Podcast appearances and mentions of alicia svigals

Favoritos de diciembre + Afroeuropa y Flamenquindia December favorites + Afroeurope and Flamenkindia Comenzamos con los tres discos favoritos de Mundofonías de diciembre del 2024, con el valenciano Andrés Belmonte , la neoyorquina Alicia Svigals y el recopilatorio “Super disco pirata: De Tepito para el mundo, 1965-1980”. Seguimos nuestro camino con novedades musicales que nos traen conexiones entre África, Europa y Norteamérica, enlazando también el flamenco con la música india. Saludamos también a Boem Radio, que recientemente ha empezado a difundir Mundofonías desde Grecia, efharistó! We begin with Mundofonías' three favorite albums of December 2024, featuring the Valencian Andrés Belmonte, the New Yorker Alicia Svigals, and the compilation “Super Disco Pirata: De Tepito para el Mundo, 1965-1980”. We continue our journey with new musical releases that bring connections between Africa, Europe, and North America, also linking flamenco with Indian music. We also greet Boem Radio, which has recently started broadcasting Mundofonías from Greece, efharistó! Favoritos de diciembre December favorites - Andrés Belmonte - Albà xarquia - Gharbí - Alicia Svigals - Trinkt briderlekh lekhayim - Fidl afire - Alex Acosta y su Orquesta - Cumbia del amor - Super disco pirata: De Tepito para el mundo, 1965-1980 Afroeuropa y Flamenquindia Afroeurope and Flamenkindia - Djam! - Sakirabe - Djam! - Tamala - Diboli - Diboli - Vaudou Game - Râler [+ Clara Serra López] - Fintou - Mariama Ndure - Saraba (A tribute to my ancestors) - Rituals - Banning Eyre - Tulear - Bare songs, vol. 1 - Blue Tomasa - Pólvora y jazmín - Blue Tomasa - Melón Jiménez & Lara Wong - Un nuevo amanecer - Confluencias

I was honored to be able to record this wide-ranging interview with violinist Yale Strom, who is the leading ethnographer-artist of Klezmer music and history, and also has done many years of research among the Roma communities. He speaks to us about some of his many inspiring experiences during over 75 research expeditions to Central and Eastern Europe and the Balkans. To prepare for this episode, I read several of his books, including his 400 page The Book of Klezmer: The History, The Music, The Folklore, some of which we touched on during this conversation, and he also spoke about two of his upcoming books and other projects. Yale is an energetic and prolific creator; he's also a filmmaker, photographer, educator, playwright and composer, and we spoke about many of his projects during this wide-ranging interview.  Timestamps below. https://www.leahroseman.com/episodes/yale-strom Video Transcript Yale Strom Website To support this series, please either buy me a coffee or shop at my merchandise store Newsletter sign-up You may be also interested in these episodes:  Alicia Svigals (both episodes linked) Polina Shepherd, Josh “Socalled” Dolgin, and Marilyn Lerner.   Timestamps:  (00:00) Intro (02:29) Yale's career as ethnographer-artist (04:03) Stoliner shul concert in Detroit Victory Fellowship Baptist Church (10:44)  Oberek Palota, Klezmer music from Slovakia, from the album “Borsht with Bread, Brothers” with Yale Strom and Hot Pstromi (14:34) ethnographic research, Wandering Feast book, Yiddish, meeting Holocaust survivors (24:43)The Witches of Lublin (27:26) Dire Gelt from The Devil's Brides with Yale Strom and Hot Pstromi, vocals with Elizabeth Schwartz (31:10) Yale Strom's films The Last Klezmer, A Great Day in Eldridge Street, the Man from Munkasc, An American Socialist, the Life and Times of Eugene Victor Debs (35:09)Leopold Kozlowski, The Last Klezmer, Naftuli Brandwein (39:33) Rom musicians, book Uncertain Roads, Searching for the Gypsies, connections with the Jews (49:46) Klezmer loshn secret language and culture (58:46) the lost Stoliner Weinstein manuscript, upcoming book  (01:07:02) other episodes with Klezmer musicians and ways to support this series (01:07:42) Yale's compositions and commissions (01:17:28) Dave Tarras (01:22:19) Influences of Klezmer and Romani on Russian school of violin playing, Oistrach, Auer (01:29:25) Shimmering Lights album, Sara Caswell, influences of prayers on Klezmer (01:33:53) excerpt from Bashir Mizmor, Shimmering Lights album Yale Strom's Broken Consort, with Sara Caswell improv  (01:35:56) The Expulsion of the Jews, Sephardic communities research (01:43:33) Schlomo books, new musical about the Chagalls, Sweet Fragrance of Life

This episode is a special short Catch-Up episode with the Klezmer violinist and composer Alicia Svigals. I first spoke with her in 2021 in Season 1 of this podcast, and that wide-ranging in-depth conversation is here: https://www.leahroseman.com/episodes/e15-s1-alicia-svigals-klezmer-violinist-and-composer Today we are focusing on Alicia's new album Fidl Afire https://borschtbeat.bandcamp.com/album/fidl-afire, with several excerpts from the album with her insights.  Alicia Svigals website: https://aliciasvigals.com/home I have many episodes featuring klezmer musicians such as Polina Shepherd https://www.leahroseman.com/episodes/polina-shepherd and Marilyn Lerner https://www.leahroseman.com/episodes/marilyn-lerner, and many artists in the folk and world music scene, so please check out my catalog of episodes. https://www.leahroseman.com/about Like all my episodes, you can also watch this on YouTube, or read the transcript, everything linked here: https://www.leahroseman.com/episodes/alicia-svigals-catch-up-fidl-afire Original Merch for sale: https://www.leahroseman.com/beautiful-shirts-and-more Can you buy this independent podcaster a coffee? ⁠https://ko-fi.com/leahroseman⁠ Thanks! Newsletter sign-up: ⁠https://mailchi.mp/ebed4a237788/podcast-newsletter⁠ Linktree for social media: ⁠https://linktr.ee/leahroseman⁠ Timestamps (00:00)Intro (01:18)Fidl Afire album (05:17)excerpt from Alician's Patsch Tants (10:38) excerpt from Mayn Mame Ver Ikh featuring Vira Lozinsky (15:57) excerpt from Dybbuk Honga (18:57) excerpt from South Fallsburg Bulgar (21:36) excerpt from Fidl Afire Fantasy (23:44) excerpt from Levitt Bulgar

Klezmer violinist and composer Alicia Svigals is widely considered to be the world's leading klezmer fiddler, often called the Queen of Klezmer. She was a founder and a longtime member of the Grammy-winning group the Klezmatics. She has performed with and written music for violinist Itzhak Perlman. Alicia Svigals has worked with everyone in every possible way: soundtracks, compositions, genres, in plays, on tv, and on stages all over the world. She has a brand new album out called Fidl Afire!Alicia Svigals: https://aliciasvigals.com/Fidl Afire Album: https://borschtbeat.bandcamp.com/album/fidl-afireYouTube video on krehts: https://www.youtube.com/watch?v=Wyz0Dg-_ssUEmail me at meganbeller@fiddlestudio.com.Listen and subscribe on Apple Music, Spotify, or Buzzsprout. Find me on YouTube and Bandcamp. Here are my Fiddle Studio books and my website Fiddle Studio where you can find my courses and mailing list and sign up for my Top 10 Fiddle Tunes!

Discos nuevos y discos por venir componen esta edición de Mundofonías, que comienza en Azerbaiyán, continuando con aires klezmer y orientalizantes, para hacer después larga escala en el Caribe, con nuevas y viejas músicas que reverdecen, terminando en Brasil con diferentes conexiones y combinaciones. New and upcoming albums make up this edition of Mundofonías, which begins in Azerbaijan, continuing with klezmer and orientalizing airs, then making a long stopover in the Caribbean, with new and old music that greens, ending in Brazil with different connections and combinations. – Imamyar Hasanov & Amir Bayat – Aman-aman ayrilik – Sounds of Azerbaijan – Alicia Svigals – South Fallsburg bulgar – Fidl afire – Les Arrivants – City of ashes – Towards the Light – Alright Mela – Tfayyel – Tasamoh – Sverre Indris Joner & The Cuban Opera Orchestra feat. Carlos del Puerto – Salsa del minuto – Clásicos a lo cubano: Live in Havana – Orquesta Akokán – Con licencia – Caracoles – Orquesta Olivieri – Cuando llegue a Borinquen – Orquesta Olivieri – Beny Esguerra & Los Gaiteros de Ovejas – La sombra del campano – Eterno – Tio Chorinho – André sem sapato – Tempestuoso – Nation Beat – Maracatu gigante – Archaic humans – Pradarrum – Engaramenço – Matriarcas 📸 Les Arrivants (Marjan Yazdi)

As she prepares to release her long awaited second solo album Fidl Afire, Alicia Svigals sat down with Neil to share stories from her life as a major figure in the revival of Klezmer music. Listen in to hear about the early days of the Klezmatics, the creation of Svigals seminal first solo album Fidl, Itzhak Perlman's In the Fiddler's House and more!

Our Soul Ladder Music series features musicians discussing the spiritual themes in their songs and the music that inspires them. This week's guest is Klezmer fiddle player Alicia Svigals, one of the founding members of the Klezmatics. Songs: Alicia Svigalis - Winter Dance Klezmatics - Bulgars / The Kiss Haris Alexiou - Mia Ine I Ousia Klezmatics - Moroccan Game Olga Neuwirth - The City Without Jews Djivan Gasparyan - Sourmaloui Yerk SYNTHESIS feat. Alicia Svigals - Pachelbel's Quarantine Canon Ariana Grande - breathin Enjoy music from our Soul Ladder Music series with our official playlist: spoti.fi/3VASImF +++ Leave a Review! bit.ly/interfaithish Email: interfaithish@gmail.com

Climb higher with bonus content from our Soul Ladder Music series This week's guest is Klezmer fiddle player Alicia Svigals, one of the founding members of the Klezmatics. Song: The Mystery of Bulgarian Voices Choir - First Song on the Road Enjoy music from our Soul Ladder Music series with our official playlist: spoti.fi/3VASImF +++ Leave a Review! bit.ly/interfaithish Email: interfaithish@gmail.com

Silent films traditionally have live musicians playing along with the film.  Alicia Svigals and Donald Sosin have been working together creating music and performing along with silent films depicting the plight of Jews in Europe in the early 20th Century. … More ... The post Alicia Svigals and Donald Sosin – Silent Film Music “City Without Jews” appeared first on Paradigms Podcast.

Včeraj in danes v Slovenski kinoteki gostujeta priznani pianist Donald Sosin in violinistka, mojstrica klezmer glasbe Alicia Svigals, ki smo ju povabili pred mikrofon. Z novo izvirno partituro sta sinoči v živo spremljala do nedavnega izgubljeno klasiko nemega filma Mesto brez Judov iz leta 1924, nocoj pa bosta postmodernistično posvetilo temu obdobju filmske zgodovine Mož brez sveta. Napovedujemo dve predstavi: balet Ljubezen v Opera in balet Ljubljana in Kako sem se naučila voziti v mariborski Drami in ocenjujemo tretjo, Pot neizbrana v Mestnem gledališču Ptuj.

I was honoured to speak with the inspiring singer, composer, choir leader, pianist and cultural activist Polina Shepherd. In this episode you'll hear Polina's stories from growing up in Tartarstan, in the former Soviet Union, finding a bridge to her Jewish identity through Klezmer music, collaborating with her mentors, founding Yiddish and Russian choirs in the U.K., and many other creative projects. During the episode she sings songs from different traditions, including one of her compositions, and is such a warm and engaging speaker I trust a wide audience will find inspiration and food for thought in her perspectives on education, mentorship, creativity, health, identity, connection and collaboration. The link for both the podcast and video is linked with the full transcript: https://www.leahroseman.com/episodes/polina-shepherd  Her website https://www.polinashepherd.co.uk/ If you are specifically interested in Klezmer music, you may be interested in previous episodes with Alicia Svigals, Josh “Socalled” Dolgin, and Marilyn Lerner. Please encourage me to keep this series going. https://ko-fi.com/leahroseman photo credit: Shendl Copitman Timestamps: (00:00:00) Intro (00:01:27) connecting through music, COVID, Sing With Me workshops (00:05:14) Polina's childhood, family music-making (00:07:16) intro to Russian Romance by Lermontov and Shashina (00:10:14) Polina's musical training and voice (00:12:16) Tomsk, Kazan, growing up in Tartarstan, Jewish community, perestroika (00:16:27) Yiddish song, Polina sings “A Frisher Vind” Dovid Hofshsteyn poetry (00:21:31) secular Yiddish culture, song cycle with poems of Troim Katz Handler (00:24:11) falling in love with Merlin Shepherd, experience of immigration to the UK (00:28:17) first trip to US, Lorin Sklamberg, Adrienne Cooper, Zalmen Mlotek (00:31:07) 150 Voices with Lorin Sklamberg, part in “The Crown” (00:35:09) The Caravan Orchestra and Choir, teaching improvisation, working with youth (00:40:39) Tartarstan cultural influences (00:42:40) Polina's advice for musicians, collaboration (00:48:13) memorisation, playing by ear (00:49:15) advice for health for singers and everyone else (00:52:48) accompanying silent films (00:57:43) collaboration with dance, community outreach (00:59:22) Polina's way of manifesting projects, starting her choirs, Jackie Fuller (01:04:12) working with community choirs (01:06:55) learning from Adrienne Cooper, Zalmen Mlotek, Lorin Sklamberg, Frank London, Merlin Shepherd, Psoy Korolenko (01:13:37) Niggun Koyach (01:16:14) Polina's reflections and advice --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

PLEASE NOTE: Our Winter Term Registration is now OPEN! Four courses will be IN-PERSON at Noble Horizons; Only two courses will be on ZOOM. When you want to enter a TLC Zoom class, click here TLC is a non-profit membership organization providing the opportunity for lifelong learning to residents of the Northwest Corner of Connecticut and adjacent communities in New York and Massachusetts. TLC's courses cover a wide variety of academic subjects taught by volunteers, all experts in their fields. Click on Course Listings on the left to see what courses we offer. Annual membership dues of $60 per person are fully tax-deductible. There are no other set fees. Individuals may sign up for any number of courses. Classes lasting two hours are held once a week at one of our three conveniently located venues. Attendees are free to come and go as they like; there are no exams. Those taking advantage of TLC's program will rekindle the excitement of learning, expand their horizons, be able to share their knowledge, have fun and make new friends. TLC is a wonderful way to stay involved and well informed. Join today! For more information, click on an item on the left, or contact us by mail or by phone. Taconic Learning Center, Inc. PO BOX 1752, Lakeville, CT 06039 Tel. 860-364-9363 Courses for Winter 2023 Please select "Registration" on the left to register. Click here to enter Zoom meeting for any of the Zoom-based TLC Courses For your Information: Meeting ID: 893 2055 3978. Passcode: 128295 https://us02web.zoom.us/j/89320553978?pwd=Y3lSYk5jUHN5ZFhvOWp6azBOWHMwdz09 Location: Noble Horizons Times: Monday, 10am-Noon Dates: Jan 16 - Feb 20 Sessions: 6 decorative leaf MEN PLAN, THE GODS LAUGH, PART II Sessions One and Two: Gen. Burgoyne's campaign to take Albany, NY (ended at Saratoga) and Gen. Clinton's campaign to take Philadelphia, in the American Revolution. No cooperation! Sessions three and four: General Lee's two invasions of the North ending in the battle of Gettysburg. Bloody! Session five: Admiral Yamamoto's campaign to take Wake Island in WW II. A disaster! Session six: Examples of three important elements in waging war: -Tactics: Hannibal and the Battle of Cannae, 262 BC. -Weapons: Henry V and the Battle of Agincourt, 1415 AD -Misdirection: Invasion of Sicily, WW II, and "The Man Who Never Was" Instructor: Thomas Key See this instructor's bio Get Class List Location: Noble Horizons Times: Monday, 1-3pm Dates: Jan 16 - Feb 20 Sessions: 6 decorative leaf The Perennial Questions Why are we here? Who am I? What is true? Human beings have posed these questions as long as they have been able to think. In this six-week class we will take a look at a few of the most enduring approaches to these questions. We will consider ideas about the purpose of human life, the means and ends of self-knowledge, and the challenge of discerning what is really true. Instructor: Lyn Mattoon See this instructor's bio Get Class List Location: ZOOM Times: Tuesday, 1-3pm Dates: Jan 17 - March 7 Sessions: 8 decorative leaf Alexis de Tocqueville: Democracy in America In 1831, Alexis de Tocqueville, a young French aristocrat, traveled to America and found the future. The nations of the earth, he concluded, or at least the enlightened part of them, were moving inevitably toward a condition of social equality that in the world of politics was taking the form of democracy. This new kind of polity was rising on the ruins of the old, hierarchical societies, and the young republic was the clearest example of it. Previous visitors from overseas had concentrated on the minutiae of daily American life, but Tocqueville was after bigger game. He wanted to tease out the broad implications of increasing social equality and democracy rather than focus on the details that were bound to differ from one nation to another. These implications then would have the widest possible relevance to the various societies of the emerging modern world. This new dispensation, Tocqueville realized, was full of both promise and peril, and he devoted himself to transmitting this balanced assessment to his European contemporaries. The book that resulted, Democracy in America, has been called the "greatest work ever written about one country by a citizen of another." Because his conclusions were so general and of such wide application his book appropriately addressed the Americans of his own time, his fellow citizens in France still trying to come to terms with the modern world, and, not least, speaks to our own distracted society today, the uneasy inheritor of the raw republic in whose image he saw the future. I'll include a PowerPoint presentation to illustrate my talks. Instructor: Robert Rumsey See this instructor's bio Get Class List Location: Noble Horizons Times: Wednesday, 1-3pm Dates: Jan 18 - Feb 22 Sessions: 6 decorative leaf Experimental Cinema: A six-session session course on the history and the development of Experimental Cinema This course attempts to present the participants a historical view of the genre, styles and the role of the filmmakers who developed and perfected the concept and the vision of Experimental Cinema. Invention of the movie camera offered a broad and diverse tool for artists to express their own interpretation of nature and life around them. Camera became another tool, a "brush" for artists to create moving images which projected their own aesthetic principles and perceptions. There will be a presentation of early cinema from France, Soviet Union, England and the United States. Early films by the Lumiere Brothers to Andy Warhol and how through ages, cinema has evolved from a vehicle to tell a story or document everyday life, to a tool expressing an individual artist's personal vision. Through the sessions of the lectures there will be an ongoing discussion about the goal for Experimental Films, which is to place the viewer in a more active and more thoughtful relationship to the film, which will be discussed. The 6 sessions will be an opportunity for the participants to understand this particular form of cinema and the various expressions and theorizations from various artists. The sessions will be coordinated with projections of stills from movies and at the end of each session there will be screening of a film, and an open discussion by the participants. During the entire sessions of the courses, informal and open-minded discussions of opinions will be encouraged. SPECIAL NOTE: Donald Sosin who is a well regarded musician and has composed musical scores for may experimental films will be appearing at the Wednesday, January 18th session for the Experimental Cinema. please see details below. Donald Sosin is one of the world's foremost silent film composers, performing his keyboard and instrumental scores all over the world. From 1971 to the present he has performed at many of the world's leading venues for silent film, including Lincoln Center, MoMA, BAM, the TriBeCa Film Festival, and many festivals including Telluride, Denver, San Francisco and Seattle, as well as AFI Silver, the Yorkshire Silent Film Festival, the Thailand Silent FIlm Festival, Italy's two major festivals in Bologna and Pordenone, and the Jecheon International Music and Film Festival in South Korea. Donald and his wife Joanna Seaton are the only people in the world who have created a repertoire of new songs for silent films, and have performed at many of the above venues, as well as at many colleges (Yale, Emory, Brown,etc.) They teach workshops in silent film music, and created scores for over 60 DVD/Blu-Ray releases on the Criterion, Kino, Milestone, Flicker Alley and other labels. With klezmer violinist Alicia Svigals, Donald has written and recorded three scores for Jewish-themed silents which they perform live all over the US and Europe under the auspices of the Sunrise Foundation for Education and the Arts. Donald grew up in Rye NY and Munich and played on Broadway for many years, after composition studies at Michigan and Columbia. His music has been heard on PBS, TCM, online, and in the concert hall. Donald and Joanna have two musical children and live in Lakeville CT. Website: oldmoviemusic.com Avant-garde filmography: Donald was commissioned to score the following films for two major collections of avant-garde films, Bruce Posner's Unseen Cinema collection, and Kino's Avant-garde DVD set. Piano except as indicated Anémic Cinéma (1924-26) Rrose Sélavy aka Marcel Duchamp Beggar on Horseback (fragment, 1925) James Cruze Bronx Morning, A (1931) Jay Leyda (chamber ensemble) Coney Island at Night (1905) Edwin S. Porter Enchanted City, The (1922) Warren Newcombe Ghost Train, The (1903) unknown Ghosts Before Breakfast (1928) Hans Richter H20 (1929) Ralph Steiner Hearts of Age, The (1934) William Vance & Orson Welles Jack and the Beanstalk (1902) Edwin S. Porter Life and Death of 9413: A Hollywood Extra, The (1927) Robert Flaherty & Slavko Vorkapich Looney Lens: Pas de Deux (1924) Al Brick Love of Zero, The (1928) Robert Florey & William Cameron Menzies Manhatta (1921) Charles Sheeler & Paul Strand (orchestra) Pie in the Sky (1934-35) Elia Kazan, Ralph Steiner & Irving Lerner Retour à la Raison, Le (1923) Man Ray Skyscraper Symphony (1929) Robert Flaherty Telltale Heart, The (1928) Charles Klein Twenty-Four Dollar Island (c. 1926) Robert Flaherty (voice and synthesized orchestra, percussion) Überfall (1928) Instructor: Varoujan Froundjian Get Class List Location: Noble Horizons Times: Thursday, 10am-Noon Dates: Jan 19 - March 9 Sessions: 8 decorative leaf Unsung Heroes of WWII We all know of Winston Churchill, FDR, Dwight Eisenhower; the Battle of Britain, the Battle of the Bulge, and more. What most of us do not know of are the unsung heroes of World War II, those who contributed significantly to the Allies' victory: men and women who were critical to the war effort but engaged in clandestine operations; men and women who provided essential services to the Allied effort. This course is both a lecture by Lynne Olson (author of Citizens of London and other exceptional books) together with classes led by Larry and Carol Rand. Instructor: Larry&Carol Rand Get Class List Location: Zoom Times: Friday, 1-3pm Dates: Jan 20 - March 10 Sessions: 8 decorative leaf Shakespeare Playreading We'll read aloud and discuss Twelfth Night and A Midsummer Night's Dream . The two plays are often called "festive" comedies because each commemorates a significant day marked by popular license in the Elizabethan calendar. Twelfth Night refers to the last night of the twelve days of Christmas, and in spite of its religious origin it was a thoroughly secular celebration. A Midsummer Night's Dream takes its title from the evening before midsummer day, the summer solstice and the longest day of the year, when the prospect of warmth and lengthening days inspired much misbehavior. If time permits, we'll also read Troilus and Cressida, one of Shakespeare's so-called "problem plays," which contain both tragic and comic elements and thus resist easy placement in the canon. I'll scroll the texts of the plays on your screens. Instructor: Robert Rumsey See this instructor's bio Get Class List

Synopsis It's a mark success when a new musical work is recorded shortly after its premiere, and even more when the recording session itself is the premiere. But that was the case with many works written by the American composer Leroy Anderson, whose short and tuneful compositions from the 1940s, 50s and 60s proved enormously popular during his lifetime. On June 20, 1962, Anderson was at New York's Manhattan Center, conducting for Decca Records the premiere of his “Clarinet Candy.” By recording in the summer months, when many of New York's best symphonic players were available for studio work, Anderson was able to round up top-notch musicians for his recording sessions. The contemporary Argentinean-born composer Osvaldo Golijov has also proved popular enough to have many of his brand-new works recorded either at their premieres or shortly thereafter. This Klezmer-style clarinet piece is entitled “Rocketekya,” and was written for the 20th anniversary of New York's Merkin Hall. Golijov explained: “I thought it would be interesting to write a different sort of celebratory piece, and I had an idea of a shofar blasting inside a rocket—an ancient sound propelled toward the future.” Music Played in Today's Program Leroy Anderson (1908 - 1975) –Clarinet Candy (Decca Studio Orchestra; Leroy Anderson, cond.) MCA 9815 Osvaldo Golijov (b. 1960) Rocketekya (David Krakauer, clarinet; Alicia Svigals, violin; Martha Mooke, electric viola; Pablo Aslan, contrabass) Naxos 8.559403

In this episode we hear the incredible award-winning singer Kellylee Evans talk about her life and some of the challenges she has faced in her life, including two near-death experiences. She talks about her upbringing, her journey to jazz, her creative process,  and much more. She is such a wonderfully engaging person, and I hope this episode will help listeners feel inspired by her story. We talk about her new album Greenlight and many of her other projects. Near the end of the episode at 43:00 we are gifted with an incredible a capella performance of one of the most-requested songs in her repertoire, Feelin' Good by Anthony Newley and Leslie Bricusse.  All her current projects are here: http://www.kellyleeevans.com/ Like all my episodes, this is also a video, linked here to the transcript and bonus episodes: https://www.leahroseman.com/episodes/e4s2kellyleeevans Buy me a coffee? https://ko-fi.com/leahroseman Thanks so much!   Kellylee Evans: “And then I was interested at that time in minority rights and representation and in legal philosophy. And so I was doing my masters of arts in law. My parents, their hope I think would've been just like most immigrant parents a lawyer, doctor, engineer. And I tried to... I wasn't trying that hard though to really be a lawyer. I really was hiding in school. My goal was to just keep my head down and stay here as long as possible. Because school is awesome, and if you figured out the path, if you know what to do, you attend, you finish the assignments, you hand them in. You do the reading, you get a mark, everybody's happy. That's something that's very doable, I think if you can just follow the script. But real life outside of school is scary. And the music industry, what's the path?” This interview series follows my curiosity about fellow musicians: how did they get to where they are today, what are their perspectives on a life in music? The format is in-depth conversations prepared with lots of research and many episodes also feature the guests playing music. I speak to musicians playing in different styles of music, different instruments, and with really different careers. In Season One,  I spoke with quite famous soloists like violinists James Ehnes and Kerson Leong, and also with erhu player Patty Chan and  composers Hooshyar Khayam  and Roddy Ellias about creativity, carnatic violinist Subhadra Vijaykumar about the Indianisation of the violin, violinist Alicia Svigals about the Klezmer revival, trumpet player Karen Donnelly about women in the brass world,  and so much more,  with 20 full episodes, and many bonus episodes.  Season 2 has a similar diversity of guests, with many topics covered including personal struggles, the entrepreneurial aspects of the music business, advice on how to practice and how better to tap into creativity.  Please follow and stay notified of all the new episodes!  Photo credit: Phantom Productions --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Hi! I'm a violinist and my podcast Conversations with Musicians with Leah Roseman follows my curiosity about fellow musicians: how did they get to where they are today, what are their perspectives on a life in music? The format is in-depth conversations prepared with lots of research and many episodes also feature the guests playing music. I speak to musicians playing in different styles of music, different instruments, and with really different careers. In Season One, I spoke with quite famous soloists like violinists James Ehnes and Kerson Leong, and also with erhu player Patty Chan and composers Hooshyar Khayam and Roddy Ellias about creativity, carnatic violinist Subhadra Vijaykumar about the Indianisation of the violin, violinist Alicia Svigals about the Klezmer revival, trumpet player Karen Donnelly about women in the brass world, and so much more, with 20 full episodes, and many bonus episodes. Season 2 has a similar diversity of guests, with many topics covered including personal struggles, the entrepreneurial aspects of the music business, advice on how to practice and how better to tap into creativity. You can follow this podcast on Spotify, Google Play, Apple Podcasts, RadioPublic, Breaker, Anchor, Pocket Casts and also watch the video format on my YouTube, which is in the process of being made more accessible with English captions. --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Alicia Svigals kindly agreed to to play a couple of improvisations with me, after my fascinating interview with her. Here's the first. The full episode is here, both podcast and video with bonus episodes: https://www.leahroseman.com/episodes/e15-s1-alicia-svigals-klezmer-violinist-and-composer Buy me a coffee? This series costs me a lot; I could use the help and encouragement of a tip! https://ko-fi.com/leahroseman Thanks! Photo credit: Thierry Arsenault --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

I was honoured to speak with one of the world's foremost Klezmer musicians. Alicia Svigals was a founding member of the Grammy-winning Klezmatics,  she also played a major role in the revival  of klezmer fiddling, which had been on the brink of extinction until she recorded her debut album Fidl in the 1990's. Alicia is so engaging both as a player and conversationalist, and she's full of stories from her life and career. Like all my episodes, this is also a video, with bonus episodes linked as well: https://www.leahroseman.com/episodes/e15-s1-alicia-svigals-klezmer-violinist-and-composer Buy me a coffee? This series could use your help: https://ko-fi.com/leahroseman Thanks! Below are links to some of the projects we discuss in the interview, as well as the link to her website, where you can find current performances and other projects:  https://aliciasvigals.com/home   Beregovski Suite album - https://uligeissendoerfer.bandcamp.com/album/beregovski-suite The Ancient Law DVD - https://www.amazon.com/Ancient-Law-Alte-Gesetz-Blu-ray/dp/B07BC6JZ64 City Without Jews DVD. https://www.amazon.com/City-Without-Flicker-Alley-Blu-ray/dp/B089774K24 Beregovski sheet music:  https://www.amazon.com/Old-Jewish-Folk-Music-Collections/dp/0815628684  Photo credit: Thierry Arsenault --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

This was the second little improv I had the opportunity to play with the great klezmer musician Alicia Sviagas. Please check out the complete episode for our conversation, both podcast and video: https://www.leahroseman.com/episodes/e15-s1-alicia-svigals-klezmer-violinist-and-composer Buy me a coffee? This podcast needs your help! https://ko-fi.com/leahroseman Thanks! --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Klezmer Music, Thoughts from Alicia Svigals about celebrating Hanukkah, Seven-Day Weddings, and Inviting Itzhak Perlman to Fiddle Tunes With: Alicia Svigals, Patrick Farrell, Lauren Brody Cookie Segelstein, Margot Leverett, Don Weeda, and Mark Rubin If you can’t hear it live - most Crackin the Vault shows will be available on the Centrum podcast channel: https://centrum.org/artists-in-place/crackin-the-vault-2/ Thanks for listening, have fun! Peter

Meet Diana Cohen (a/k/a Dina Godiner). She is the first cousin of a famous journalist, the late Daniel Schorr. She's also the first cousin of a not-so-famous violinist, the late Semyon Godiner. In 2008, Diana and Daniel had not met nor heard of their cousin, who grew up in the former Soviet Union and was now living in Israel. The Yiddish Voice got them together! How? Well, to find out, listen to that amazing story, told by Dina, and find out more about her interesting life. You'll also hear some of Semyon's voice and music, as well as an excerpt from Daniel Schorr's historic journalistic coup: interviewing Nikita Khrushchev! To hear even more from Dina (in English), here's her Wexler oral history video: https://www.yiddishbookcenter.org/collections/oral-histories/interviews/woh-fi-0000320/diana-cohen-2012 #Beyle100: Dovid Braun and Shane Baker discuss their connections, as two of the dozens of participants, to the upcoming international online concert Beyle 100, celebrating a century of the Yiddish songs, poetry, and artistic vision of the late Beyle Schaechter-Gottesman, Sunday Aug 9, 2020 at 1:30pm (New York time). For info, and to register to watch it live on Zoom, go here: yivo.org/beyle100 Music: Beyle Schaechter-Gottesman: Zumerteg, words and music by Beyle Schaechter-Gottesman, musical arrangement by Binyumen Schaechter, violin accompaniment by Alicia Svigals, guitar accompaniment by Meyshke Alpert Janet Leuchter and Meyshke Alpert: Harbstlid, words and music by Beyle Schaechter-Gottesman, musical arrangement and piano accompaniment by Binyumen Schaechter Intro instrumental music: DEM HELFANDS TANTS, an instrumental track from the CD Jeff Warschauer: The Singing Waltz Air Date: August 5, 2020

SEASON 2: EPISODE 1Violinist Alicia Svigals talks about the erotics of dishwashing. ABOUT THE GUESTAlicia Svigals is violinist, composer, and co-founder of the Grammy-winning Klezmatics. She has taught and toured with violinist Itzhak Perlman and has composed for the Kronos Quartet, has appeared in stadium shows with Robert Plant and Jimmy Page of Led Zeppelin, recorded for John Cale's album Last Day On Earth, and the Ben Folds Five's Whatever and Ever Amen. Her debut album Fidl was instrumentation in reviving the tradition of klezmer fiddling, and in 2018 she released the album Bergovski Suite with jazz pianist Uli Geissendoerfer. Recently she has been commissioned to compose scores for silent films, including The Yellow Ticket and Das Alte Gesetz. More info at https://aliciasvigals.com. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE'S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund. Producer: Devon Guinn Creative Consultants: Aaron Dalton, Molly Donahue Mixer: Andrew Litton Visuals and Sounds: Joshua Graver Theme Song: Jeff Hiller Website: Itai AlmorMedia: Justine Lee Interns: Alara Degirmenci, Jonathan Jalbert, Jesse KimothoThanks: Jennifer Callahan, Nick Rymer, Sue Simon, Maddy Sinnock TRANSCRIPTION ALICIA SVIGALS:  I have, over the years, you know, since we got married in 2011, done that thing that I was doing before with "partner" and "my significant" - uncourageously obscured the fact that I'm a lesbian and... NEIL GOLDBERG:  Uncourageously obscure could be the title of my autobiography. NEIL:  Hello, I'm Neil Goldberg and this is SHE’S A TALKER. This is the first episode of season two, and we'll be back with new episodes every Friday. Today I'll be talking with violinist Alicia Svigals. If this is your first time listening, here's the premise of the podcast:  I'm a visual artist, and for the past million or so years, I've been jotting down thoughts, observations, and reflections, often about things that might otherwise get overlooked or go unnoticed. I write them on index cards, and I've got thousands of them. I originally wrote the cards just for me, or maybe to use in future art projects, but now I'm using them as prompts for conversations with some of my favorite artists, writers, performers, and beyond. These days, the cards often start as recordings I make into my phone here and there over the course of the day. Each episode I start with some recent ones. Here they are: NEIL:  The particular Grim Reaper-gloom of a rolly bag coming up behind you. NEIL:  Sleeping naked, but wearing a mouth guard. NEIL:  People in New York get so jovial when they see you carrying a pizza box. NEIL:  I am so excited to have as my guest, my dear friend, Alicia Svigals. Alicia is a world-class violinist who specializes in klezmer. If you’re not familiar with klezmer, here’s Alicia playing at the River To River Festival… [Klezmer music plays]… Klezmer was originally a type of Eastern European Jewish music that then came to the United States and became influenced by jazz. Alicia was one of the founders of the Klezmatics who won a Grammy. She's played with all kinds of fancy people like Itzhak Perlman, John Cale of the Velvet Underground, and Jimmy Page and Robert Plant of Led Zeppelin, which was just a brunch where we listened to Led Zeppelin, which turns out to be a great combination. Here's our conversation. NEIL:  Alicia Svigals. Thank you so much for being in SHE’S A TALKER. We went to college together. We've known each other for more than 30 years, but, um, I do like to ask everyone, I'm about to sit down next to you on a plane. Hey, what do you do? ALICIA:  I'm a violinist and a composer. Uh, I specialize in a kind of traditional East European Jewish music called klezmer music, which, you know, in the past people would be like, "Oh, what?" And now they're like, "Oh yeah, of course I know that." NEIL:  Right, right. It's almost like the way coming out has kind of changed, although maybe without the shame element, or maybe not. ALICIA:  I know that the shame element is there. It's a little apologetic, like I'm a violinist composer, well, not like a classical violinist. ALICIA:  I do this weird thing. NEIL:  Yeah. Yeah. It vaguely reminds me of how my referencing my husband has changed. You know what I mean? When Jeff and I got married, we did kind of make an informal commitment that we would just always use 'husband' as a way to kind of desensitize the world to it. Yeah. If we were going to take advantage of that privilege. NEIL:  Um, but now I, I usually don't think twice about it. ALICIA:  Wow. NEIL:  How about you? ALICIA:  I think about it practically, I mean, absolutely every single time, it always feels weird and awkward and like I'm pretending it's no big deal, and there's a social contract now that of course it's no big deal, and everybody secretly in their mind thinks it's a very big deal. NEIL:  Exactly. ALICIA:  I'm wondering, like, how has their entire vision of me now changed and are they, have they stopped listening to what I'm saying? Cause there's digesting that... NEIL:  Right. When you're meeting someone for the first time and you just drop a "wife." ALICIA:  Yeah, or if I'm in a professional context. NEIL:  For me, I always feel like, to your point, that every time I use "husband", it's a little micro acting exercise. You know? ALICIA:  It's like... NEIL:  It's performing casualness. ALICIA:  Exactly. Like, and everybody knows it's a performance. So the conversation was doing whatever it was doing and it was normal, and all of a sudden we're faced with that moment like, what else are we going to do? We have no choice. Either we're going to perform casualness and feel weird and fake about that, or we're going to, uh, uncourageously obfuscate, or there's a third possibility, which I've seen people do, which is to say like, be sort of transparent about all that, but then you've made a big deal of something perhaps unnecessarily. NEIL:  Right. How has that sounded? Like, "I'm gay and I have a husband." ALICIA:  You know, I'm not even sure, I've seen other people do it and I haven't liked it, so I'm not sure, but it... Yeah, exactly. "I'm gay and I have a husband." NEIL:  All right. Now, another question I like to ask people is, uh, what is something you were thinking about today? ALICIA:  I mean, since I woke up. NEIL:  I'll let you define 'today'. ALICIA:  Okay. Okay. Okay. Cause I don't usually start thinking till about one or two. NEIL:  Oh, okay. ALICIA:  And it's still early. NEIL:  So you haven't thought about anything yet? ALICIA:  Not very much, but some - okay, some of the things I'll tell you, I thought, um... I hope that Ellen, my wife, hears me doing the dishes because she has told me that turns her on. NEIL:  Do you think she's saying that just as a way to get you to do the dishes? ALICIA:  You know, I have discussed that at length with my therapist and she says, I need to take that literally. NEIL:  Wow, okay. ALICIA:  And all kinds of things turn people on. And that's not even a weird one in her experience here. And hearing all kinds of things from all kinds of people, because, for a lot of people, having the other person do the dishes means they're being taken care of. NEIL:  Oh yeah, totally. ALICIA:  You know, for some people, you know, they want to wear diapers. NEIL:  Exactly. ALICIA:  No, we don't do that. NEIL:  Okay. ALICIA:  So maybe... NEIL:  No judgement if you did though, but, but feeling taken care of doesn't necessarily map directly onto being turned on. Like I feel very taken care of by Jeff often. I guess sometimes that can be a turn on. It lives in a different space though. ALICIA:  Right. ALICIA:  For me too. But apparently there are a lot of people, like it's a very common thing. They won't feel turned on until they feel taken care of. It's really, really separate for me. Like I'm sure it's connected somewhere in there, sometimes in some ways, in some fantasies and so forth. But, um, according to my shrink, who is a genius - NEIL:  Yeah. ALICIA:  And is the smartest person I've ever met. NEIL:  Wow. ALICIA:  Kind of hoping she'll listen to this. NEIL:  Do you want to do the dishes too, while you're at it? ALICIA:  Anyway, I tend to think that my way of thinking and feeling and... My brain is really the right way. And other people's, if it's different, they must be making it up, they must be putting it on. It must be a ploy to get me to do the dishes. And I wrote the quote somewhere, somebody who said, "Everybody's got a weird brain", and I really like it, and I try to remind myself, and everybody's got a weird brain. NEIL:  Absolutely. I love not being in therapy anymore. ALICIA:  Oh you're not in therapy anymore? NEIL:  No. After, after, I think almost 25 years on the dot. ALICIA:  Wow. NEIL:  Um, we terminated like, uh, three or four years ago now, maybe three years. I love it. ALICIA:  Wow. Wow. NEIL:  You don't spend the money and you have the time and you don't have to kind of think about yourself in that same way. NEIL:  You don't have that accountability. ALICIA:  Yeah, the time part I, you know, couldn't relate to. Um, I feel like currently I'm like a snake in the process of getting ready to shed its skin. There's no crisis. Knock wood, you know, cheap too. But I feel like a transformation is going to happen. NEIL:  That's great. ALICIA:  I can't imagine leaving. NEIL:  Although, sorry, not to be a buzzkill, but, um, that's the thing that I'm happy not to have going on for me in therapy, which is the feeling of like, okay, life is just ahead of you. You know what I mean? And, and when I would say this to my therapist, he would be like, that's not the way to be holding this. But I found it hard to avoid that. I mean, toward the end, it, there was an alignment of like the, you know, the me who was in therapy, but also living my life and feeling like this is also my life. ALICIA:  You know, you're right. Like I'm, I am thinking of it as life is going to be so great once the skin - it's very itchy now, but once I've shed the skin. NEIL:  Yeah. ALICIA:  And yeah, that's problematic. And, uh, one day I think I probably would like to no longer be the kind of person who's like talking about themselves and their therapy, which I think is probably boring to most people. NEIL:  Oh, I know. I don't think talking about therapy stops after your - case in point - stops after you're in therapy. Here I am. NEIL:  Alicia, let's look at some of these cards now. Okay. I've picked out some cards, especially for you. Our first card is the diplomacy of saying a child resembles one parent or another. ALICIA:  Oh... NEIL:  You and Ellen are a very specific case of this, if you'd care to share with our podcast audience. ALICIA:  Right. We're a specific case of this, because, um, we each gave birth to one of our sons with the same anonymous donor. They're very much alike in a lot of ways, and they're each very much like each of us, and it's, it's a different case because we're not competing to be the one whose traits appeared more. ALICIA:  It's just a lovely thing to hear that, you know, one of them looks like one of us, um, because it means our genes worked at all. NEIL:  Yeah, that's a great way to put it. Cause I feel very skeptical about whether my jeans would work. ALICIA:  I'm sure they would, Neil. NEIL:  Well, thank you. Isn't it, it always grosses me out when one kid looks powerfully like one of the parents, you know what I mean? It speaks of like their parents fucking in it somehow, it's like a big genetic smear or something like a litter of pups. ALICIA:  There's something like biologically obscene about it. NEIL:  Exactly. Biologically obscene. ALICIA:  Yeah, like an infestation. NEIL:  Exactly. Exactly. ALICIA:  It's like it kind of, impolitely exposes biology too much and it's rude. NEIL:  Exactly, it's like someone flashing you or something. ALICIA:  It's rude. Cause we're supposed to be self-made individuals and we were supposed to have created our own faces. If I didn't have our personalities and which we chose, which we selected using our moral rectitude. NEIL:  We are not bodies. We are pure. You know, in that whole kind of mind. ALICIA:  Ether, mind. Where my, like, Ooh, we must be bodies cause those two completely different people look exactly alike. NEIL:  Oh yeah, exactly. Disgusting. NEIL:  Next card. As soon as I stub my toe, I look for someone to blame. ALICIA:  How did you know that about me? NEIL:  I guess we're similar in that way. Not everyone's that way. ALICIA:  Oh, it is so... When, when the boys were little, one of them, I'm not going to say who, cause you know, it's a little personal. NEIL:  50/50 chance though. Two kids, Ben and Philip. ALICIA:  True. True. NEIL:  If you're listening, this is about one of you. ALICIA:  But I'm respecting your privacy, cause it's just, it's all, you get all the plausible deniability if it's a 50/50 chance. So if he, like, fell, or if he stubbed his toe, like let's say he hurt himself on the floor, he would bang that floor, angry at the floor. NEIL:  When he was a kid? ALICIA:  Yeah, hitting the floor, mad at the floor. He was mad at the object that hurt him. But I absolutely, I stub my toe and I try to think of whose fault was that. Isn't that nutty? NEIL:  Absolutely. It's horrible. Jeff is not like that. ALICIA:  I don't care if they hear it, but my parents are totally... My mom... Mom, I love you. But you know, you're always looking for the blame. And I'm always like, and of course, you know, I'm always trying to blame Ellen, and right? NEIL:  Right? Yeah, of course. Proximity. ALICIA:  And it all seems like completely reasonable to me until I notice I do it even when I stub my toe. And then it's like, wait a minute... NEIL:  I mean, I guess it begs the question, what are the consequences of there not being - ALICIA:  Someone to blame - NEIL:  There's no fault. ALICIA:  Man. NEIL:  What, I mean, in a way, that's a beautiful moment somehow. I think it's also like a very scary moment. ALICIA:  Frightening, out of control, random. NEIL:  Right. But also free somehow. I think? I don't know, whatever part of the brain that assigns blame to discharge that. ALICIA:  Perfectible. Cause if the person would only not. Then no one would stub their toe again if they'd only get it right. NEIL:  Next card. I know you, at a certain point in your life, were a subway musician. I'm going to say something provocative. ALICIA:  Okay. NEIL:  We don't need subway musicians. ALICIA:  They need us. NEIL:  I don't care. We don't need, we don't need buskers of any sort anywhere. We don't. ALICIA:  What about parkour? NEIL:  Parkour, they're doing it for themselves. You mean where they rebound off buildings and shit like that? ALICIA:  No, they do it in the subway car and they ask for money. NEIL:  Oh, Showtime. Nope. Not that neither. That neither. I'm more disposed to that particular narrative than to like the heartfelt  acoustic singer or really anything, but I'm just ready to come down with a full, like no buskers anywhere. ALICIA:  Uh huh. Well, you know, did you feel that way 30 years ago? NEIL:  I think I might have. ALICIA:  Really? NEIL:  Yeah. Because for me, the subway is enough. The subway, everything is enough. ALICIA:  More than enough. NEIL:  It's more than enough. Absolutely. This street is enough. The Plaza is enough, and I understand that that's proposing a separation between the Plaza and the musician or the musician and the subway. NEIL:  Actually, up until very recently, I was like not into putting headphones in when I was on the street. It's like, the street will do just fine. Now, by the way, I do put the headphones in. ALICIA:  To escape the street or cause you're bored without them? NEIL:  I think it's for the same reason that I like not being in therapy. It's like I'm going to choose not to use this time to think. Or my thinking will be directed by whatever I'm listening to, whether it's a podcast or music. So I think I always felt that, yeah. ALICIA:  I always loved street performers. They made me feel like the joy of humanity. Oh my God. NEIL:  Really? If anything could make me change my mind, which it can't, it would be knowing something like that, like that makes other people happy, I - maybe it's my own narcissism or solipsism or whatever ism. It's like, I just assume everyone feels a slight variation on what I feel. I mean, I feel like at best people are like, interested. Um, I didn't know that, like it's actively bringing joy to people like you. ALICIA:  I would go out looking for them. I mean - NEIL:  Wow! ALICIA:  Partly it was youthful, naivete and enthusiasm, but it was like I would love to go to Central Park, and I would like, uh, street performer hop. I'd go from one to the next. That was my idea of an exciting , you know, adventurous Sunday. NEIL:  Holy shit! My God. Who the fuck knew? ALICIA:  Yeah. Um, and I would love, like if I had friends visiting from another country or city - to show off New York, I would show off all these different performers. NEIL:  I might've  done that, possibly, possibly. Not go out of my way, but if I'm going into a subway platform and there's the street musician, I could kind of inwardly feel like, Oh, I live in a city where we have street musicians. That. Well, at the same time, privately feeling like - ALICIA:  Like stop! NEIL:  Yeah, enough. We don't need it. ALICIA:  You know, in the seventies and eighties, it was new and I would love to see like a P pop player and then, you know, the Pam pipe players. NEIL:  I just feel like the pan pipe, if I may, I just feel like pan pipes only have one emotional register, which is wistful. You know?. And I'm not into wistful ever, ever, ever. You don't need wistful. What are you wistful for? What are you wistful about? Come on. ALICIA:  I'm wistful in advance for the things I have now, but might not in the future. NEIL:  I'm something else about them, but not wistful. ALICIA:  Do you like Brahms, and Dvorak, and romantic chamber music? NEIL:  I don't really know it. ALICIA:  You probably heard it and never pursued it because it was wistful. NEIL:  Next card. Male singers showcasing their vulnerability by singing falsetto. ALICIA:  Ooh. I always thought of it as supreme confidence, but showcasing your vulnerability is confidence. Isn't it? NEIL:  But I feel like it's almost performing vulnerability. ALICIA:  I just am remembering something, which I remember all the time for some reason. When I was in junior high, ninth grade I think, a friend of mine, a female friend... I said something like, Do know this guy? He's got like longish feathered - okay, this is the 70s - reddish straight feathered hair. He, he was just walking by the principal's office singing, you've got a cute way of walking, which is the BG's and it's falsetto, right? NEIL:  It's Leo Sayer. ALICIA:  Oh, yeah, yeah, yeah, yeah, yeah. Right. It's the era, but yeah, right. It's not the BG's. And he was singing that and, and she said, Ooh, sounds cute. Like the guy sounds cute. And that was a moment I thought, I don't understand what girls see in boys. I was like, why is that cute? I'm so perplexed what my female friends think is cute and sexy about boys. You know? That probably was a clue. NEIL:  And was that the moment you became a lesbian? ALICIA:  Listen, it was not. I was just like, I don't get heterosexuality. I didn't really know there was an alternative at that point. So. I don't get heterosexuality. I'm not empathetic. I expect heterosexuals to get homosexuality. I can't, I don't get like, it's so hard for me. NEIL:  You're pretty extreme, pretty extreme lesbian. ALICIA:  Not, not in entire, it shouldn't entirely be hard because I think on some level, you know, I'm not a zero or a 10 on the Kinsey spectrum, but like I always have to like do the mental exercise very deliberately of, yes, this heterosexual couple really does love each other. They're not just making it up. Yes, women really do fall in love with men and cry themselves to sleep, and you know, go into deep depressions of if it doesn't go right and they obsess over them and you know, just like I would do with women, like it's so hard. It's so hard for me. I have to believe that truly. NEIL:  And the emotional part is hard for you to believe. So it's not like the idea of like heterosexual people have sex. ALICIA:  No, that's easy. NEIL:  Interesting. The idea that the affective, the emotional part, is hard to believe, that they love each other. ALICIA:  That, that they're out of control, you know, in love with each other or that, I mean, I love men. Like I love you, my friend. NEIL:  I love you too, Alicia. ALICIA:  And I love my sons to infinity, you know. And I, I, they're, they're like no beings I love more in the world than these two males and not despite their maleness. It's what they are. You know, like I love everything about them, and it's very easy for me in a way to imagine anybody being in love with them, of course. Who wouldn't be in love with my sons. But, when I consider, it's mostly movies and literature, it's like, really? NEIL:  I find it really refreshing. You really have carved yourself a bit of freedom within heteronormativity to be able to like, not believe in heterosexuality in the way that you're talking about. ALICIA:  Do you make an analogy, like do you identify with the woman in a heterosexual couple or do you have no trouble imagining that, that romantic love? NEIL:  I don't. No, super don't. I mean, sometimes I have more trouble imagining it in a homosexual relationship, I think. I don't know. Yeah. I mean, I think that's a, that's a bigger problem for me, probably, even though I'm in love with Jeff and, you know, and, uh. ALICIA:  You see? Everybody has a weird brain. NEIL:  Oh, okay. We can agree to that. I love it. Okay, Alicia. Let's do bad over good. What's the X you would take a bad of over a Y you would  take a good of? ALICIA:  You know what, even this is a loaded question, because what I've been thinking about a lot lately is like I have a hard time recreating, basically. I'm such a nerd. It's like... NEIL:  You want edification. ALICIA:  I know, and part of it is sincere, like I do enjoy the learning, learning languages and reading, but, it seems to me like I would take a bad history book over a good mystery book because I don't know how, I don't know how to have fun, you know? ALICIA:  And that's how I live anyway. I'm trying to like explore that, but I'm just noticing. If I have some free time, it's like, Ooh, now I could practice my scales and go back to Duolingo where I'm working on Hebrew and Japanese right now, and it's like, you know, Ellen, my wife is like, Oh, now I could finish a season of the Bachelor. ALICIA:  But, I think I'd rather read a badly-written edifying thing than watch the most hilarious season of the Bachelor. NEIL:  Wow. You're a paradox, or not a paradox. It's opposite day for Alicia Svigals. That's great though. I hear that. I think that's what gives the pleasure to doing the TV thing. It's the release from the imperative for edification. NEIL:  There's just a certain pleasure that becomes available when your intention is different than to be eating your spinach on some level. You know what I mean? ALICIA:  All I do is frigging eat my spinach. I'm trying to stop that. NEIL:  On that note, Alicia Spiegels, thank you so much for being on SHE’S A TALKER. ALICIA:  Thank you for having me. This was like, just like having coffee with you, with an engineer present, very discreet and like, I totally forgot that we were recording. NEIL:  Thank you. NEIL:  Cut. NEIL:  Huge thank you for listening to this episode of SHE’S A TALKER. If there's someone else you think might like it, I'd love it if you'd share it with them and if you have a couple of seconds to rate and review it on Apple Podcasts, it really helps people find this during season one, a number of folks let me know they had their own responses for some of the cards. NEIL:  If you have thoughts you'd like to share, we'd love to feature them too. Write to us at shesatalker@gmail.com or on Instagram @shesatalker. This series is made possible with generous support from Stillpoint Fund. Devon Guinn produced this episode. Andrew Litton mixed it. Molly Donahue and Aaron Dalton are our consulting producers. Justine Lee handles social media. NEIL:  Our card flipped beats come from Josh Graver, and my husband Jeff Hiller sings the theme song you're about to hear. Thanks to all of them and to my guest, Alicia Svigals, and to you for listening. JEFF HILLER:  SHE’S A TALKER with Neil Goldberg. SHE’S A TALKER with fabulous guests. SHE’S A TALKER it's better than it sounds. Yeah.

Alicia is a violinist, composer, and founding member of the Grammy- winning Klezmatics. She collaborated on musical projects with violinist Itzhak Perlman, the Kronos Quartet, playwrights Tony Kushner and Eve Ensler, the late poet Allen Ginsburg, Robert Plant and Jimmy Page of Led Zeppelin, among others. When it comes to the Jewish tradition of Klezmer music, Alicia is the person to talk to.    For more information and to check her calendar visit Alicia's website.

The Ancient Law (1923), with musicians Donald Sosin and Alicia Svigals (64:58)

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Film Radio.

The scoring of Victor Janson's 1918 film, starring Pola Negri. The post Alicia Svigals – The Yellow Ticket #GCM36 appeared first on Fred Education Channel » FRED Education Podcast. Alicia Svigals – The Yellow Ticket #GCM36 was first posted on October 5, 2017 at 5:44 pm.©2015 "Fred Education Channel". Use of this feed is for personal non-commercial use only. If you are not reading this article in your feed reader, then the site is guilty of copyright infringement. Please contact me at radio@fred.fm

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