.920 Joseph McElroy: They had planted has there been some remember, they were put into this like big coffee.00:40:57.060 –> 00:41:04.380 Joseph McElroy: shop and look it was gonna be really interesting there's a there's some place there that's a big open space, probably the previous cafeteria.00:41:05.640 –> 00:41:07.080 Joseph McElroy: Absolutely yeah so.00:41:08.700 –> 00:41:09.120 Joseph McElroy: yeah.00:41:09.450 –> 00:41:13.440 Evan: Well, another cool thing about is one of our renters is the soar Academy.00:41:13.800 –> 00:41:28.140 Evan: Which is experiential outdoor education group similar to say an outward bound, but actually that school is based here at folkman friendship Center so half of our building is a school nine months out of the year.00:41:28.920 –> 00:41:43.230 Evan: For kids who are you know the benefit from outside of classroom educational so they're all out in the woods learning survival and you know learning how to cook for themselves and learning how to you know.00:41:43.830 –> 00:41:57.360 Evan: To go to Costa Rica and speak Spanish and experiential education is where it's at you know really great program that they're here to and they use our cafeteria so that's, the problem is that that's why we don't have a coffee shop is they use that.00:41:58.470 –> 00:41:59.100 Joseph McElroy: I see.00:41:59.730 –> 00:42:00.030 Evan: That there.00:42:01.980 –> 00:42:17.280 Joseph McElroy: You got a lot of wonderful stuff going on, and you know, one of the things that I do is i've become something of an expert memorable tourism experiences and that's how i've you know def triple the size of the the meadowlark motel and what we're doing yeah focusing on.00:42:17.550 –> 00:42:26.670 Joseph McElroy: Just how do you how do you stimulate flash flashbulb memories that people keep coming back and it creates brand loyalty and revisit intention.00:42:27.270 –> 00:42:36.690 Joseph McElroy: there's a whole part of that academic studies about cultural and heritage, tourism, which I think you should be aware of, because there is.00:42:37.080 –> 00:42:46.680 Joseph McElroy: A way to really trigger that to bring people back again and again again and i'm gonna send that to you because I think what you're doing it's it's actually perfect.00:42:48.810 –> 00:42:49.140 Joseph McElroy: So.00:42:49.590 –> 00:42:50.310 Evan: The partnership.00:42:50.910 –> 00:42:55.170 Joseph McElroy: yeah well hey i'm always looking for the angle, you know what I mean.00:42:59.010 –> 00:43:08.130 Joseph McElroy: So we got to take another break and then we'll come back finish up with you know things that you might want to talk about things that you've learned about Western North Carolina while you've been here.00:43:08.670 –> 00:43:11.610 Evan: it's cool man, thank you, Joseph sounds good yeah.00:43:14.280 –> 00:43:14.880 www.TalkRadio.nyc: hey everybody.00:43:14.910 –> 00:43:25.500 www.TalkRadio.nyc: Its cami D, the nonprofit sector can actually coming at you from my attic each week here on talk radio dot nyc I host the program will advocate for nonprofits in Caucus.00:43:26.790 –> 00:43:37.620 www.TalkRadio.nyc: And it's my focus on helping to amplify their message tell their story listen each week at 10am Eastern standard time at 11am Eastern standard time right here on talk radio dot nyc.00:43:41.310 –> 00:43:44.040 www.TalkRadio.nyc: You may have 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together to learn educate and advocate join us live every Wednesday at 2pm and talk radio dot nyc.00:44:40.560 –> 00:44:47.040 www.TalkRadio.nyc: To talk radio nyc at www talk radio dot nyc now broadcasting.00:45:12.270 –> 00:45:20.370 Joseph McElroy: howdy this is Joseph Franklin McElroy back with the gateway to the smokies my guest Evan hat so Evan.00:45:22.260 –> 00:45:27.930 Joseph McElroy: Talking about you just getting your feet underneath here three months three and a half months into your new position.00:45:28.440 –> 00:45:39.600 Joseph McElroy: but can you become the great progress and prognosticator tell me what's going to happen, the rest of this year in 2023 and beyond, if you've been able to form a vision of the future of the phone booth.00:45:40.950 –> 00:45:47.130 Evan: A that's a great question, you know as far as vision.00:45:47.820 –> 00:46:03.090 Evan: I have to defer to the board of directors on that they set the vision for the organization and they've done a great thing, and that is to make this Center the folk new friendships Center an inclusive organization for the arts and cultural exchange it's simple.00:46:04.380 –> 00:46:12.900 Evan: that's simple well simple but it's not easy one, so several ways that we're going to be doing on by making this photo booth.00:46:13.500 –> 00:46:27.180 Evan: Summer fest smaller festival then that's going to enable us to do some different kinds of programming in the fall and spring, so we can do other short smaller festivals, with different things could be beer could be food, it could be.00:46:28.890 –> 00:46:37.950 Evan: It could be strictly dance, it could be, you know a number of things any ideas i'm happy to hear about in addition we've got the.00:46:39.000 –> 00:46:46.770 Evan: We have monthly concerts through folk mood live, and those are here at the Queen auditorium 235 seat.00:46:47.100 –> 00:47:02.010 Evan: theater right here at folk move friendship Center actually we've been working with a friend of yours, Mr Bob plot, but the other mountain memories, which are themed shows where storytellers and musicians come together explore.00:47:02.820 –> 00:47:16.560 Evan: You know tributes to pass musicians, or you know themes such as you know, it could be civil war history of food or anything but really great idea that came from Bob plot, and my plane, really, really strong stuff.00:47:18.060 –> 00:47:25.200 Evan: I know that August is going to be really busy i've got an incredible Ethiopian string band coming in September 3.00:47:26.250 –> 00:47:36.270 Evan: That are not to be fooled with her name is quote unquote we have country music songwriters nights and we on August 23.00:47:37.470 –> 00:47:46.410 Evan: Forgive me, I may not have that date right, but all those all those things are going to be lined up we're going to be doing some great holiday performances it's basically stay busy.00:47:48.660 –> 00:48:01.950 Evan: keep the lights on and keep the money coming in and then write grants for special projects that you know we really want to see happen it's just staying busy it's like that duck you know it doesn't look busy on the top but underneath his pattern.00:48:02.370 –> 00:48:12.090 Joseph McElroy: I mean you got me you got a beautiful facility, and I mean you got a great history, and you know I know that there's been some cutbacks and.00:48:12.750 –> 00:48:18.210 Joseph McElroy: You know, in certain political organizations here and in the in the area, but.00:48:18.990 –> 00:48:37.020 Joseph McElroy: i'm 100% behind building to helping you guys build that up because it's a great cultural resource that people should get the opportunity to take advantage of it yeah and i'm 100% behind you, I think it's a fabulous same.00:48:38.160 –> 00:48:39.270 Evan: thing going to man.00:48:40.020 –> 00:48:41.310 Joseph McElroy: hey listen.00:48:41.460 –> 00:48:42.390 yeah metal.00:48:43.590 –> 00:48:58.890 Joseph McElroy: The Middle Arc is yeah it's it's about you know celebrating the mountain heritage and creating memories for people yeah and yeah and starting adventures and but you know i'm an artist, as well as a businessman.00:49:00.420 –> 00:49:02.610 Joseph McElroy: Oh yeah I actually you know this, if you.00:49:02.610 –> 00:49:13.470 Joseph McElroy: Can if you come to the speakeasy you'll see a lot of my artwork on the walls my early artwork from when I was a student there's a lot of you know, because it's a speakeasy there's a lot of news.00:49:14.940 –> 00:49:16.440 Joseph McElroy: But yeah but.00:49:18.840 –> 00:49:32.550 Joseph McElroy: I was as a painter but you know where I got this unknown I created I created on I created online performance art, where you physically and interact with computer and and doing it and i'm actually in some museums, for that.00:49:33.180 –> 00:49:33.390 Evan: Oh.00:49:34.350 –> 00:49:50.700 Joseph McElroy: that's fantastic oh yeah yeah so but yeah back in the audience late 90s and audio doing that it was great I got a lot of attention, but it didn't make a bit of money, because nobody knew how to buy a digital PR for this thing, so I ended up becoming a businessman.00:49:51.900 –> 00:49:58.320 Joseph McElroy: I still do a lot of interesting art stuff like that, but it's now an APP is an avocation not a vocation.00:50:00.060 –> 00:50:00.960 vocation was.00:50:02.580 –> 00:50:03.060 Joseph McElroy: that's.00:50:03.390 –> 00:50:12.960 Evan: that's what I thought folklore was to essentially I try to make a living out of what other people consider a hobby so it may not be the smartest thing in the world, but I think.00:50:12.990 –> 00:50:14.610 Evan: A link what content.00:50:15.810 –> 00:50:23.160 Joseph McElroy: Well, I think I think you know, I think that cultural institutions and hospitality has share thing where.00:50:23.610 –> 00:50:28.200 Joseph McElroy: You can actually express your creativity right and the things that you're interested in.00:50:28.770 –> 00:50:38.640 Joseph McElroy: yeah so I'm expressing my creativity, through hospitality, you know, in terms of how you design the rooms, how you design you know, the thing the amenities, and things you're giving people so.00:50:39.240 –> 00:50:49.050 Joseph McElroy: You know so you've been here Bo and Haywood county now for about three months, and besides folk mood what's your favorite?00:50:50.010 –> 00:50:57.930 Joseph McElroy: Somebody coming visit here what you, what do you recommend them go do or go eat or something that you think is a good tip for somebody new coming here.00:50:59.310 –> 00:51:16.770 Evan: Man I'm shameless self-promotion I love pumpkin beers great Mexican food I first had in Asheville amazing stuff the magic galley I've been there, I can't stop myself I keep going back and eating their fresh seafood.00:51:17.040 –> 00:51:26.130 Evan: seafood place yeah really great, and of course the Haywood county smokehouse hey we smoke glasses remarkably good place as well.00:51:28.620 –> 00:51:34.380 Evan: You know I would say sit on a porch somewhere and watch the sunset it's probably the best thing you can do in this county.00:51:35.580 –> 00:51:40.620 Evan: You know and or get up really early and have some coffee and watch the sunrise get either one.00:51:41.790 –> 00:51:42.150 Evan: and00:51:42.210 –> 00:51:42.540 Evan: that's.00:51:42.570 –> 00:51:50.850 Evan: Probably my favorite thing to do, since I've been here just sit down and take a breath.00:51:53.130 –> 00:51:58.410 Joseph McElroy: The relaxation, the people sit back and just enjoy the natural beauty here people love that.00:51:58.950 –> 00:52:10.410 Joseph McElroy: I mean a lot of it, you know we have a lot of front Porches here right because we're classically and motel so that's a lot of people just come just to sit out and have a party on the stoop.00:52:12.450 –> 00:52:13.830 Joseph McElroy: yeah we're just looking at it out and.00:52:14.580 –> 00:52:15.990 Joseph McElroy: talk with friends and.00:52:16.290 –> 00:52:22.320 Joseph McElroy: sit in a rocking chair and enjoy the country limited try this you know.00:52:24.240 –> 00:52:29.160 Evan: Gathering spot the stoop or the porch that's anyway and share.00:52:30.150 –> 00:52:38.010 Joseph McElroy: That well you know what you know growing up that was it the how the cupboard porch out front with rocking chairs sometimes people would couch the couch out there.00:52:39.210 –> 00:52:53.040 Joseph McElroy: And then enjoying life so is there some shout out some things you have to recognize our ways you want people to look you up or look at what you're doing or what what what're the things that people can find out more information.00:52:54.150 –> 00:53:04.770 Evan: Well, if you want to get to know your future ancestors I would definitely talk about going to my website and narrate project, which is a business I'm still running and still love to do.00:53:05.820 –> 00:53:22.770 Evan: Just this week, I interviewed a former provost at the University of North Carolina who has lived an absolutely fascinating life and just got able to talk to people and learn about them, I tell you there's wisdom all around folks it's around everybody and.00:53:24.000 –> 00:53:25.470 Evan: it's a great way to get to know your people.00:53:27.180 –> 00:53:31.710 Evan: shout out we love orchard coffee downtown.00:53:33.000 –> 00:53:38.760 Evan: run by one of our board members Cabo tice good folks down there, I wanted to say hello.00:53:39.960 –> 00:53:43.470 Evan: All the people I've met you know in this area.00:53:44.760 –> 00:53:56.160 Evan: I guess you know Bob plot being one of them, the gentleman and a scholar and really good, as you know, good gentleman work with I guess my biggest shout out would be to the staff.00:53:56.700 –> 00:54:13.110 Evan: Here at folk mood USA beth Harvey Mike McClain Jody Nichols Vivian pompous and Brett Pinkston all of who are just incredible people to work with.00:54:13.530 –> 00:54:13.950 Joseph McElroy: And so what's.00:54:14.760 –> 00:54:16.470 Joseph McElroy: what's the website, by the way.00:54:17.070 –> 00:54:18.150 Evan: folks move.org.00:54:18.660 –> 00:54:20.040 Evan: Okay sounds good.00:54:21.030 –> 00:54:22.050 Joseph McElroy: Facebook page too.00:54:22.860 –> 00:54:37.590 Evan: yeah there's Facebook I'm not a social media person I'm sorry yeah there's definitely you can search Facebook and hit folk maybe the USA all that stuff on social media is fantastic and that's all because of beth Harvey and the work that she does.00:54:38.790 –> 00:54:51.390 Evan: You know, it helps to be surrounded by people who are smart engaged engaging and dedicated yeah really helpful.00:54:51.750 –> 00:54:57.150 Joseph McElroy: Well, I wanna, thank you for being on the show today it's been a real pleasure, we should definitely have more conversations after this.00:54:59.040 –> 00:55:08.580 Joseph McElroy: Okay cool hey this podcast is on fate is on the talk radio dot nyc network, which is a live network of podcasts.00:55:08.910 –> 00:55:09.540 Evan: I recommend you.00:55:09.930 –> 00:55:16.710 Joseph McElroy: Take a look at everybody take a look at it and find some there's small business there are all sorts of things.00:55:17.370 –> 00:55:29.790 Joseph McElroy: it's also streamed live on facebook@facebook.com slash gateway to the smokies podcast right and it's the all the episodes are on.00:55:30.480 –> 00:55:42.060 Joseph McElroy: smokies adventure calm you'll find a link at the top of the gateway to smoke this podcast and you will also see the transcripts and other related information there on each of the different episodes.00:55:43.170 –> 00:55:48.180 Joseph McElroy: I actually run another podcast on this network called wise content creates wealth, which is about a.00:55:48.990 –> 00:56:03.570 Joseph McElroy: Marketing and things like that if you're if you like, that that's on Fridays from noon until one, but this podcast is every Tuesday from six to seven, and I look forward to seeing you next week and everybody bye bye.00:56:04.860 –> 00:56:05.640 Evan: bye Thank you.

It's time to take back the streets for Irish children. That's the view of Aaron Copeland, Creative Director of A Playful City who wants “play streets” to become commonplace here as they are in many cities worldwide and he joined us on Newstalk Breakfast.

It's time to take back the streets for Irish children. That's the view of Aaron Copeland, Creative Director of A Playful City who wants “play streets” to become commonplace here as they are in many cities worldwide and he joined us on Newstalk Breakfast.

Candid conversation with the lead singer of Corpse Hole, a death metal band out of San Antonio.

Candid conversation with the lead singer of Corpse Hole, a death metal band out of San Antonio.

Play is a serious business! A Playful City is Ireland's first not-for-profit focused on creating more playful, engaging and inclusive cities with and for communities. Creative Director, Aaron Copeland joins Susanne Rogers to chat about play and involving children in creating safe spaces for them in cities. 

Francesca Anderegg and Matthew McCright — Brave New Worlds: Music from the Americas (Proper Canary) Jump to giveaway form   New Classical Tracks - Francesca Anderegg by “I had carpal tunnel syndrome, so playing through the piece was really hard. Actually, some pieces we had to record in sections because I just physically couldn't play through it and have pictures of recording it,” said violinist Francesca Anderegg about recording sessions with pianist Matthew McCright. “I had bandages on my wrists. I almost couldn't do it.” She developed carpal tunnel syndrome due to her pregnancy. Fortunately, her wrists are now back to normal and all of her hard work you'll hear on her new recording, Brave New Worlds: Music of the Americas.  Can you talk about the broken social barriers and international connections the composers on this album made? “Many of these pieces were written when there was great interest in Pan-American, or a collaboration between North and South America. “Not all these composers were related to each other necessarily. I just had this idea about reaching out beyond a limited sphere and expanding your reach internationally or socially. It was this idea of expansion.” Can you talk about Alberto Ginastera's Pampeana No. 1 and how it reflects the style of his homeland? “Pampeana No. 1 is the first of a set of pieces written for various instruments. It is influenced by the Pampas, the grasslands of western Argentina. It's meant to evoke this idea of spaciousness in the music, and you can hear that in the first phrase. The violin has this soaring free rhapsodic line.” Why does this arrangement of Aaron Copeland's Duo for Violin and Piano have a special place in your heart? “My teacher, Robert Mann, had a sense of humor. When I look at this arrangement and some of the chords, especially the chords in the first movement, there's a series of three chords that sound like the last part of the piece followed by silence. Then, like nothing happened, there's another louder one followed by another even louder chord. Those chords are so true to what I knew of his sense of humor. He enjoyed music that was sometimes abrupt, a little bit funny or had a punchy quality to it. I also enjoy music when it's a little bit unexpected.” Do you think that Amy Beach's Violin Sonata would have entered the recital repertoire if it had been composed by a Central European male? “I can certainly see that, but I don't want to elevate Amy Beach by saying, ‘Oh, it's so similar to Brahms.' Being so familiar with the Brahms violin sonatas, I see a lot of commonalities there. But, Amy Beach's is technically difficult for the violin. She will just take the whole line and put it two octaves higher. “At the very end of the third movement there's a section where the whole pitch range of the piece goes higher and higher. It evaporates into a twilight texture. You have a sense that the piece is going on forever. It's a magical phrase that has many striking and deep moments.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Francesca Anderegg and Matthew McCright — Brave New Worlds: Music from the Americas (Amazon Digital) Francesca Anderegg (official site)

“During the Sleep of Reason monsters emerge” - GoyaThis podcast and newsletter was inspired by the Goya etching The Sleep of Reason. Goya pointed out that during the sleep of reason monsters appeared. Was he somehow dreaming about our era when he did this?In this podcast I'll be commenting, as a composer of contemporary classical music, on music today and how we got here. Up until the mid 20th Century classical music was widely listened to and venerated. New composers such as Aaron Copeland and Charles Ives were played by major orchestras. There were opera shows on prime time television and radio! But suddenly…pffft. It all fizzled out. I'll be investigating this decline and explaining it. I'll be relating this decline to problems of life today, in which millions of people are embracing bizarre conspiracy theories and supporting those who would strangle culture for profit and human rights and impose an authoritarian regime to enforce it.The first episode goes over what happened to classical music in the late 20th century to the present by tracing my evolution as a composer and the incredible road blocks along the way as the critics definition of modern classical kept changing . Subsequent podcasts will deal with the cinema where classical music went to die and Bach's B-minor mass, the great music work you never listened to.Other topics to come: How the CIA helped change the course of classical music. How Richard Strauss pointed a way for modern opera with “Ariadane auf Naxos” in 1912. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rogerrudenstein.substack.com

John Cale was the most musically astute member of the Velvet Underground and on this album it shows. Soon after being fired from VU, Cale found work as a producer (The Stooges, Nico) and a collaborator (most notably with avant garde musician, Terry Riley). But he also began crafting songs influenced by the Beach Boys, the Band, and Phil Spector. He was also enthralled by Little Feat's Dixie Chicken enough to hire three members of the band, including Lowell George, to back him on this, his third solo album, Paris 1919. It also includes production by Chris Thomas, who we introduced you to in previous podcasts. Find out more about this album and this fascinating musician who went from working with Aaron Copeland to becoming the godfather of punk.

2nd Hour Replay of an interview with Alicia Davila, Steward at IBEW 291, Boise, Idaho, Mario Savio's Throw ourselves upon the gears, Sanders Will you fight; Aaron Copeland's Lincoln Playlist, Opening with The Decemberist This Is Why We Fight (2006 King Is Dead cut); Billy Bragg, Mike & Ruthy Merenda, Dar Williams, NYC Labor Chorus covering WG's Union Maid, The New Students We Won't Go Away, Mob Job covering Neil Young's Rockin' In The Free World, Knock-Off covering The Pretenders My City Was Gone, Florence Reece's Which Side Our You On, a version credited to the UMW, and going out with The New Students covering Zevon's Don't Let Us Get Sick

“if you want to do something big, you've got to be ok with failing” - “I can work hard, how hard can it be?” –“it was the most fun I'd never want to do again” -  “I wanted to row across an ocean because I thought it was a cool idea, and I couldn't take it out of my head” - “I'm a very enthusiastic, passionate person, but in terms of getting a project done, I can get to be very practical. Like If we want to do this, what's the very next thing that we need to do, and then build that into a bigger timeline” – “To what end?” – “Being a very passionate person can be a double edge sword, because I really want to do the things I want to do, and I'm willing to work really hard to make that happen, and do a lot of things that I would otherwise find unpleasant,…. But if I'm not inspired by the idea, I will not do it! And that is not a good thing…” – “There's people that can do something to support their passion, or they have to make their passion pay” – “You can't escape the human experience without something tragic happening to you, that's part of the human experience. Some people are lucky that they have very little bits of that, and other people seem to be just plagued by it” – “A lot of people like the idea of something, versus the actual thing, so when you are thinking of a project that you wanna do, being self-critical is an important part of that. You have to like the thing, and make sure it's not ego driven. If you're going to do something big, do it because you also like it! Because you are passionate about the thing, and not just the idea of accomplishing it” – Jordan's song is “Aaron Copeland”

#BigMouthMatt and #PartyFoulSteve talk life, the road and of course drinking. This week Aaron Copeland debuts his new single "If it were mine".

It may not be surprising that the self-titled debut album from Foreigner was a hit, since all the members had previously worked with successful acts, making this collaboration a bit of a supergroup.  British guitarist and songwriter Mick Jones came from Spooky Tooth.  Multi-instrumentalist and fellow Brit Ian McDonalds had played in King Crimson.  They were joined by another Englishman, drummer  Dennis Elliott (from Ferris Wheel and The Roy Young Band).  Other members were American, including Al Greenwood on keyboards, Ed Gagliardi on bass, and Lou Gramm on vocals.  The band had the name Trigger for their demo tapes, but swapped that name out when they found another band had already taken it.  The name Foreigner was suggested by Mick Jones, because with three English members and three American members, at least half the band would be foreigners — wherever they played.The debut album Foreigner would create three hit singles and would be certified 5x platinum in the US, the first of four albums (this one, Double Vision, Head Games, and 4) from the group to achieve such a high level of success.Foreigner would prove to be one of the biggest bands of the late 70's through the 80's.  Lou Gramm would split from the group in the 1990, return in 1992, and leave again in 2003.  Foreigner still tours today, but Mick Jones is the sole original member of the group. Feels Like the First TimeThe leading track and first single released would be the first hit by the group, reaching number 4 on the Billboard Hot 100.  Mick Jones wrote this track prior to the start of Foreigner, when he had met a new love after this previous marriage dissolved.  It was a feeling that his life was entering a new phase. I Need YouThis song concludes the album and is a deeper cut with great bass licks and chord progressions.  "Many is the time I've cursed the Lord's creations.  Ah, but you touched my hand, I loved this new sensation."StarriderAnother deeper cut with more prominent keyboards, this one features Mick Jones on lead vocals.  The song reminds us of "Crystal Ball" by Styx.  You might agree it has a medieval or fantasy feel.  Long, Long Way from HomeThe third single from the album gives the perspective of a person moving from a small town to a large city, and the loneliness that results.   Lou Gramm has said this song is autobiographical, reflecting his move from Rochester, New York to New York City.  "I was inside looking outside.  Oh, the millions of faces, but still I'm alone." ENTERTAINMENT TRACK:Theme from the television series “Eight Is Enough”The family drama starring Dick Van Patten would debut in March of 1977.  It was about a single father raising eight kids. STAFF PICKS:Year of the Cat by Al StewartBrian opens our staff picks with a haunting tune.  The song originated from a riff piano player Tim Renwick would play before concerts.  Many of the lyrics were inspired from watching the movie Casablanca.  The title comes from a Vietnamese calendar which indicated that 1975 was the Year of the Cat.Changes in Latitudes, Changes in Attitudes by Jimmy BuffettWayne brings us one of the standard songs of summer.  The song itself barely cracked the top 40, but has taken on a timelessness with more than just the "Parrot Heads" that attend multiple Buffett concerts.  "With all of our running and all of our cunning, if we couldn't laugh we would all go insane."Georgia Rhythm by the Atlanta Rhythm SectionBruce features a local Atlanta band who was big in 1977.  The Atlanta Rhythm Section was formed from former members of the Candymen and the Classics IV who had come to Atlanta as the session band for Studio One in Doraville in 1970.  This song is off their sixth studio album, and the first album to get significant airplay.  The big hit was "So Into You," but "Georgia Rhythm" got a lot of airplay in Atlanta for obvious reasons.Maybe I'm Amazed (live) by Paul McCartney & WingsRob  wraps up the staff picks with a song originally recorded in 1970 for McCartney's first album, but never released as a single.  This live version was released in February 1977. This touching song was inspired by his romance with his wife, Linda.   INSTRUMENTAL TRACK:Fanfare for the Common Man by Emerson, Lake & PalmerThis was originally written by Aaron Copeland in response to America's entry into the Second World War.  The ELP version came about when Emerson was playing the piece on keyboards.  Greg Lake came in with a shuffle pattern on bass, and Palmer added in the drums.  The engineer was rolling tape and the first time the band played the song through is what made the album.

Randy Rotifer still crazy after 24,000 years; dispersing heat along your Meibomian glands; Guiliani in Borat Subsequent Moviefilm 2; Biden goes Socialist; Sticky Fingers & Lively Balls; what Aaron Copeland and Bat Masterson have in commom--

Drummer for Aaron Copeland, Jake Williams stops by the Party Foul Pub. Stories are told and maybe a lie or two and President and Founder of HJLMF Ray Davis fills us in on his upcoming golf outing and 501 (c) charity.

When we say David Amram has worked with everyone, we mean EVERYONE, including Aaron Copeland, Dizzy Gillespie, Theolonious Monk, Pete Seger, Jack Kerouac, and more! An American composer, arranger, & conductor, David composed the music for The Manchurian Candidate, and in 1966, David was chosen by Leonard Bernstein as the first composer in residence for the New York Philharmonic. Now you might wonder what all of this has to do with folk! David has been attending folk music conferences and festivals forever. Jamming with other musicians until the wee hours of the night, David's always the one closing down the house!  His youthful energy and spirit are practically boundless, and now we are lucky enough to have him share his stories, filled with wit, wisdom, and grace with FolkPod's own Cheryl Prashker. 

Texas Country Music Artist Aaron Copeland joins Toni in the Party Foul Pub to fill in for Lori and shenanigans ensue.

#BigMouthMatt and #PartyFoulSteve welcome back Texas Country Music Artist Aaron Copeland. This is a must listen episode. The boys talk about life, drinking and of course beer.

Be thankful for the simple gifts found in relationships. They show us how to relate to God, ourselves, and others. They are a great gift. Hello everyone and welcome to episode 79, our Thanksgiving episode. Imagine for a minute it’s Thanksgiving Day here in the US, and you are sitting around the table with your family eating your Thanksgiving dinner, and you ask everyone around the table what they are thankful for this past year. I say “imagine” because Dr. Fauci and others have urged us to avoid family get-togethers altogether. Without regard to what you decide to do in this matter, how would you complete the sentence starting with, “In 2020 I am thankful for….”? What are you thankful for? I’m not a music guy, but for me, my answer comes from a song of all places. A song I first learned in 7th grade from my music teacher, Miss Luck. It’s a song that could help all of us see Thanksgiving in a new light, in ways that will get us through Black Friday, and carry us on to the rest of the year. After 7th grade, the next time this same particular song reappeared for me happened in12th grade, during Mr. Dominguez’s music appreciation class when we listened to Aaron Copeland’s Appalachian Spring. Copeland captivated me with how he weaved this Shaker folk melody throughout his orchestral suite. I think about this tune every Thanksgiving. It's about being thankful for simple gifts found in relationships. Simple Gifts ‘Tis the gift to be simple, ’tis the gift to be free ’tis the gift to come down where you ought to be And when we find ourselves in the place just right ‘Twill be in the valley of love and delight. When true simplicity is gained To bow and to bend we shan’t be ashamed To turn, turn will be our delight ‘Till by turning, turning we come round right. ‘Tis the gift to be simple, ’tis the gift to be free ’tis the gift to come down where you ought to be And when we find ourselves in the place just right ‘Twill be in the valley of love and delight. History of the song “Simple Gifts” is the name of the song and was written in 1848 by Joseph Brackett, a Shaker elder. The Shakers were a religious sect that believed in the imminent return of Jesus Christ. They got their name from the wild and spirited dances they incorporated into their worship services. “Simple Gifts” is one of these dance songs. It involved a lot of bowing, bending, and turning. It was quite spirited, and there was a whole lot of shakin’ going on (I wonder if Elvis was a Shaker) as it was sung. I prefer the slower, more reflective version that is usually sung today. The melody first became popular when it was incorporated into Aaron Copland’s, Appalachian Spring in 1944 that I mentioned before. It later made its way into church hymnals, and into secular culture in 1970 when folk singer Judy Collins popularized it in her nationwide concert tour. The idea of being thankful for simple gifts found in relationships really caught on. “Simple Gifts” was sung at the inauguration of both Presidents Reagan and Clinton, and also at the funeral of President Richard Nixon. And most famously, the tune was taught by Miss Luck’s to my 7th-grade music class. Here's my take on the meaning of the song and what it has to say to us in the 21st century: ‘Tis the gift to be simple Simplicity is a gift. Apple, the iPhone maker, doesn’t necessarily make the best products, but they work very hard to make them the most simple for their customers to use. Steve Jobs quote: “Simple can be harder than complex: You have to work hard to get your thinking clean to make it simple. But it’s worth it in the end because once you get there, you can move mountains.” It’s a gift when good communicators make complex ideas simple. Donald Trump’s “Make America Great Again.” JFK’s 1960 inauguration speech, “Ask not what your country can do for you; ask what you do for your country.” What a gift Kennedy gave America in articulating his vision for America. Jesus was a master at making profound things simple. We see that in Matthew 22: 36-40 “An expert in religious law, trying to trap Jesus, asked 'which is the most important commandment in the law of Moses?' Jesus replied, ‘You must love the LORD your God with all your heart, all your soul, and all your mind. This is the first and greatest commandment. A second is equally important: ‘Love your neighbor as yourself. The entire law and all the demands of the prophets are based on these two commandments.'” It’s a gift to communicate simple, uncomplicated truths like this. Simplicity is indeed a gift. It’s something to be valued. Simplicity in our relationships is something to be protected.  We can be thankful for simple gifts found in relationships. It’s a gift to be simple. 'tis the gift to be free ’tis the gift to come down where you ought to be It’s a gift to be free to live out Romans 12:3 to, “Don’t think you are better than you really are. Be honest in your evaluation of yourselves, measuring yourselves by the faith God has given us.” There’s freedom in being who you are, and not something you are not To “come down” is a good thing. It’s an act of willful humility. The implication is there is the right place for us, the right lane, a sweet spot for each of us. To discover and live in that sweet spot is a real gift And when we find ourselves in the place just right ‘Twill be in the valley of love and delight. Negative connotations to valleys, (Psalm 23, the “valley of darkness.”) But there’s an upside to valley experiences Mt. Pilatus in the Swiss Alps outside Lucerne, Switzerland. Magnificent view, clouds over the mountain tops in the distance. But you can’t see much down the mountain top or the valley. Clouds block the view Better, more majestic view looking up, rather than looking down There’s protection in the valley, not on the mountain top When true simplicity is gained To bow and to bend we shan’t be ashamed When we are living in true simplicity, we can be humble, we can change our mind, and be flexible. We can admit we’re wrong, and we can elevate others, and celebrate this quality as a virtue, and not look at it as a weakness To defer to others won’t break us, it may bend us a bit, but it won’t break us What great relationship principles found in this catchy little tune. That we can be thankful for simple gifts found in relationships. To turn, turn will be our delight ‘Till by turning, turning we come round right. Turning is what repentance is all about. To turn from one direction to go in another When we’re willing to change, and repent, we will be the person God intends for us to be It’s not just a good thing to turn, it’s a delightful thing, it will bring a smile to our souls. And a smile to God’s face. There you have it, this Shaker tune sums it up for me. It’s easy to be thankful for the abundance in our lives. That’s not hard at all. What’s more challenging is to be grateful for the gifts found in simplicity, to be grateful in the valley, rather than the mountain top. To appreciate being at the bottom of the pile, rather than the top. To find joy in differing to others, and taking pleasure in being the person God created me to be. It is so rewarding as we are thankful for simple gifts like these found in our relationships. If you forget everything else, here’s the one thing I hope you remember from today’s episode. Be thankful for the gift of relational simplicity. It shows us how to relate to God, ourselves, and others. It’s a true source of love and delight. What we can all do in response to today’s program? We can start by asking God to show us things about ourselves we don’t see. To make the invisible to us visible. Ask Jesus to help us see ourselves as he does, and as others do. Be grateful to God for the simple things in life, ask Him to help us come down to the place we ought to be so we can experience the love and delight He has in mind for us. It’s not our inclination to do this; we need God’s help. Look for ways we can unashamedly bow and bend to our own desires in our relationships. Look for the simplicity in deferring to others. Ask God to help us find delight in turning from selfish ways of relating to him, to others, and ourselves. As always, another thing you could do is let me and your fellow listeners know what resonated with you about today’s episode. You can share your thoughts in the “Leave a Reply” box at the bottom of the show notes. Or you can send them to me in an email to john@caringforothers.org. Closing I hope your thinking was stimulated by today’s show, to both reflect and to act. So that you will find the joy God intends for you through the simple gifts found in your relationships. Because after all, You Were Made for This. Our Relationship Quote of the Week “I am not a genius, I am just curious. I ask many questions. and when the answer is simple, then God is answering.”                               ~ Albert Einstein That’s all for today. It’s been great being with you. And no matter where in the world you are, and no matter if you celebrate the US holiday of Thanksgiving or not, do yourself a favor and be grateful for the simple gifts in your life. Goodbye for now. Other resources To hear more examples of being thankful for simple gifts found in relationships, click on one of more of these prior eposodes: 005: The Gift of Joy - Part 1 006: The Gift of Joy - Part 2 003: A Gift for the Person Who Has Everything You Were Made for This is sponsored by Caring for Others, a missionary care ministry. We depend upon the generosity of donors to pay our bills.  If you'd like to support what we do with a secure tax-deductible donation, please click here. We'd be so grateful if you did.

The WHEEL welcomes Funkmeister Michael Bendure for a spin! Maybe you know him from his bands (Whiskey Gingers, Heartbreak Rodeo....) or as the DJ of KGOU's Friday Night Bo-hemoth, "Tonic: The Funky Groove Show." Or maybe he lent you five bucks in 1993. Regardless, you're in for a treat.Michael goes instrumental and reviews "The Scare Floor" from Monsters Inc. and gives us a clinic on movie scoring, the swing revival, Aaron Copeland, and Raymond Scott.Then Michael spins the WHEEL, prompting me to say the words I thought I'd never speak: "Let's listen to the Don Henley version."Check out Michael every Friday night on the 2nd-coolest NPR station in Central Oklahoma, KGOU/KROU. Thanks Michael!

On a lighter note, this episode I've hunted down some recent animated releases. Films:- The Willoughbys, The Larva Island Movie. Music - Fanfare For The Common Man, Aaron Copeland via ELP.

And now, we get into the meat of the 2020 New Zealand International Film Festival. Films:-  Pirotechnia, Leap Of Faith- William Friedkin On "The Exorcist", Kubrick By Kubrick Music: "Fanfare For The Common Man", Aaron Copeland via ELP; "Tubular Bells", Mike Oldfield

The piece of music we’re listening to in the background is called Within Gravity. It's a relationship theme for Quill and Mandry, two characters in the hopepunk sci-fi audio drama This Planet Needs A Name. Today, we’ll break it down and look at some of the insights into why and how it was made. My name is Trace Callahan. I'm a composer from Florida in the United States, and this is How I Make Music. IN THIS EPISODE 01:39 Evolving The piece Within Gravity begins in one of the prologue episodes for the show and evolves into its full form over the course of several episodes as the relationship between the two characters evolves. Within Gravity has its roots in American folk song, especially music of Aaron Copland. Very simple violin motives and melodies. Here's a section from a piece called Appalachian Spring by Aaron Copeland. Take a listen and see if you can hear how it influenced Within Gravity. The idea of hope and exploration and openness that his music tends to evoke. 02:45 Sing along So Within Gravity begins with a pulsing, slow rhythmic, not even quite melody, just a feeling that's based on the idea of a radar or some kind of instrument in this ship. The feel of the piece is intended to be something like a lullaby. When I sat down to write Within Gravity, I played the scene that it was going under on a loop actually continuously while I played the keyboard along with it. The first layer of Within Gravity that was written was this set of floating, morphing chords that are very gentle and slow and soothing, kind of like the lullaby with a pulse on the root of the chord acting in a rhythmic radar like fashion. Sort of to emphasize the spaceship aspect of where their relationship takes place. While the scene was playing while the dialogue was playing, I would play the scene and plug my keyboard into my DAW and just sing different ideas along with what I was playing until I found something that I liked. 05:06 Viola for Quill Once I was done singing my way through the melody and I was happy with it, I took it and transcribed it into sheet music which became the viola part for Quill in Within Gravity. In Within Gravity each separate piece of the music represents something the viola melody is quill. The radar pulse is the character of Mandry who is our pilot. The floating chords are gravity itself binding the piece and the melody and all of the other parts of the song together, like gravity binds us to the ground. 06:09 Dialogue clashing One of the challenging things for me is that the instruments that I like to use tend to live in the same area as the vocal ranges of our actors. To demonstrate what I mean by the music and the dialogue clashing, here is me speaking in my normal voice against the melody of a viola. And here I am speaking against the same melody but in the range of a cello. So you can hear how much easier it is to hear me and understand me when I'm speaking over the cello. 06:50 Keep it simple It would be very easy for me and it is my natural tendency to overcomplicate music and so keeping it simple and something that can exist peacefully in the background, while the scene is happening was something I definitely had to work on. 07:04 Wet keyboard This Planet Needs A Name is a pretty emotional show. We sometimes say that it's very effective free therapy for people who listen to it! And audio drama tends to be pretty emotional anyway, so the dialogue is already emotional and the story and then you're adding the music. There is a lot of catharsis. There is a lot of crying. Sometimes happy tears, sometimes not so much. You have the occasional wet keyboard! 07:58 Layers The background parts of the song are happening over several layers. You'll hear several different instruments combined to create each part. But when you have a melody that's representing one of the characters, that melody is always a solo instrument and the reasoning behind it being that space is big and made up of many, many things. And humans are very small. SHOW NOTES Listen to audio drama This Planet Needs A Name https://pod.link/1487283992 Join over 200 patrons supporting This Planet Needs A Name https://www.patreon.com/needsaname Check out other work by Trace Callahan https://tracecallahan.com/ BONUS MUSIC & SFX CREDITS Aaron Copland - Appalachian Spring Tomattka - Thunderstorm.wav

The SpaceTimeMusic theme music is a sample of the Ana-Tole x Jonah Christian Remix of Ready or Not by the Fugees.LINKS:A Sample, A Cover playlistFacebookEmail: spacetimemusicpodcast@gmail.comSONG CREDITS:In order of appearance20th Century Fox Fanfare - Alfred Newman (1933)Fanfare for the Common Man - Aaron Copeland (1942)Can You Feel It - The Jacksons (1980)Can You Feel It (Live) - The Jacksons (1981)The House Music Anthem (Move Your Body) - Frankie Knuckles (1986)Move Your Body - Marshall JeffersonProduced and arranged by Virgo(1986)Let No Man Put Asunder (Shep Pettibone 12” Mix) - First Choice (1983)Let No Man Put Asunder - Mary J. Blige (1999)Can You Party -Royal House (1988)I’ll House You - Jungle Brothers (1988)A Day in the Life/Can You Party? - Medley - Williams-Fairey Brass Band (1997)Run the World (Girls) - Beyoncé (2019)

This episode is multimedia story in three parts:   Part 1 "The Gettysburg Address" by President Abraham Lincoln, recited by Aaron Calafato   Part 2: A musical piece, “Common People” by Ken Wendt inspired from Aaron Copeland’s “Fanfare for the Common Man” and includes excerpts from a 1942 speech by vice president Henry Wallace. More music from Ken Wendt - http://fluentk.com/ Part 3: "Heart-Soul Agreement" A excerpt from a speech by former Senator Nina Turner at the 2017 People's Summit mixed w/ original song "In the Beginning" composed & performed by TJ Duke & Ben Gmetro  More about Nina Turner - https://www.ninaturner.org/ More music from Tj & Ben - https://wearenaturecamp.bandcamp.com/

I have coverage of the SyFy Up Front event purple carpet with the three Being Human leads, Grant Bowler of Defiance. Ronald D. Moore of Helix,Alison Scagliotti of Warehouse 13,Aaron Copeland of Haven,MacKenzie Westmore of Face Off and the team from Deep South Paranormal.

Texas country music artist Aaron Copeland talks, life, drinking and of course food!

Texas country music artist Aaron Copeland talks, life, drinking and of course cooking!

The Hastings College Choir performs an optimistic mid century poem by Aaron Copeland, Lark.

Texas country music artist Aaron Copeland talks life, drinking and of course cooking.

Texas country music artist Aaron Copeland talks life, drinks and of course cooks!!

Aaron Copeland joins Big Mouth Matt and Party Foul Steve to talk life and of course beer!!

Joined by my co-host Emelia and special guests Steve Powell, Matt Locke, and Aaron Copeland. We have a beer, talk music, and how to support musicians during this time..  Recorded on March 20, 2020.  Support the show (https://www.patreon.com/theprotectors)

The Hastings College choir performs what Aaron Copeland called "An adaptation of an old American Classic." Enjoy, Ching A Ring Chaw.

This week is a classic with surprise returning guest Ryan! He and Lindsay are teaming up to teach Tanner a thing or two about classical music as they compose another instalment of the Disney Classic Fantasia. Tanner is crying about the 2000 edition, Lindsay is casting a wide net to spice things up, Ryan is also crying, and Stravinsky isn't impressed. This episode includes samples from the following pieces: "2112 Overture", Rush, 1976 "In the Hall of the Mountain King", Edvard Grieg, performed in 2014 by Berliner Philharmoniker "William Tell Overture", Giachino Rossini, performed in 2014 by Santa Monica High School Symphony Orchestra "Blue Danube"Johan Strauss II, performed by Vienna Philharmonic in 2013 "New World Symphony", Antonín Dvorák, performed by Stuttgart Radio Symphony Orchestra in 2012 "The Four Seasons Concerto No. 1 (Spring)", Antonio Vivaldi, performed by Orchestre International de Genève, 2015 "Four Dance Episodes from Rodeo", Aaron Copeland, performed by Minneapolis Symphony Orchestra in 1957 "Ride of the Valkyries", Richard Wagner, performed by Berliner Philharmoniker, 1998 "Misirlou", Dick Dale cover, 1962 "Alexander Nevsky, Op.78 - 5. The Battle on the Ice", Sergei Profokiev, performed by USSR State Academic Symphony Orchestra in 1966 "Saturn, the Bringer of Old Age", Gustav Holst, performed by BBC Symphony Orchestra in 2015 Our cover art is by Alex aka @ptchew, and her work can be found on ptchew.com. Our theme music is by Shawn Clake. This week's friendship promo is @AMFC_Podcast! Our email is NotIfIRebootYouFirst@gmail.com. If you would like to be a guest, send us a friendship promo, or just have general feedback, feel free to contact us! If you are willing to support us financially, our Patreon can be found at patreon.com/NotIfIRebootYouFirst. Ryan:@VagabondHaunted@PKMN_Millennium@realsfn Find us on Twitter:@NIIRYFPod@LindsayM476@SparkyUpstart

#BigMouthMatt and #SexyJesus live on Friday night with special guest Texas Country Music Artist Aaron Copeland.

Today on Soundtrack Alley Spotlight we complete the Back to the Future trilogy with the third installment that takes us into the old west. I'll discuss the cast, background, and the Aaron Copeland inspired Alan Silvestri score all today!!! --- Support this podcast: https://anchor.fm/randy-andrews/support

#BigMouthMatt and #SexyJesus have special guest Aaron Copeland on as they talk about music, life and No Label Brewing Company beer.

We’re going back to 2003. The world was different. And Ramsey was very busy listening to something else besides Copeland. Today, Heather aims to fix that by presenting him with their 2003 debut, “Beneath Medicine Tree” Hear the longest sustained laugh in the history of the show! We do not discriminate against Copelands! Aaron Copeland, Stuart Copeland, the band Copeland, all discussed. An important poll and an important picture [this one!]. All this and MORE! Don't want to end the fun? Check out our Spotify playlists for more music choices from Ramsey and Heather. Wanna get a shout-out on a future episode? Give us a rating on iTunes! It helps us, and it helps you feel good about yourself! Want to suggest a song or album for us to cover? Here’s the link!

Music has been a part of Jewish life since ancient Biblical times, and remains integral to the Jewish religious and cultural experiences. Hazzan Pomerantz-Boro tells us about the Jewish High Holidays (personal preparation is taking place now) and the role Jewish music plays in Jewish culture and holidays/celebrations. Some of America’s greatest composers and songwriters are Jewish (including Aaron Copeland, George Gershwin, Irving Berlin, Leonard Cohen [Canadian-American], Carole King, and Bob Dylan), and we discuss the effect of their heritage on their music. Links and notes related to this episode can be found at https://mpetersonmusic.com/podcast/episode07   Facebook Page Instagram LinkedIn

Favorite Segments of 2018 - Part 2 Host: Theo Mayer Last week and this week, we have a two-episode special. We have pulled together some of our favorite stories and segments from 2018! They are presented in chronological order. Part 1 came out last week - the last week of 2018, and here is Part 2 published the first week of 2019. This episode includes: June 29, Episode #78How WWI Shaped the 20th Century with Dr. Jay Winter |@ 01:10 July 20, Episode #81A Two-for-One Combo…. with WWI War Tech and Speaking WWI both about photography! |@ 07:45 August 10, Episode #84Japan in WWI with Dr. Frederick Dickinson |@ 13:50 In the same episode #84,The 28th Division: Pennsylvania National Guard doughboys fight from Dr. Edward Lengel |@ 21:35 October 5, Episode #92The Lost Battalion - with Rob Laplander |@ 27:35 November 2, Episode #94Maneuverings: Both Military and Diplomatic with Mike Shuster |@ 34:20 November 11, Episode #98From the World War I Armistice Centennial Day Sacred Service - an excerpt: "The Last One Down: Henry Gunther", written by Matthew Naylor, underscored with "The Unanswered Question" by Aaron Copeland performed by the World War I Centennial Orchestra and read by Dr. Libby O’Connell |@ 38:05 December 14th, Episode #101Three Key impacts of WWI with historian, Sir Hew Strachan |@ 42:35 Sponsors: The U.S. World War One Centennial Commission The Pritzker Military Museum & Library The Starr Foundation Production: Executive Producer: Dan Dayton Producer & Host: Theo Mayer Line Producer: Katherine Akey Written by: Theo Mayer & Katherine Akey Special segment hosts: Mike Shuster Dr. Edward Lengel Researchers: Eric Marr JL Michaud 2018 Production interns:

On today's show Andrew Sharp and Ben Golliver are live in LA and they begin the show with reminders to watch SI's Sportsperson of the Year Awards Thursday at 9 pm EST on NBC Sports Network and subscribe to Ben's Washington Post newsletter. Then they talk through Milwaukee's George Hill trade (8:00) and then move to disastrous weekend of the Chicago Bulls (12:00). From there they transition to discussing their dream playoff matchups after 25 games (30:00), including Lakers-Warriors, Lakers-Clippers, Warriors-Rockets in the life comes at you fast sequel, Sixers-Celtics ten year war, and Thunder-Jazz part two. Then: whether Kyle Lowry is player tanking after his comments on Masai Ujiri, whether Devin Booker is Tim Hardaway Jr. with better PR, and who says no to a Ben Simmons or Luka Doncic trade. At the end: putting Free Solo in an NBA context, not using Spotify, and another salute to Aaron Copeland.  Learn more about your ad choices. Visit megaphone.fm/adchoices

  In Episode 24, Wendy Sheridan talks about a renewed sense of vulnerability and feeling that as a Jewish person her "provisional white card has been revoked" after the recent massacre at the Tree of Life synagogue in Pittsburgh. It is a newly deepening awareness of a very old danger at work in the world. Wendy along with Robin Renée and Mary McGinley think out loud about the ingrained white supremacy and patriarchy in American society and how we might work to create change. They challenge themselves and others to find ways to erode anti-Semitism, racism, patriarchy and homophobia in everyday life in whatever ways possible.   Later, the conversation shifts to a feminist discussion of the 1966 Neil Simon musical and 1969 film Sweet Charity starring Shirley MacLaine with choreography by Bob Fosse. They take a look at its subject and subtext, style, shortcomings, and powerful depiction of female rage. At the top of the show, designated days, weeks, and months include COPD and PPSI (Pharmacists Planning Services Inc.) and AIDS Awareness Months, Fraud Awareness Week, Nurse Practitioner Week, Kindness Week, Dear Santa Letter Week, Hunger and Homeless Awareness Week, and Spicy Guacamole Day. Thursday is National Clean out Your Refrigerator Day. On this day in history, Moby Dick was published in 1851, in 1968 Yale University went co-ed, and in 1969 Apollo 12 launched en route to the moon with crew Commander Charles Conrad Jr, Richard F. Gordon Jr, and Alan L. Bean (Wendy met Alan Bean at space camp and Robin named a dog after Charles "Pete" Conrad.). It is the birthday of Edward White, Claude Monet, Aaron Copeland, McLean Stevenson, Patrick Warburton, Yanni, Nina Gordon of Veruca Salt, and Rev. Run of Run DMC.   Things to do: Listen to the podcast Robin mentioned on the decreased commitment to democracy among young people and possible ways to re-energize interest in civic participation: Radiolab: "Tweak the Vote" Watch "Big Spender" from Sweet Charity httpss://www.youtube.com/watch?v=KE2TsAJKBwc            

Efrain and Danny present their biggest episode ever in honor of one of Tori's signature songs. Co-hosted by David Anderson and including interviews with King Britt, Omaha Perez, Val Patterson and Meade, the boys serve you up everything you ever wanted to know about Father Lucifer (including information on a rare white label remix of Father Lucifer by King Britt) . Plus another installment of Sincerely Shaggy and a check-in with our Pele Baby. Full of sound bites, rare clips, live performances and extras, this episode is so full it'll never stop you from floating. -- EPISODE PLAYLIST -- Father Lucifer by Aural Atrium | Father Lucifer by Karaoke Universe | Georgy Girl by The Seekers | Quiet City by Aaron Copeland (played by James Watson) | Father Lucifer (Instrumental Cover) by Ross Burton | Father Lucifer (Sylkscreen Remix) | Tribal Confusion by E-Culture | Last Night a DJ Saved My LIfe by Sylk 130 | Heavenly by Scuba | Where Have All the Cowboys Gone by Paula Cole (Sylkscreen Remix) | Non-Stop Action by The Force | Father Lucifer by Tori Amos (25 March 1996 - Berlin, GER) | Father Lucifer by Tori Amos (13 April 1996 - Orlando, FL) | Smalltown Boy by Bronski Beat | Father Lucifer by Tori Amos (3 May 1996 - Philadelphia, PA) | Father Lucifer by Tori Amos (29 June 1996 - Los Angeles, CA) | Father Lucifer by Tori Amos (14 July 1996 - San Jose, CA) | Father Lucifer by Tori Amos (17 July 1996 - Seattle, WA) | Father Lucifer by Tori Amos (2 November 1996 - Tulsa, OK) | Father Lucifer by Tori Amos (26 September 1998 - San Diego, CA) | Father Lucifer by Tori Amos (27 September 1998 - Phoenix, AZ) | Father Lucifer by Tori Amos (28 October 1998 - Louisville, KY) | Father Lucifer by Tori Amos (19 October 1998 - Evanston, IL) | Father Lucifer by Tori Amos (22 August 1999 - Nashville, TN) | Father Lucifer by Tori Amos (10 September 1999 - Pittsburgh, PA) | Father Lucifer by Tori Amos (6 October 1999 - Portland, OR) | Father Lucifer by Tori Amos (29 October 1999 - London, ENG) | Father Lucifer by Tori Amos (19 August 2005 - Holmdel, NJ) | Father Lucifer by Tori Amos (17 December 2011 - Los Angeles, CA) | Father Lucifer by Tori Amos (28 May 2014 - Brussels, BEL) | Father Lucifer (Remix) by Ursa Sapiens | Father Lucifer (Instrumental Cover) by YANTA |

On this week's episode I revie The Band of Heathens' Duende, talk about a few things from the Ameripolitan Awards that didn't make it into the previous episode, and more shout outs! Ameripolitan: www.ameripolitan.com www.facebook.com/ameripolitanmusic www.twitter.com/ameripolitan The Band of Heathens: www.bandofheathens.com www.facebook.com/thebandofheathens www.twitter.com/bandofheathens https://itunes.apple.com/us/album/duende/id1172425000 Aaron Copeland: www.aaron-copeland.com www.facebook.com/aaroncopelandmusic www.twitter.com/aaronc21 https://itunes.apple.com/us/artist/aaron-copeland/id35912032 Duane Mark: www.ihateduanemark.com www.facebook.com/ihateduanemark www.twitter.com/ihateduanemark https://itunes.apple.com/us/album/land-of-opportunity-sorrow/id1014783242 Thanks for listening! Contact:  southboundpodcast@gmail.com TWitter:  http://www.twitter.com/sbi35 Intro/Outro Music: Down at the Diner by William Naughton via http://www.themusicase.com Podcast Art by Schechter Productions: http://www.pinterest.com/SchechterArts http://schechterarts.deviantart.com

This week's feature is a double shot of Texas Country goodness with Jay Dirks' 2nd EP and Aaron Copeland's 100 Miles from Sunday.  All this plus a brand new Texas Wants You Anyway segment and more Shout Outs! Miles Williams: www.mileswilliamsofficial.com Memphis Kee: www.twitter.com/memphiskee www.facebook.com/memphiskee www.reverbnation.com/jasonkee Ameripolitan: www.ameripolitan.com Jay Dirks: www.jaydirksmusic.com www.facebook.com/jaydirksmusic www.twitter.com/jaydirksmusic https://itunes.apple.com/us/album/ep-2-ep/id1143990586 Aaron Copeland: www.aaron-copeland.com www.facebook.com/aaroncopelandmusic www.twitter.com/aaronc21 https://itunes.apple.com/us/album/100-miles-from-sunday-ep/id1122776826 Jordyn Pepper: www.jordynpepper.com www.facebook.com/jordynpeppermusic www.twitter.com/jordynpepper https://itunes.apple.com/us/album/1862-single/id785489185 Matt Steady: www.mattsteady.com www.facebook.com/mattsteadymusic www.twitter.com/mattstoicsteady https://itunes.apple.com/us/album/blood-is-thicker-than-gold/id1130801398 Randy Burghardt: www.randyburghardt.com www.facebook.com/randyburghardt1 www.twitter.com/randyburghardt1 https://itunes.apple.com/us/album/gate-opens-wide-single/id952605812 Joey James: www.joeyjamesband.com www.facebook.com/TheJoeyJamesBand www.twitter.com/joeyjamesband The White Truck Band: www.whitetruckband.com www.facebook.com/whitetruckband www.twitter.com/whitetruckband Doug Nichols: www.dougnicholsmusic.com www.twitter.com/dougnicholsband Thanks for listening! Contact: southboundpodcast@gmail.com Twitter: www.twitter.com/sbi35 Intro/Outro Music: Down at the Diner by William Naughton via www.themusicase.com Podcast Art by Schechter Arts: www.pinterest.com/SchechterArts                                http://schechterarts.deviantart.com

Using neurological conditions to discover where in the brain, body, or mind, the self is located.TRANSCRIPTSpeaker 1:Method to the madness is next. You're listening to method to the madness of biweekly public affairs show on k a l x Berkeley Celebrating Bay area innovators. I'm Lisa Kiefer and today my guest is annealed onion to Swami. He's the author of the new book, the man who wasn't there investigations into the strange new science of the cell. Welcome to the program. And Neil. Thank you. Lisa. What [00:00:30] inspired you to examine the self by way of touring these neurological disorders that you talk about in the book that disrupt the self? Speaker 2:Um, I think that the inspiration just came from trying to understand the nature of the self. It's something that I've been interested in, uh, for quite a long while you're from India, I'm from India and maybe that has something to do with it because the, the major religions that come from India, Hinduism and Buddhism, um, [00:01:00] they're sort of philosophical. Uh, leanings are, have a lot to do with understanding the nature of the self. Right. And you start the book off with this beautiful ancient Buddhist parable. Yeah. If it's a story about a man whose body parts are entirely replaced by body parts taken from a corpse by two ogres that are trying to eat the corpse. Uh, and so after the Ogres have basically replaced, uh, you know, this man, [00:01:30] poor man's legs and arms and torso and everything with the body parts from that of a corpse, they leave and he's left wondering is he the same person that he was before? Speaker 2:Uh, if, you know, is the body that he has now, the one that, uh, is his, I mean, it's basically questions, uh, to do with the nature of the self, you know, am I my body and a, if I'm not, then who am I? And things like that. Let's talk about that. What do you mean when you talk about the word self? Intuitively I think we're all kind of aware of [00:02:00] what that means to us. Uh, as I write in the book, it's some, it's something that comes about when we wake up. You know, it's what you call the phenomenal, the phenomenal self, the feeling of being a self. It's there when we wake up. It kind of goes away when we fall asleep. Uh, reappears in our dreams. Uh, so that's one way of thinking about it. But then if you start breaking it down, there's the notion of the bodily self, the feeling of being here and now like for instance, you and I are sitting on a chair right now. Speaker 2:We have this feeling of being a body, occupying a volume of space that is [00:02:30] taken up by the body. It's a perception of a physical body. The, yeah, the feeling of having a bodily cell. Also having a perspective on the world that seems to emerge from behind our heads and this feeling that we have that all the perceptions that we are having are being had, are private to us. What you are seeing, you have the sense that it's happening to you, not to anyone else. And then there's the narratives of the story that we are in our own heads and the story that we tell others when if someone were to ask you, who are you, you're going to give them a kind [00:03:00] of a narrative. You talk about that spans time, that's past, present and future. Yeah. So you said you can bring up a, your, you know, earliest memories or you can imagine yourself in the future and all of those things. Speaker 2:And we have this feeling that they're the same person or there's this underlying unity to everything that we are in terms of our story. So all of these things go towards making up our sense of self. The reason why I started looking at sort of neuropsychological conditions that disturbed the self is because you start getting a [00:03:30] clue about how the brain might be putting together some of these neuro processes to create this unified sense of being a self. We've learned a lot about the brain for instance, by looking at situations where some people unfortunately have had strokes or some kind of trauma to their brain, had some damage to the tissue and also have had some loss of functionality. And by correlating what has been lost in terms of their behavior and correlating that to the loss of tissue, uh, you can understand how the different parts of the brain might be doing. Speaker 2:And in some sense looking at neuropsychological [00:04:00] conditions that damage the self in some way or changed his health. And I don't only use the word damage because it's, you know, it kind of signifies something negative, but just changes how one feels about one's health. You can start piecing together the puzzle of how the brain might be constructing this unified sense of oneself. Your chapters are broken down by neurological condition and every chapter is amazing because you actually talk about individuals who you have met and worked with. Let's start with Cottar Syndrome. That's got to be one [00:04:30] of the most strange and rare. It is indeed very stringent. Then partly why I start the book with that condition is because it sets up the question, who am I? So in quartered syndrome, one of the strongest symptoms they have is this feeling of not existing. You know, they, they, they will tell their neurologist or psychiatrists that they are already dead or they don't exist. Speaker 2:There are other, uh, symptoms that go with the syndrome, but that, that one is the most striking a symptom irrational. Like they, they can see their body [00:05:00] but they don't think they're alive. Oh they can feel their body and physiologically everything is fine. And so the, in fact I narrowed the story of one gentleman where the neurologist is asking him, you know, you can see me, you can hear me, you can understand me and the, and the patient says, yes I can. And so, and the neurologist says, well then your mind must be fine. And he says, yeah, my mind is fine. Well then he says, well if your mind is fine, surely the mind has something to do the brain and so your brain must be okay. And he says, no, my brain is dead. He claimed that his brain, he was brain dead. Speaker 2:[00:05:30] You talk about the concept of vividness and the damping down. What part of the brain is active. There is a network of regions in the brain and part of it is something called the default mode network that are involved in awareness of our own internal self. So whether our weather awareness for body states or if we're daydreaming, then we were involved in self related thoughts and feelings. So this internal awareness network is something that was dumbed down in this patient when they, when the neurologist scanned him, they found that there was [00:06:00] considerably lowered metabolic activity in this network almost to the levels that are seen in, uh, what has been called the vegetative state. But by itself, that's not enough. He also had damage to the lateral parts of his frontal lobes, which are involved in rational thought. Because of that, it was likely that he was unable to have any kind of rational response to this very odd perception of not existing. Speaker 2:And he couldn't shoot down his own irrational perception that he was dead or he was brain dead. The next chapter is about Alzheimer's [00:06:30] and, but one of the really interesting things about that chapter is yes, the narrative history is diminishing, but that doesn't necessarily mean that there isn't other self there. And you give a beautiful example of this man who goes to a synagogue. Yeah. So this, this example came from a researcher in Canada, a m P, r Kontos and the, she was studying, uh, elderly people at a care facility in Toronto. And she narrows how [00:07:00] this gentleman who had very severe Alzheimer's who could barely, you know, string a few words together, was standing in line to participate in a Jewish high holiday. So she was feeling tense about what he might do, but then, uh, you know, he goes to the podium and says a beautiful prayer and then comes back, you know, and she says that if you had taken him to his room and asked him to say the prayers, he wouldn't be able to. Speaker 2:And when he came back that day, he was back to his back to his sponsor self. Exactly. You know, normally in Alzheimer's we think that [00:07:30] what is, you know, the self that is lost a is the cognitive or narrative self. And uh, you know, people pretty much say that once you lose that there is nothing left. And she points out that that's not entirely true. It's not just cognition, your narrative, your story is also embodied. And if the conditions are right, like for him in that situation, you know, uh, as she says it, uh, standing at the podium, uh, having the rabbi, his hand on the Torah and the congregation in front of him, all of that kind of elicited a response. And so it was [00:08:00] embodied, I mean, when one says embodied, obviously the brain is also involved, but there is, it's much more complex. Speaker 2:It's a different kind of memory and it's a different kind of, uh, cell food. It's not just something you consciously recall and, and tell stories about, but it's something that's part of you. It's, it's, you know, if you think about riding a bicycle, if you learn to ride a bicycle when you were four years old, that's part of the narrative. Whether you consciously tell someone who I can ride a bicycle or not, it's part of who you are. But that's an embodied skill. If [00:08:30] you try to consciously think about riding a bicycle, you will probably won't be able to do it. It's just something that your body and brain together do. And that's, and that's part of your cell phone. So all those things. And there's a story, there's an anecdote about Aaron Copeland, the composer, and he, uh, had, uh, you know, severe dementia towards the end of his life and couldn't remember where he was while he was standing at a street corner. Speaker 2:But you know, the story goes that if you would stand him in front of his orchestra, he could conduct his orchestral suite, the Appalachian Spring, I mean, so this researcher in Canada, [00:09:00] peer punters, she argues that sulfur is not just a cognitive thing. There is a whole aspect of it that is embodied your cognitive narrative self would, might be gone, even your embodied self would, might go away eventually. But yeah, the question is, is there still a minimal, so is there still someone capable of feeling sensations as if it's happening to them even though them in this case doesn't refer to a person in the, in the regular sense of the word, but just something to beginning. Yeah. [00:09:30] And own the experience and experience that is still owned by some entity that feels like it's happening to itself. Another chapter in your book is about body integrity, identity disorder. Speaker 2:They believed that a part of their body isn't theirs and they'll actually go to the extreme of amputation to get rid of it. So then they feel better. Yeah. And you tell a story about following this man to get an amputation. Yeah. So, uh, you know, this was a young man in his thirties. Uh, I met him before he had his amputation and, uh, you know, talk to him [00:10:00] about how he felt. And he was very, very convinced that part of his leg wasn't his, he seemed to be suffering. And I actually, like I, I followed him and, uh, was, uh, around when he got his amputation. And, uh, the extraordinary thing was, uh, I remember talking to the doctor, the surgeon who did the surgery and, uh, the surgeon said that, look, you know, normally if somebody has had an accident or some kind of trauma, and because of which they've had to have an amputation the day after the surgery, that [00:10:30] they're usually very depressed because they've lost a part of their body. Speaker 2:And many people never fully get over the loss of limb or and as it should be because a part of your body has been lost. Whereas he said, when you meet this guy tomorrow after the surgery, you will be surprised at how quickly his open about, and that was exactly the case. Like within a day of the surgery he was crutching. You can only make so many judgements from the outside. I had to believe what he was telling me and he seemed to say that he felt complete, which is a really [00:11:00] paradoxical thing when you think about it because here's someone who has just lost a leg but now feels complete and so he tells us something about how opposite of Phantom limbs and it is. It is considered sort of a mirror problem of the phantom limbs. A Phantom limb is if somebody has had an amputation because of an accident, they will continue sometimes to feel the presence of the limb that they've lost and that's very clearly telling you that what you perceive in your mind in terms of what your body is is not the physical body, Europe peer [00:11:30] perceiving a representation of the body that the brain creates. Speaker 2:The brain brain's primary job is to really keep the body in a physiologically viable state for survival, the homeostasis to control the body, et Cetera, and in order to do that it creates a representation of maps of the body. There are lots and lots of maps that the brain has off the body and what's interesting is what you perceive a, at least the Phantom Limb Syndrome seems to suggest or what you're perceiving are really the, the maps. You're not [00:12:00] perceiving the actual limb and actually feel the missing limb. You actually feel the missing limb as if it's there and nor I know of course if everything is working as it should, then the maps are completely congruent with the physical body. So in you are in some sense perceiving the physical body, but the Phantom Limb Syndrome tells you that you know when things don't go to plan you, you've had an amputation, but the maps in the brain have not reorganized to reflect the new body state. Speaker 2:You will still continue feeling your limb and bid is kind of the opposite where [00:12:30] you you're, you have a physiologically viable limb, but for some reason the map is not quite accurate or hasn't been updated or hasn't developed as well as it should have and you end up feeling disruption in development. Could be no one quite knows the, you know why this condition arises. A, we only have snapshots of brains of people who are suffering from this condition when they already have it and there are certainly differences in brain regions that are responsible for mapping the body. Tell us about this rubber hand [00:13:00] illusion that our listeners could actually do this. I mean this will illustrate, you're very right. The rubber hand illusion will illustrate this point really well. You can go to a Amazon and buy yourself a rubber hand, which a four $5 it looks pretty much like the real hand sit down on a table put say say your left hand on the, on the table in a relaxed manner. Speaker 2:Put the rubber hand next to it and put a screen between the two so that the rubber hand, which is closer to you is the only thing that you can see [00:13:30] and you can't see your real hand. Have someone take two pain pressures, hand brush, both your real hand and the rubber hand synchronously meaning at the same location on each at the same time at the same time. Exactly right. So that, so that you're feeling the touch on your real hand, but you're seeing the brush moving on the rubber hand and for about two thirds of the people participating in this experiment, they will feel something very extraordinary. Within about two minutes. They will suddenly feel the touch of the brush and they will actually feel the touch [00:14:00] at the location of the rubber hand and they will lose the sensation of touch from the real hand. Speaker 2:So it's brain is saying the rubber hand is your hand. Yeah. So the brain is being fed conflicting information. The brain is being fed visual information that seems to tell the brain that, oh, the touch is actually happening at the location of the rubber hand because choose which one. It so happens that a vision for us is more important than touch. So what vision is telling the brain will override the sensation of touch. And if it was the other way [00:14:30] around and the solution wouldn't have worked. We are visual creatures and we will kind of prioritize vision over most other sensations. So, uh, the brain seems to say, oh, it must be the case. That rubber hand is my real hand and it actually takes ownership of the rubber hand. And this is, you know, this is something you can do at home, but it's extraordinary. Speaker 2:What a simple experiment like this can reveal about our sense of bodily self and that we are a construct. This actually tells you how does the brain create a sense of your own body. What it does is it takes all the various [00:15:00] sensations that are coming from the outside and from within the body and kind of integrates all these sensations to create a sense of being inbody to create a sense of ownership of the physical body. Multisensory integration. Exactly. Yeah. I mean, so a lot of this happens in places like the temporal parietal junction and there are a few other areas like this in the brain that are responsible for integrating different kinds of sensations and you know, and, and the sensations that we're familiar with like vision and touch and you know, sound, all those things but are also things like propioception, [00:15:30] which is the sense we have of our body in three dimensional space. Speaker 2:So like if you close your eyes and hold out your hand, you still know exactly where your hand is. Uh, and that's because there are receptors in our joints and tendons and you know, which are feeding information to the brain about where our body is that the balance sensation. So the balance is vestibular. So there's a different set of uh, you know, sensations which come from the vestibular system, which is telling the brain about the orientation of the body relative to gravity, all these [00:16:00] various sensations. It's extremely complicated. But what's amazing is that the brain takes all these various sensations and integrates all of them to create our sense of being in a body. And the rubber hand illusion tells you how to disrupt that. Like you can fool the brain by giving it Iranians input and the brain is still trying to integrate it and trying to make sense of the inputs and it's because it's trying to make sense of erroneous input that you ended up having the delusion. Speaker 2:Next three chapters of your book are all about conditions that disrupt the [00:16:30] predictive regions of the brain. And that includes schizophrenia, depersonalization, and even autism. In schizophrenia, you talk about the disruption of the sense of agency. Yeah. So sense of agency is something we are implicitly aware of and we probably never think about it. So if you were to pick up something that's lying in front of you, say a glass of water, you have a sensation that it's you doing this. If I am lifting this cup of water, it turns out that the brain has actually got to construct this feeling. So in schizophrenia [00:17:00] for instance, a, it can so happen that the person picks up the glass of water, but then it doesn't have this feeling that I picked up the glass of water because there's a disruption in the neuro processes that are responsible for constructing the sense of agency. Speaker 2:So what has happening, your brain is sending out motor commands to your arm in order to sort of lift a cup of water. But simultaneously it's sending the same comments to other brain regions which are predicting the sensory consequences of doing that action. And then when you do the action, you will have sensory feedback. [00:17:30] For instance, if it's a Cold Cup, which is your, your hands will feel the coldness of the cup, but the brain has already predicted that that's how it should feel. And then the brain compares the prediction with the actual sensations. And if the two match, it basically decides, oh, that's me doing it. And so the sense of agency is in this model, the outcome of a comparison between the predicted sensations that should happen because you'd do something and the actual sensations, if they match implicitly it's you doing it. If they don't match, then that action was not something [00:18:00] you initiated. Speaker 2:So there is no sense of agency to do with that action. Well, let's talk a little bit about the individuals who feel like someone is telling them to do something often. Something very negative. Yeah. So, uh, you know, in schizophrenia and people hear voices and now hearing voices is actually not that uncommon. Even people don't have schizophrenia, we'll hear voices. But what happens in schizophrenia is a, the voices seem to not belong to them. There they feel like voices, other people in their heads and, and the voices also sometimes have an overtly [00:18:30] negative tone about them. They're, they're fearful. What is happening in the brain to cause that, you know, the circus that are involved in mind wandering. We basically have a lot of uh, sort of unwilling mind-wandering that we indulge in. And somehow there's hyperconnectivity between those areas of the brain and the auditory parts of the brain that generate sound and the connections to the auditory cortex are somehow these unwilling thoughts become audible. Speaker 2:But then there's also some sort of disruption in [00:19:00] the circuits in the brain that make something feel like your own. Like just like we talked about right now, uh, this comparative mechanism that is supposed to tell us that some, if something is happening within us, if we are the agents of those actions, and again, that mechanism seems to be disrupted. So you end up having thoughts that turn into sounds, but then those sounds don't feel like your own. So you end up having, you know, voices in your head that feel like there are somebody else's negative [00:19:30] piece of that. So there seems to be some hyperconnectivity between areas like the Amygdala, which are known to be related to the fear response. Again, paranoia and paranoia. So, and that might be culture specific though. It's not yet clear whether that would be true across all cultures because there's some evidence that, you know, hearing voices and cultures that, uh, in Africa for instance, are not regarded as negative. Speaker 2:So if the culture doesn't regard it as negative, then maybe the response that the person has is not as negative. Someone [00:20:00] with depersonalization you say is that can be anxious so deeply in deep personalization, what's happening is they themselves don't feel reels. They feel very strange from their own body states and their own emotions. So there's a kind of distance. It's kind of a very unfeeling date that they enter. They feel unreal. I mean, so if, if the default state for all of us is the feeling of being real because we are so tightly connected to our body states and our emotions, and then if, if for instance, for some reason you start feeling like your distance from your own [00:20:30] body states and emotions, that then leads to this feeling of unreality, derealization and depersonalization. And when it happens, it can actually be quite scary. Speaker 2:And if it becomes chronic, it's very debilitating because normally that's not how you should be feeling. Right. The body is really crucial to our sense of self. They narrowed another situation where the psychiatrist tells his a patient who is a good tennis player to play tennis and when he would be playing tennis his State would alleviate cause [00:21:00] he would be so attentive to his body because of the tennis that he was playing that his condition would lessen. But then as soon as he stopped playing, it will come back for another person that I write about in the book, he would talk about how when he was playing drums his condition would kind of feel much, much more bearable because certainly because drumming involved, you know, both legs and both arms. He had to really pay attention to his body being obsessed about how he is. Speaker 2:Yeah, exactly. So in some sense a really paying attention to [00:21:30] the body in, in whatever form, whether it's athletics or yoga or you know, whatever it takes. You talk about autism spectrum disorder, you say that by studying autism we have been been able to find out more about the theory of mind. What is that theory of mind is a disability instinctive ability. We all have to infer someone else's state of mind. When you look at somebody and you watch their facial expressions or hand movements or whatever it is that they might be doing, you kind of have [00:22:00] this instinctive sense about what might be happening in their mind. So if you can say we are able to read other people's minds in a very loose sense of the word. It turns out that you know, people suffering from autism have problems with theory of mind. Speaker 2:They're unable to have the same instinctive ability to infer other people's mind or what's happening in other minds as quickly as you would otherwise. And they have to then resort to cognitively making sense of someone you know, instead of it being an instinctive response, they have to work [00:22:30] it out. Again, I talk about one when one patient who talks about this problem that he would face if he was in a crowd of people and trying to figure out what someone is thinking for him was harder than like half an hour of doing calculus. The reason is because every minute is a surprise. Whereas we get, we get used to things, we predict things their predictive ability has gone. That's one theory that's been put forward by a group of researchers who argue that, you know, what might be happening in autism is that the brain's ability to [00:23:00] predict what's going to happen next again, which is something, uh, you know, like we just talked about for schizophrenia and sense of agency. Speaker 2:The brain seems to be constantly doing that. It seems to be anticipating what's going to happen as based on a information it already has about the world and it's, you know, the body and you know, once on self. And basically this ability to predict is what helps us navigate the world. And it might be that in, in autism what's happening is this ability to predict and anticipate something is impaired. [00:23:30] So any sensation, anything that a person with autism is encountering seems every time to be fresh and new. So they're constantly work. It is a lot of work because example of a child who is maybe five years old and wants to go outside their will, they put their shoes, socks on, they go outside, but an autistic child doesn't necessarily know to put on the shoes and socks to go outside if the weather is inclement and you can have the situation that a child might have to be told every time that all you have to put on, you know, warm clothes before you go [00:24:00] out and somehow it's new every time. Speaker 2:After reading that Chapter I, it helped me to see it completely differently and I think it's going to change the way I behave around people who I know are aspergers or what, you know, whatever [inaudible] scale. I completely agree with you. I think it really is important to understand what might be happening in other mines, you know, because that is their phenomenal self. That is how they are and that's how they experienced themselves. And it's not something that can just say get over it. The last part of your book, the [00:24:30] most captivating condition that you encountered was ecstatic epilepsy. But you also talk about out of body experiences, doppelgangers and the minimal self, the doppelganger. You had a cousin who son who unfortunately has passed away but actually experienced the doppelganger cause these conditions all come under the rubric of what's called arthroscopic phenomena and based you know out of body experiences, our experiences where you seemingly leave your own body and look at your own body from some other vantage points [00:25:00] from near the ceiling. Speaker 2:Looking down a doppelganger effect is when you, when someone sees a double in front and start interacting with this double. So your sense of being in the body like which is normally what we all have of being in a physical body can start switching between being in the physical body and being in the illusionary body that you are seeing in front of you and it can switch back and forth in rapid succession. That's where my cousin's son actually, he was suffering from epilepsy and had a tumor and it must have been a consequence of that. He was driving [00:25:30] one day and certainly he pulled over and called his mom, my cousin and said, Mama, I'm seeing myself in front of me. And uh, it was very frightening. What was the manifest in this particular case as he felt like his duplicate was actually very sad and it was kind of regretting the life that had been lived in some sense. Speaker 2:So I think it was a manifestation of his own emotions being fear maybe of having a brain tumor. Did he know he had a two man he knew, he knew. Let's talk about ecstatic epilepsy because it's very intriguing [00:26:00] because it too is very paradoxical. You have heightened self-awareness, but you're also blending into a oneness with the universe. That's like an LSD experience or start to get with Lipsey in terms of the brain regions involved our a, there is some correlation with what happens when you take psychedelic substances. Probably meditation or probably meditation too. And so what's happening at ecstatic epilepsy is use. You start feeling your own body and the immediate environment very vividly. So [00:26:30] the one guy I talked to said it was like, you know, before the epileptic seizure he was seeing the world and to d and suddenly everything popped into three D as a metaphor. Speaker 2:The sense of time slows down like a seizure might last one or two seconds. You know, people feel like a long time as passed. And then there's also this a very interesting sense of certainty that they have about the world around them, that everything is as it should be. It's happening in, in the insular cortex. It's particularly in the left anterior insula, which seems to be the brain region that's a [00:27:00] very involved in again, integrating all the external internal sensations to create a subjective sense of your own body. That part of the region goes into overdrive during the seizure. So it's a paradox, but it can be explained why are these conditions disrupted? Do scientists know there are going to be genetic predispositions to all these conditions, but there are also going to be environmental reasons for it. For instance, the personalization is correlated with a abuse during childhood, but then [00:27:30] it's also true that there are children who have been abused who don't suffer from the personalization, so there has to be also a certain genetic predisposition and when all these situations, I think it's going to be some combination of nature and nurture and it's very hard to disentangle how much nature and how much nurture is involved. Speaker 2:It seems like we are becoming more of an individualistic society versus collective. That combined with, you know, this sort of fragmentary attention span. Is there any correlation between that and a rise [00:28:00] in these kinds of conditions? These are all new things that are beginning to, I mean you really need longitudinal studies over a long length of time to actually scientifically say something. But again, you know, anecdotally it's not, it wouldn't be surprising if you, if you think of the fact that the sense of being a bodily self is very important to how healthy you feel about your own cell. Well, if all you do is sit in front of a screen and really not pay attention to your body, that is going to have an impact. Negative or positive is up to the culture [00:28:30] to figure out, but it is going to change how one feels about oneself. Speaker 2:How did this book change you? Um, I think this book is just a part of a ongoing journey. I mean I became a science writer primarily to start paying attention to the world. I felt like as a software engineer I was, you know, sitting in front of my computer and writing code. Uh, I found myself wanting to pay much more attention to my own world and which involved writing. And so in some sense this is a, this is an ongoing process. I feel [00:29:00] like this continues the journey that I'm on, which is just paying attention. Why is it crucial that we learn more about the self? You know, this is what we are, you know, whatever your sense of self is at any point in time. The phenomenal self, the way you feel about yourself or the way you feel, whatever you are is going to govern behavior. Speaker 2:And, uh, if you don't see it through the fact that a lot of these aspects of yourself are constructed, that you can actually distance yourself. If you don't see that, then you just basically become whatever that is. And if in in [00:29:30] situations where it's a narcissistic self, then you're obviously going down a very dangerous partner just for yourself, but for society. And we see evidence of that all around us. I think a, and so in some sense, I think it's very important to see what we are so that we can pull back a little bit, then it's malleable. We can change. Absolutely. That's the positive part. Yes. Thank you for being on this program. Uh, Neil, I, I read this book twice. I found it so fascinating. I'm interested in what you're going to do next. Well, thank you for having me on the show. It's been a [00:30:00] pleasure. See acast.com/privacy for privacy and opt-out information.

In Episode 2 of Southbound I-35 I talk to Joshua Smith, the man behind the movie Buckshot which is currently being funded on Indiegogo! I also cover Aaron Copeland's song Going Out Tonight as well as The Jack Nelson Band's Let 'Er Buck! You can find out more about Aaron Copeland at: www.aaroncopelandmusic.com And Jack Nelson at www.jacknelsonband.com/   Thanks for listening!

Coverage of the June 25th Shane Smith and the Saints Concert featuring Tate Mayeux and Aaron Copeland and a review of Kevin Fowler's Beer, Bait, and Ammo! Check out: Shane Smith and the Saints: http://www.shanesmithmusic.com Tate Mayeux: http://www.mbtxmusic.com Aaron Copeland: http://www.aaroncopelandmusic.com Cody Sparks Band: http://www.codysparksband.com Kevin Fowler: http://www.kevinfowler.com

Timely news updates include FFRF’s reports to the IRS of illegal politicking by 501(c)(3) tax-exempt churches. We report some Bible Belt victories against blatant promotion of religion in public schools. Then Freethought Radio salutes artistic freethinkers born this week, including Schiller and Aaron Copeland. We interview former minister John W. Loftus about the last in his trilogy anthology, called “Christianity Is Not Great: How Faith Fails,” which is hot off the press!

Lesson: Psalm 150. "Tis the gift to be simple, 'tis the gift to be free..." Diana Bell tells the story of this original Shaker tune, later made famous through Aaron Copeland's recording, as we continue to explore our favorite hymns this summer..

Clarinet and Piano, piece composed by Aaron Copeland.