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Play Episode Listen Later Dec 18, 2023 30:04

Credits Reporter Sami Abu Salem Presenter Mike Joseph Pictures Sami Abu Salem Images Mike Joseph Sami Abu Salem Music Keys Theme & Variations on a Bach Prelude in B minor - Micha Wink PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Pamela Koehne-Drube Audience and Web Advisor

S1E10 CAN HOLOCAUST VINDICATE OCCUPATION?

Play Episode Listen Later Nov 8, 2023 61:45

This double episode closes the first season of Keys. With the Hamas invasion and massacre of October 7 2023 leading to the 2023 Israel-Gaza War, this episode brings its historical understanding to the cruel events that are unfolding as we work. We reveal that the horror that fills the news every day has its roots deep in the history of Israel-Palestine. UN Secretary-General António Guterres reminded the world that “the attacks by Hamas did not happen in a vacuum”. This special episode shows how the deeds and decisions of the past are projected on to the screen of today. If we know our history, can that help us to escape it? PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of Kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images Mike Joseph Sami Abu Salem Music Keys Theme & Variations on a Bach Prelude in B minor - Micha Wink Sources Eulogy for Ro'i Rothberg by Moshe Dayan, Avnei Derekh, Tel Aviv 1976, p191; q. in Zertal, Idith, Israel's Holocaust and the Politics of Nationhood, Cambridge University Press 2005, p180 Universal International News, 6 August 1956, Suez Crisis Theodor Meron, A life of learning, American Council of Learned Societies Occasional Paper No 65, Pittsburgh, 9 May 2008. Memorandum by Legal Adviser, Ministry of Foreign Affairs (Theodor Meron) to Political Secretary to the Israeli Prime Minister, 18 Sep 1967 Israeli Kahan Commission Report is main source for the Israel-Falange history. Its Appendix can be accessed at: http://www.documentcloud.org/documents/4887715-Kahan-Commission-Appendix-Complete-English.html Ben Gurion, speaking to the Israeli Cabinet, May 24, April 26, May 7, 1953, Israel State Archives; quoted in Tom Segev, A State at Any Cost, 2018, p512 PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips SPEAKERS AND CAST in programme order Sami Abu Salem, interviewed by Mike Joseph James Stewart voicing Moshe Dayan, Theodor Meron, BBC World Service Newsreader, Baruch Ben Meir Rabbi Dr Gerhard Graf voiced by Mark Levene Lilli Gold voiced by Christine Willison Hoda Khoury, interviewed by Mike Joseph Primo Levi voiced by Andrea Brondino António Guterres, UN Secretary-General Gilad Erdan, Israeli Ambassador to UN

S1E9 HOW TO BECOME A REFUGEE

A History Of Rock Music in Five Hundred Songs

Play Episode Listen Later Nov 1, 2023 38:00

How do people become refugees? What's it like? Mike Joseph's aunt became a refugee on her 10th birthday. This is the story of comfortable family life transformed in an instant, narrated by the family's only survivors. Yet even refugees are not the most unfortunate. Some are trapped, unable to escape, awaiting their fate. In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of Kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images Mike Joseph Sami Abu Salem Music Keys Theme & Variations on a Bach Prelude in B minor - Micha Wink PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips SPEAKERS AND CAST in programme order Lilli Gold interviewed by USC Shoah Foundation, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ Peter Kirsten as Leipzig policeman Rosa Gold interviewed by Mike Joseph George May as Israel Gold

Episode 169: “Piece of My Heart” by Big Brother and the Holding Company

Play Episode Listen Later Oct 30, 2023

Episode 169 of A History of Rock Music in Five Hundred Songs looks at “Piece of My Heart" and the short, tragic life of Janis Joplin. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode available, on "Spinning Wheel" by Blood, Sweat & Tears. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources There are two Mixcloud mixes this time. As there are so many songs by Big Brother and the Holding Company and Janis Joplin excerpted, and Mixcloud won't allow more than four songs by the same artist in any mix, I've had to post the songs not in quite the same order in which they appear in the podcast. But the mixes are here — one, two . For information on Janis Joplin I used three biographies -- Scars of Sweet Paradise by Alice Echols, Janis: Her Life and Music by Holly George-Warren, and Buried Alive by Myra Friedman. I also referred to the chapter '“Being Good Isn't Always Easy": Aretha Franklin, Janis Joplin, Dusty Springfield, and the Color of Soul' in Just Around Midnight: Rock and Roll and the Racial Imagination by Jack Hamilton. Some information on Bessie Smith came from Bessie Smith by Jackie Kay, a book I can't really recommend given the lack of fact-checking, and Bessie by Chris Albertson. I also referred to Blues Legacies and Black Feminism: Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis And the best place to start with Joplin's music is this five-CD box, which contains both Big Brother and the Holding Company albums she was involved in, plus her two studio albums and bonus tracks. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode contains discussion of drug addiction and overdose, alcoholism, mental illness, domestic abuse, child abandonment, and racism. If those subjects are likely to cause you upset, you may want to check the transcript or skip this one rather than listen. Also, a subject I should probably say a little more about in this intro because I know I have inadvertently caused upset to at least one listener with this in the past. When it comes to Janis Joplin, it is *impossible* to talk about her without discussing her issues with her weight and self-image. The way I write often involves me paraphrasing the opinions of the people I'm writing about, in a mode known as close third person, and sometimes that means it can look like I am stating those opinions as my own, and sometimes things I say in that mode which *I* think are obviously meant in context to be critiques of those attitudes can appear to others to be replicating them. At least once, I have seriously upset a fat listener when talking about issues related to weight in this manner. I'm going to try to be more careful here, but just in case, I'm going to say before I begin that I think fatphobia is a pernicious form of bigotry, as bad as any other form of bigotry. I'm fat myself and well aware of how systemic discrimination affects fat people. I also think more generally that the pressure put on women to look a particular way is pernicious and disgusting in ways I can't even begin to verbalise, and causes untold harm. If *ANYTHING* I say in this episode comes across as sounding otherwise, that's because I haven't expressed myself clearly enough. Like all people, Janis Joplin had negative characteristics, and at times I'm going to say things that are critical of those. But when it comes to anything to do with her weight or her appearance, if *anything* I say sounds critical of her, rather than of a society that makes women feel awful for their appearance, it isn't meant to. Anyway, on with the show. On January the nineteenth, 1943, Seth Joplin typed up a letter to his wife Dorothy, which read “I wish to tender my congratulations on the anniversary of your successful completion of your production quota for the nine months ending January 19, 1943. I realize that you passed through a period of inflation such as you had never before known—yet, in spite of this, you met your goal by your supreme effort during the early hours of January 19, a good three weeks ahead of schedule.” As you can probably tell from that message, the Joplin family were a strange mixture of ultraconformism and eccentricity, and those two opposing forces would dominate the personality of their firstborn daughter for the whole of her life. Seth Joplin was a respected engineer at Texaco, where he worked for forty years, but he had actually dropped out of engineering school before completing his degree. His favourite pastime when he wasn't at work was to read -- he was a voracious reader -- and to listen to classical music, which would often move him to tears, but he had also taught himself to make bathtub gin during prohibition, and smoked cannabis. Dorothy, meanwhile, had had the possibility of a singing career before deciding to settle down and become a housewife, and was known for having a particularly beautiful soprano voice. Both were, by all accounts, fiercely intelligent people, but they were also as committed as anyone to the ideals of the middle-class family even as they chafed against its restrictions. Like her mother, young Janis had a beautiful soprano voice, and she became a soloist in her church choir, but after the age of six, she was not encouraged to sing much. Dorothy had had a thyroid operation which destroyed her singing voice, and the family got rid of their piano soon after (different sources say that this was either because Dorothy found her daughter's singing painful now that she couldn't sing herself, or because Seth was upset that his wife could no longer sing. Either seems plausible.) Janis was pushed to be a high-achiever -- she was given a library card as soon as she could write her name, and encouraged to use it, and she was soon advanced in school, skipping a couple of grades. She was also by all accounts a fiercely talented painter, and her parents paid for art lessons. From everything one reads about her pre-teen years, she was a child prodigy who was loved by everyone and who was clearly going to be a success of some kind. Things started to change when she reached her teenage years. Partly, this was just her getting into rock and roll music, which her father thought a fad -- though even there, she differed from her peers. She loved Elvis, but when she heard "Hound Dog", she loved it so much that she tracked down a copy of Big Mama Thornton's original, and told her friends she preferred that: [Excerpt: Big Mama Thornton, "Hound Dog"] Despite this, she was still also an exemplary student and overachiever. But by the time she turned fourteen, things started to go very wrong for her. Partly this was just down to her relationship with her father changing -- she adored him, but he became more distant from his daughters as they grew into women. But also, puberty had an almost wholly negative effect on her, at least by the standards of that time and place. She put on weight (which, again, I do not think is a negative thing, but she did, and so did everyone around her), she got a bad case of acne which didn't ever really go away, and she also didn't develop breasts particularly quickly -- which, given that she was a couple of years younger than the other people in the same classes at school, meant she stood out even more. In the mid-sixties, a doctor apparently diagnosed her as having a "hormone imbalance" -- something that got to her as a possible explanation for why she was, to quote from a letter she wrote then, "not really a woman or enough of one or something." She wondered if "maybe something as simple as a pill could have helped out or even changed that part of me I call ME and has been so messed up.” I'm not a doctor and even if I were, diagnosing historical figures is an unethical thing to do, but certainly the acne, weight gain, and mental health problems she had are all consistent with PCOS, the most common endocrine disorder among women, and it seems likely given what the doctor told her that this was the cause. But at the time all she knew was that she was different, and that in the eyes of her fellow students she had gone from being pretty to being ugly. She seems to have been a very trusting, naive, person who was often the brunt of jokes but who desperately needed to be accepted, and it became clear that her appearance wasn't going to let her fit into the conformist society she was being brought up in, while her high intelligence, low impulse control, and curiosity meant she couldn't even fade into the background. This left her one other option, and she decided that she would deliberately try to look and act as different from everyone else as possible. That way, it would be a conscious choice on her part to reject the standards of her fellow pupils, rather than her being rejected by them. She started to admire rebels. She became a big fan of Jerry Lee Lewis, whose music combined the country music she'd grown up hearing in Texas, the R&B she liked now, and the rebellious nature she was trying to cultivate: [Excerpt: Jerry Lee Lewis, "Whole Lotta Shakin' Goin' On"] When Lewis' career was derailed by his marriage to his teenage cousin, Joplin wrote an angry letter to Time magazine complaining that they had mistreated him in their coverage. But as with so many people of her generation, her love of rock and roll music led her first to the blues and then to folk, and she soon found herself listening to Odetta: [Excerpt: Odetta, "Muleskinner Blues"] One of her first experiences of realising she could gain acceptance from her peers by singing was when she was hanging out with the small group of Bohemian teenagers she was friendly with, and sang an Odetta song, mimicking her voice exactly. But young Janis Joplin was listening to an eclectic range of folk music, and could mimic more than just Odetta. For all that her later vocal style was hugely influenced by Odetta and by other Black singers like Big Mama Thornton and Etta James, her friends in her late teens and early twenties remember her as a vocal chameleon with an achingly pure soprano, who would more often than Odetta be imitating the great Appalachian traditional folk singer Jean Ritchie: [Excerpt: Jean Ritchie, "Lord Randall"] She was, in short, trying her best to become a Beatnik, despite not having any experience of that subculture other than what she read in books -- though she *did* read about them in books, devouring things like Kerouac's On The Road. She came into conflict with her mother, who didn't understand what was happening to her daughter, and who tried to get family counselling to understand what was going on. Her father, who seemed to relate more to Janis, but who was more quietly eccentric, put an end to that, but Janis would still for the rest of her life talk about how her mother had taken her to doctors who thought she was going to end up "either in jail or an insane asylum" to use her words. From this point on, and for the rest of her life, she was torn between a need for approval from her family and her peers, and a knowledge that no matter what she did she couldn't fit in with normal societal expectations. In high school she was a member of the Future Nurses of America, the Future Teachers of America, the Art Club, and Slide Rule Club, but she also had a reputation as a wild girl, and as sexually active (even though by all accounts at this point she was far less so than most of the so-called "good girls" – but her later activity was in part because she felt that if she was going to have that reputation anyway she might as well earn it). She also was known to express radical opinions, like that segregation was wrong, an opinion that the other students in her segregated Texan school didn't even think was wrong, but possibly some sort of sign of mental illness. Her final High School yearbook didn't contain a single other student's signature. And her initial choice of university, Lamar State College of Technology, was not much better. In the next town over, and attended by many of the same students, it had much the same attitudes as the school she'd left. Almost the only long-term effect her initial attendance at university had on her was a negative one -- she found there was another student at the college who was better at painting. Deciding that if she wasn't going to be the best at something she didn't want to do it at all, she more or less gave up on painting at that point. But there was one positive. One of the lecturers at Lamar was Francis Edward "Ab" Abernethy, who would in the early seventies go on to become the Secretary and Editor of the Texas Folklore Society, and was also a passionate folk musician, playing double bass in string bands. Abernethy had a great collection of blues 78s. and it was through this collection that Janis first discovered classic blues, and in particular Bessie Smith: [Excerpt: Bessie Smith, "Black Mountain Blues"] A couple of episodes ago, we had a long look at the history of the music that now gets called "the blues" -- the music that's based around guitars, and generally involves a solo male vocalist, usually Black during its classic period. At the time that music was being made though it wouldn't have been thought of as "the blues" with no modifiers by most people who were aware of it. At the start, even the songs they were playing weren't thought of as blues by the male vocalist/guitarists who played them -- they called the songs they played "reels". The music released by people like Blind Lemon Jefferson, Son House, Robert Johnson, Kokomo Arnold and so on was thought of as blues music, and people would understand and agree with a phrase like "Lonnie Johnson is a blues singer", but it wasn't the first thing people thought of when they talked about "the blues". Until relatively late -- probably some time in the 1960s -- if you wanted to talk about blues music made by Black men with guitars and only that music, you talked about "country blues". If you thought about "the blues", with no qualifiers, you thought about a rather different style of music, one that white record collectors started later to refer to as "classic blues" to differentiate it from what they were now calling "the blues". Nowadays of course if you say "classic blues", most people will think you mean Muddy Waters or John Lee Hooker, people who were contemporary at the time those white record collectors were coming up with their labels, and so that style of music gets referred to as "vaudeville blues", or as "classic female blues": [Excerpt: Mamie Smith, "Crazy Blues"] What we just heard was the first big blues hit performed by a Black person, from 1920, and as we discussed in the episode on "Crossroads" that revolutionised the whole record industry when it came out. The song was performed by Mamie Smith, a vaudeville performer, and was originally titled "Harlem Blues" by its writer, Perry Bradford, before he changed the title to "Crazy Blues" to get it to a wider audience. Bradford was an important figure in the vaudeville scene, though other than being the credited writer of "Keep A-Knockin'" he's little known these days. He was a Black musician and grew up playing in minstrel shows (the history of minstrelsy is a topic for another day, but it's more complicated than the simple image of blackface that we are aware of today -- though as with many "more complicated than that" things it is, also the simple image of blackface we're aware of). He was the person who persuaded OKeh records that there would be a market for music made by Black people that sounded Black (though as we're going to see in this episode, what "sounding Black" means is a rather loaded question). "Crazy Blues" was the result, and it was a massive hit, even though it was marketed specifically towards Black listeners: [Excerpt: Mamie Smith, "Crazy Blues"] The big stars of the early years of recorded blues were all making records in the shadow of "Crazy Blues", and in the case of its very biggest stars, they were working very much in the same mould. The two most important blues stars of the twenties both got their start in vaudeville, and were both women. Ma Rainey, like Mamie Smith, first performed in minstrel shows, but where Mamie Smith's early records had her largely backed by white musicians, Rainey was largely backed by Black musicians, including on several tracks Louis Armstrong: [Excerpt: Ma Rainey, "See See Rider"] Rainey's band was initially led by Thomas Dorsey, one of the most important men in American music, who we've talked about before in several episodes, including the last one. He was possibly the single most important figure in two different genres -- hokum music, when he, under the name "Georgia Tom" recorded "It's Tight Like That" with Tampa Red: [Excerpt: Tampa Red and Georgia Tom, "It's Tight Like That"] And of course gospel music, which to all intents and purposes he invented, and much of whose repertoire he wrote: [Excerpt: Mahalia Jackson, "Take My Hand, Precious Lord"] When Dorsey left Rainey's band, as we discussed right back in episode five, he was replaced by a female pianist, Lil Henderson. The blues was a woman's genre. And Ma Rainey was, by preference, a woman's woman, though she was married to a man: [Excerpt: Ma Rainey, "Prove it on Me"] So was the biggest star of the classic blues era, who was originally mentored by Rainey. Bessie Smith, like Rainey, was a queer woman who had relationships with men but was far more interested in other women. There were stories that Bessie Smith actually got her start in the business by being kidnapped by Ma Rainey, and forced into performing on the same bills as her in the vaudeville show she was touring in, and that Rainey taught Smith to sing blues in the process. In truth, Rainey mentored Smith more in stagecraft and the ways of the road than in singing, and neither woman was only a blues singer, though both had huge success with their blues records. Indeed, since Rainey was already in the show, Smith was initially hired as a dancer rather than a singer, and she also worked as a male impersonator. But Smith soon branched out on her own -- from the beginning she was obviously a star. The great jazz clarinettist Sidney Bechet later said of her "She had this trouble in her, this thing that would not let her rest sometimes, a meanness that came and took her over. But what she had was alive … Bessie, she just wouldn't let herself be; it seemed she couldn't let herself be." Bessie Smith was signed by Columbia Records in 1923, as part of the rush to find and record as many Black women blues singers as possible. Her first recording session produced "Downhearted Blues", which became, depending on which sources you read, either the biggest-selling blues record since "Crazy Blues" or the biggest-selling blues record ever, full stop, selling three quarters of a million copies in the six months after its release: [Excerpt: Bessie Smith, "Downhearted Blues"] Smith didn't make royalties off record sales, only making a flat fee, but she became the most popular Black performer of the 1920s. Columbia signed her to an exclusive contract, and she became so rich that she would literally travel between gigs on her own private train. She lived an extravagant life in every way, giving lavishly to her friends and family, but also drinking extraordinary amounts of liquor, having regular affairs, and also often physically or verbally attacking those around her. By all accounts she was not a comfortable person to be around, and she seemed to be trying to fit an entire lifetime into every moment. From 1923 through 1929 she had a string of massive hits. She recorded material in a variety of styles, including the dirty blues: [Excerpt: Bessie Smith, "Empty Bed Blues] And with accompanists like Louis Armstrong: [Excerpt: Bessie Smith with Louis Armstrong, "Cold in Hand Blues"] But the music for which she became best known, and which sold the best, was when she sang about being mistreated by men, as on one of her biggest hits, "'Tain't Nobody's Biz-Ness if I Do" -- and a warning here, I'm going to play a clip of the song, which treats domestic violence in a way that may be upsetting: [Excerpt: Bessie Smith, "'Tain't Nobody's Biz-Ness if I Do"] That kind of material can often seem horrifying to today's listeners -- and quite correctly so, as domestic violence is a horrifying thing -- and it sounds entirely too excusing of the man beating her up for anyone to find it comfortable listening. But the Black feminist scholar Angela Davis has made a convincing case that while these records, and others by Smith's contemporaries, can't reasonably be considered to be feminist, they *are* at the very least more progressive than they now seem, in that they were, even if excusing it, pointing to a real problem which was otherwise left unspoken. And that kind of domestic violence and abuse *was* a real problem, including in Smith's own life. By all accounts she was terrified of her husband, Jack Gee, who would frequently attack her because of her affairs with other people, mostly women. But she was still devastated when he left her for a younger woman, not only because he had left her, but also because he kidnapped their adopted son and had him put into a care home, falsely claiming she had abused him. Not only that, but before Jack left her closest friend had been Jack's niece Ruby and after the split she never saw Ruby again -- though after her death Ruby tried to have a blues career as "Ruby Smith", taking her aunt's surname and recording a few tracks with Sammy Price, the piano player who worked with Sister Rosetta Tharpe: [Excerpt: Ruby Smith with Sammy Price, "Make Me Love You"] The same month, May 1929, that Gee left her, Smith recorded what was to become her last big hit, and most well-known song, "Nobody Knows You When You're Down and Out": [Excerpt: Bessie Smith, "Nobody Knows You When You're Down and Out"] And that could have been the theme for the rest of her life. A few months after that record came out, the Depression hit, pretty much killing the market for blues records. She carried on recording until 1931, but the records weren't selling any more. And at the same time, the talkies came in in the film industry, which along with the Depression ended up devastating the vaudeville audience. Her earnings were still higher than most, but only a quarter of what they had been a year or two earlier. She had one last recording session in 1933, produced by John Hammond for OKeh Records, where she showed that her style had developed over the years -- it was now incorporating the newer swing style, and featured future swing stars Benny Goodman and Jack Teagarden in the backing band: [Excerpt: Bessie Smith, "Gimme a Pigfoot"] Hammond was not hugely impressed with the recordings, preferring her earlier records, and they would be the last she would ever make. She continued as a successful, though no longer record-breaking, live act until 1937, when she and her common-law husband, Lionel Hampton's uncle Richard Morgan, were in a car crash. Morgan escaped, but Smith died of her injuries and was buried on October the fourth 1937. Ten thousand people came to her funeral, but she was buried in an unmarked grave -- she was still legally married to Gee, even though they'd been separated for eight years, and while he supposedly later became rich from songwriting royalties from some of her songs (most of her songs were written by other people, but she wrote a few herself) he refused to pay for a headstone for her. Indeed on more than one occasion he embezzled money that had been raised by other people to provide a headstone. Bessie Smith soon became Joplin's favourite singer of all time, and she started trying to copy her vocals. But other than discovering Smith's music, Joplin seems to have had as terrible a time at university as at school, and soon dropped out and moved back in with her parents. She went to business school for a short while, where she learned some secretarial skills, and then she moved west, going to LA where two of her aunts lived, to see if she could thrive better in a big West Coast city than she did in small-town Texas. Soon she moved from LA to Venice Beach, and from there had a brief sojourn in San Francisco, where she tried to live out her beatnik fantasies at a time when the beatnik culture was starting to fall apart. She did, while she was there, start smoking cannabis, though she never got a taste for that drug, and took Benzedrine and started drinking much more heavily than she had before. She soon lost her job, moved back to Texas, and re-enrolled at the same college she'd been at before. But now she'd had a taste of real Bohemian life -- she'd been singing at coffee houses, and having affairs with both men and women -- and soon she decided to transfer to the University of Texas at Austin. At this point, Austin was very far from the cultural centre it has become in recent decades, and it was still a straitlaced Texan town, but it was far less so than Port Arthur, and she soon found herself in a folk group, the Waller Creek Boys. Janis would play autoharp and sing, sometimes Bessie Smith covers, but also the more commercial country and folk music that was popular at the time, like "Silver Threads and Golden Needles", a song that had originally been recorded by Wanda Jackson but at that time was a big hit for Dusty Springfield's group The Springfields: [Excerpt: The Waller Creek Boys, "Silver Threads and Golden Needles"] But even there, Joplin didn't fit in comfortably. The venue where the folk jams were taking place was a segregated venue, as everywhere around Austin was. And she was enough of a misfit that the campus newspaper did an article on her headlined "She Dares to Be Different!", which read in part "She goes barefooted when she feels like it, wears Levi's to class because they're more comfortable, and carries her Autoharp with her everywhere she goes so that in case she gets the urge to break out into song it will be handy." There was a small group of wannabe-Beatniks, including Chet Helms, who we've mentioned previously in the Grateful Dead episode, Gilbert Shelton, who went on to be a pioneer of alternative comics and create the Fabulous Furry Freak Brothers, and Shelton's partner in Rip-Off Press, Dave Moriarty, but for the most part the atmosphere in Austin was only slightly better for Janis than it had been in Port Arthur. The final straw for her came when in an annual charity fundraiser joke competition to find the ugliest man on campus, someone nominated her for the "award". She'd had enough of Texas. She wanted to go back to California. She and Chet Helms, who had dropped out of the university earlier and who, like her, had already spent some time on the West Coast, decided to hitch-hike together to San Francisco. Before leaving, she made a recording for her ex-girlfriend Julie Paul, a country and western musician, of a song she'd written herself. It's recorded in what many say was Janis' natural voice -- a voice she deliberately altered in performance in later years because, she would tell people, she didn't think there was room for her singing like that in an industry that already had Joan Baez and Judy Collins. In her early years she would alternate between singing like this and doing her imitations of Black women, but the character of Janis Joplin who would become famous never sang like this. It may well be the most honest thing that she ever recorded, and the most revealing of who she really was: [Excerpt: Janis Joplin, "So Sad to Be Alone"] Joplin and Helms made it to San Francisco, and she started performing at open-mic nights and folk clubs around the Bay Area, singing in her Bessie Smith and Odetta imitation voice, and sometimes making a great deal of money by sounding different from the wispier-voiced women who were the norm at those venues. The two friends parted ways, and she started performing with two other folk musicians, Larry Hanks and Roger Perkins, and she insisted that they would play at least one Bessie Smith song at every performance: [Excerpt: Janis Joplin, Larry Hanks, and Roger Perkins, "Black Mountain Blues (live in San Francisco)"] Often the trio would be joined by Billy Roberts, who at that time had just started performing the song that would make his name, "Hey Joe", and Joplin was soon part of the folk scene in the Bay Area, and admired by Dino Valenti, David Crosby, and Jerry Garcia among others. She also sang a lot with Jorma Kaukonnen, and recordings of the two of them together have circulated for years: [Excerpt: Janis Joplin and Jorma Kaukonnen, "Nobody Knows You When You're Down and Out"] Through 1963, 1964, and early 1965 Joplin ping-ponged from coast to coast, spending time in the Bay Area, then Greenwich Village, dropping in on her parents then back to the Bay Area, and she started taking vast quantities of methamphetamine. Even before moving to San Francisco she had been an occasional user of amphetamines – at the time they were regularly prescribed to students as study aids during exam periods, and she had also been taking them to try to lose some of the weight she always hated. But while she was living in San Francisco she became dependent on the drug. At one point her father was worried enough about her health to visit her in San Francisco, where she managed to fool him that she was more or less OK. But she looked to him for reassurance that things would get better for her, and he couldn't give it to her. He told her about a concept that he called the "Saturday night swindle", the idea that you work all week so you can go out and have fun on Saturday in the hope that that will make up for everything else, but that it never does. She had occasional misses with what would have been lucky breaks -- at one point she was in a motorcycle accident just as record labels were interested in signing her, and by the time she got out of the hospital the chance had gone. She became engaged to another speed freak, one who claimed to be an engineer and from a well-off background, but she was becoming severely ill from what was by now a dangerous amphetamine habit, and in May 1965 she decided to move back in with her parents, get clean, and have a normal life. Her new fiance was going to do the same, and they were going to have the conformist life her parents had always wanted, and which she had always wanted to want. Surely with a husband who loved her she could find a way to fit in and just be normal. She kicked the addiction, and wrote her fiance long letters describing everything about her family and the new normal life they were going to have together, and they show her painfully trying to be optimistic about the future, like one where she described her family to him: "My mother—Dorothy—worries so and loves her children dearly. Republican and Methodist, very sincere, speaks in clichés which she really means and is very good to people. (She thinks you have a lovely voice and is terribly prepared to like you.) My father—richer than when I knew him and kind of embarrassed about it—very well read—history his passion—quiet and very excited to have me home because I'm bright and we can talk (about antimatter yet—that impressed him)! I keep telling him how smart you are and how proud I am of you.…" She went back to Lamar, her mother started sewing her a wedding dress, and for much of the year she believed her fiance was going to be her knight in shining armour. But as it happened, the fiance in question was described by everyone else who knew him as a compulsive liar and con man, who persuaded her father to give him money for supposed medical tests before the wedding, but in reality was apparently married to someone else and having a baby with a third woman. After the engagement was broken off, she started performing again around the coffeehouses in Austin and Houston, and she started to realise the possibilities of rock music for her kind of performance. The missing clue came from a group from Austin who she became very friendly with, the Thirteenth Floor Elevators, and the way their lead singer Roky Erickson would wail and yell: [Excerpt: The 13th Floor Elevators, "You're Gonna Miss Me (live)"] If, as now seemed inevitable, Janis was going to make a living as a performer, maybe she should start singing rock music, because it seemed like there was money in it. There was even some talk of her singing with the Elevators. But then an old friend came to Austin from San Francisco with word from Chet Helms. A blues band had formed, and were looking for a singer, and they remembered her from the coffee houses. Would she like to go back to San Francisco and sing with them? In the time she'd been away, Helms had become hugely prominent in the San Francisco music scene, which had changed radically. A band from the area called the Charlatans had been playing a fake-Victorian saloon called the Red Dog in nearby Nevada, and had become massive with the people who a few years earlier had been beatniks: [Excerpt: The Charlatans, "32-20"] When their residency at the Red Dog had finished, several of the crowd who had been regulars there had become a collective of sorts called the Family Dog, and Helms had become their unofficial leader. And there's actually a lot packed into that choice of name. As we'll see in a few future episodes, a lot of West Coast hippies eventually started calling their collectives and communes families. This started as a way to get round bureaucracy -- if a helpful welfare officer put down that the unrelated people living in a house together were a family, suddenly they could get food stamps. As with many things, of course, the label then affected how people thought about themselves, and one thing that's very notable about the San Francisco scene hippies in particular is that they are some of the first people to make a big deal about what we now call "found family" or "family of choice". But it's also notable how often the hippie found families took their model from the only families these largely middle-class dropouts had ever known, and structured themselves around men going out and doing the work -- selling dope or panhandling or being rock musicians or shoplifting -- with the women staying at home doing the housework. The Family Dog started promoting shows, with the intention of turning San Francisco into "the American Liverpool", and soon Helms was rivalled only by Bill Graham as the major promoter of rock shows in the Bay Area. And now he wanted Janis to come back and join this new band. But Janis was worried. She was clean now. She drank far too much, but she wasn't doing any other drugs. She couldn't go back to San Francisco and risk getting back on methamphetamine. She needn't worry about that, she was told, nobody in San Francisco did speed any more, they were all on LSD -- a drug she hated and so wasn't in any danger from. Reassured, she made the trip back to San Francisco, to join Big Brother and the Holding Company. Big Brother and the Holding Company were the epitome of San Francisco acid rock at the time. They were the house band at the Avalon Ballroom, which Helms ran, and their first ever gig had been at the Trips Festival, which we talked about briefly in the Grateful Dead episode. They were known for being more imaginative than competent -- lead guitarist James Gurley was often described as playing parts that were influenced by John Cage, but was equally often, and equally accurately, described as not actually being able to keep his guitar in tune because he was too stoned. But they were drawing massive crowds with their instrumental freak-out rock music. Helms thought they needed a singer, and he had remembered Joplin, who a few of the group had seen playing the coffee houses. He decided she would be perfect for them, though Joplin wasn't so sure. She thought it was worth a shot, but as she wrote to her parents before meeting the group "Supposed to rehearse w/ the band this afternoon, after that I guess I'll know whether I want to stay & do that for awhile. Right now my position is ambivalent—I'm glad I came, nice to see the city, a few friends, but I'm not at all sold on the idea of becoming the poor man's Cher.” In that letter she also wrote "I'm awfully sorry to be such a disappointment to you. I understand your fears at my coming here & must admit I share them, but I really do think there's an awfully good chance I won't blow it this time." The band she met up with consisted of lead guitarist James Gurley, bass player Peter Albin, rhythm player Sam Andrew, and drummer David Getz. To start with, Peter Albin sang lead on most songs, with Joplin adding yelps and screams modelled on those of Roky Erickson, but in her first gig with the band she bowled everyone over with her lead vocal on the traditional spiritual "Down on Me", which would remain a staple of their live act, as in this live recording from 1968: [Excerpt: Big Brother and the Holding Company, "Down on Me (Live 1968)"] After that first gig in June 1966, it was obvious that Joplin was going to be a star, and was going to be the group's main lead vocalist. She had developed a whole new stage persona a million miles away from her folk performances. As Chet Helms said “Suddenly this person who would stand upright with her fists clenched was all over the stage. Roky Erickson had modeled himself after the screaming style of Little Richard, and Janis's initial stage presence came from Roky, and ultimately Little Richard. It was a very different Janis.” Joplin would always claim to journalists that her stage persona was just her being herself and natural, but she worked hard on every aspect of her performance, and far from the untrained emotional outpouring she always suggested, her vocal performances were carefully calculated pastiches of her influences -- mostly Bessie Smith, but also Big Mama Thornton, Odetta, Etta James, Tina Turner, and Otis Redding. That's not to say that those performances weren't an authentic expression of part of herself -- they absolutely were. But the ethos that dominated San Francisco in the mid-sixties prized self-expression over technical craft, and so Joplin had to portray herself as a freak of nature who just had to let all her emotions out, a wild woman, rather than someone who carefully worked out every nuance of her performances. Joplin actually got the chance to meet one of her idols when she discovered that Willie Mae Thornton was now living and regularly performing in the Bay Area. She and some of her bandmates saw Big Mama play a small jazz club, where she performed a song she wouldn't release on a record for another two years: [Excerpt: Big Mama Thornton, "Ball 'n' Chain"] Janis loved the song and scribbled down the lyrics, then went backstage to ask Big Mama if Big Brother could cover the song. She gave them her blessing, but told them "don't" -- and here she used a word I can't use with a clean rating -- "it up". The group all moved in together, communally, with their partners -- those who had them. Janis was currently single, having dumped her most recent boyfriend after discovering him shooting speed, as she was still determined to stay clean. But she was rapidly discovering that the claim that San Franciscans no longer used much speed had perhaps not been entirely true, as for example Sam Andrew's girlfriend went by the nickname Speedfreak Rita. For now, Janis was still largely clean, but she did start drinking more. Partly this was because of a brief fling with Pigpen from the Grateful Dead, who lived nearby. Janis liked Pigpen as someone else on the scene who didn't much like psychedelics or cannabis -- she didn't like drugs that made her think more, but only drugs that made her able to *stop* thinking (her love of amphetamines doesn't seem to fit this pattern, but a small percentage of people have a different reaction to amphetamine-type stimulants, perhaps she was one of those). Pigpen was a big drinker of Southern Comfort -- so much so that it would kill him within a few years -- and Janis started joining him. Her relationship with Pigpen didn't last long, but the two would remain close, and she would often join the Grateful Dead on stage over the years to duet with him on "Turn On Your Lovelight": [Excerpt: Janis Joplin and the Grateful Dead, "Turn on Your Lovelight"] But within two months of joining the band, Janis nearly left. Paul Rothchild of Elektra Records came to see the group live, and was impressed by their singer, but not by the rest of the band. This was something that would happen again and again over the group's career. The group were all imaginative and creative -- they worked together on their arrangements and their long instrumental jams and often brought in very good ideas -- but they were not the most disciplined or technically skilled of musicians, even when you factored in their heavy drug use, and often lacked the skill to pull off their better ideas. They were hugely popular among the crowds at the Avalon Ballroom, who were on the group's chemical wavelength, but Rothchild was not impressed -- as he was, in general, unimpressed with psychedelic freakouts. He was already of the belief in summer 1966 that the fashion for extended experimental freak-outs would soon come to an end and that there would be a pendulum swing back towards more structured and melodic music. As we saw in the episode on The Band, he would be proved right in a little over a year, but being ahead of the curve he wanted to put together a supergroup that would be able to ride that coming wave, a group that would play old-fashioned blues. He'd got together Stefan Grossman, Steve Mann, and Taj Mahal, and he wanted Joplin to be the female vocalist for the group, dueting with Mahal. She attended one rehearsal, and the new group sounded great. Elektra Records offered to sign them, pay their rent while they rehearsed, and have a major promotional campaign for their first release. Joplin was very, very, tempted, and brought the subject up to her bandmates in Big Brother. They were devastated. They were a family! You don't leave your family! She was meant to be with them forever! They eventually got her to agree to put off the decision at least until after a residency they'd been booked for in Chicago, and she decided to give them the chance, writing to her parents "I decided to stay w/the group but still like to think about the other thing. Trying to figure out which is musically more marketable because my being good isn't enough, I've got to be in a good vehicle.” The trip to Chicago was a disaster. They found that the people of Chicago weren't hugely interested in seeing a bunch of white Californians play the blues, and that the Midwest didn't have the same Bohemian crowds that the coastal cities they were used to had, and so their freak-outs didn't go down well either. After two weeks of their four-week residency, the club owner stopped paying them because they were so unpopular, and they had no money to get home. And then they were approached by Bob Shad. (For those who know the film Walk Hard: The Dewey Cox Story, the Bob Shad in that film is named after this one -- Judd Apatow, the film's director, is Shad's grandson) This Shad was a record producer, who had worked with people like Big Bill Broonzy, Sarah Vaughan, Dinah Washington, and Billy Eckstine over an eighteen-year career, and had recently set up a new label, Mainstream Records. He wanted to sign Big Brother and the Holding Company. They needed money and... well, it was a record contract! It was a contract that took half their publishing, paid them a five percent royalty on sales, and gave them no advance, but it was still a contract, and they'd get union scale for the first session. In that first session in Chicago, they recorded four songs, and strangely only one, "Down on Me", had a solo Janis vocal. Of the other three songs, Sam Andrew and Janis dueted on Sam's song "Call on Me", Albin sang lead on the group composition "Blindman", and Gurley and Janis sang a cover of "All Is Loneliness", a song originally by the avant-garde street musician Moondog: [Excerpt: Big Brother and the Holding Company, "All is Loneliness"] The group weren't happy with the four songs they recorded -- they had to keep the songs to the length of a single, and the engineers made sure that the needles never went into the red, so their guitars sounded far more polite and less distorted than they were used to. Janis was fascinated by the overdubbing process, though, especially double-tracking, which she'd never tried before but which she turned out to be remarkably good at. And they were now signed to a contract, which meant that Janis wouldn't be leaving the group to go solo any time soon. The family were going to stay together. But on the group's return to San Francisco, Janis started doing speed again, encouraged by the people around the group, particularly Gurley's wife. By the time the group's first single, "Blindman" backed with "All is Loneliness", came out, she was an addict again. That initial single did nothing, but the group were fast becoming one of the most popular in the Bay Area, and almost entirely down to Janis' vocals and on-stage persona. Bob Shad had already decided in the initial session that while various band members had taken lead, Janis was the one who should be focused on as the star, and when they drove to LA for their second recording session it was songs with Janis leads that they focused on. At that second session, in which they recorded ten tracks in two days, the group recorded a mix of material including one of Janis' own songs, the blues track "Women is Losers", and a version of the old folk song "the Cuckoo Bird" rearranged by Albin. Again they had to keep the arrangements to two and a half minutes a track, with no extended soloing and a pop arrangement style, and the results sound a lot more like the other San Francisco bands, notably Jefferson Airplane, than like the version of the band that shows itself in their live performances: [Excerpt: Big Brother and the Holding Company, "Coo Coo"] After returning to San Francisco after the sessions, Janis went to see Otis Redding at the Fillmore, turning up several hours before the show started on all three nights to make sure she could be right at the front. One of the other audience members later recalled “It was more fascinating for me, almost, to watch Janis watching Otis, because you could tell that she wasn't just listening to him, she was studying something. There was some kind of educational thing going on there. I was jumping around like the little hippie girl I was, thinking This is so great! and it just stopped me in my tracks—because all of a sudden Janis drew you very deeply into what the performance was all about. Watching her watch Otis Redding was an education in itself.” Joplin would, for the rest of her life, always say that Otis Redding was her all-time favourite singer, and would say “I started singing rhythmically, and now I'm learning from Otis Redding to push a song instead of just sliding over it.” [Excerpt: Otis Redding, "I Can't Turn You Loose (live)"] At the start of 1967, the group moved out of the rural house they'd been sharing and into separate apartments around Haight-Ashbury, and they brought the new year in by playing a free show organised by the Hell's Angels, the violent motorcycle gang who at the time were very close with the proto-hippies in the Bay Area. Janis in particular always got on well with the Angels, whose drugs of choice, like hers, were speed and alcohol more than cannabis and psychedelics. Janis also started what would be the longest on-again off-again relationship she would ever have, with a woman named Peggy Caserta. Caserta had a primary partner, but that if anything added to her appeal for Joplin -- Caserta's partner Kimmie had previously been in a relationship with Joan Baez, and Joplin, who had an intense insecurity that made her jealous of any other female singer who had any success, saw this as in some way a validation both of her sexuality and, transitively, of her talent. If she was dating Baez's ex's lover, that in some way put her on a par with Baez, and when she told friends about Peggy, Janis would always slip that fact in. Joplin and Caserta would see each other off and on for the rest of Joplin's life, but they were never in a monogamous relationship, and Joplin had many other lovers over the years. The next of these was Country Joe McDonald of Country Joe and the Fish, who were just in the process of recording their first album Electric Music for the Mind and Body, when McDonald and Joplin first got together: [Excerpt: Country Joe and the Fish, "Grace"] McDonald would later reminisce about lying with Joplin, listening to one of the first underground FM radio stations, KMPX, and them playing a Fish track and a Big Brother track back to back. Big Brother's second single, the other two songs recorded in the Chicago session, had been released in early 1967, and the B-side, "Down on Me", was getting a bit of airplay in San Francisco and made the local charts, though it did nothing outside the Bay Area: [Excerpt: Big Brother and the Holding Company, "Down on Me"] Janis was unhappy with the record, though, writing to her parents and saying, “Our new record is out. We seem to be pretty dissatisfied w/it. I think we're going to try & get out of the record contract if we can. We don't feel that they know how to promote or engineer a record & every time we recorded for them, they get all our songs, which means we can't do them for another record company. But then if our new record does something, we'd change our mind. But somehow, I don't think it's going to." The band apparently saw a lawyer to see if they could get out of the contract with Mainstream, but they were told it was airtight. They were tied to Bob Shad no matter what for the next five years. Janis and McDonald didn't stay together for long -- they clashed about his politics and her greater fame -- but after they split, she asked him to write a song for her before they became too distant, and he obliged and recorded it on the Fish's next album: [Excerpt: Country Joe and the Fish, "Janis"] The group were becoming so popular by late spring 1967 that when Richard Lester, the director of the Beatles' films among many other classics, came to San Francisco to film Petulia, his follow-up to How I Won The War, he chose them, along with the Grateful Dead, to appear in performance segments in the film. But it would be another filmmaker that would change the course of the group's career irrevocably: [Excerpt: Scott McKenzie, "San Francisco (Be Sure to Wear Some Flowers in Your Hair)"] When Big Brother and the Holding Company played the Monterey Pop Festival, nobody had any great expectations. They were second on the bill on the Saturday, the day that had been put aside for the San Francisco acts, and they were playing in the early afternoon, after a largely unimpressive night before. They had a reputation among the San Francisco crowd, of course, but they weren't even as big as the Grateful Dead, Moby Grape or Country Joe and the Fish, let alone Jefferson Airplane. Monterey launched four careers to new heights, but three of the superstars it made -- Otis Redding, Jimi Hendrix, and the Who -- already had successful careers. Hendrix and the Who had had hits in the UK but not yet broken the US market, while Redding was massively popular with Black people but hadn't yet crossed over to a white audience. Big Brother and the Holding Company, on the other hand, were so unimportant that D.A. Pennebaker didn't even film their set -- their manager at the time had not wanted to sign over the rights to film their performance, something that several of the other acts had also refused -- and nobody had been bothered enough to make an issue of it. Pennebaker just took some crowd shots and didn't bother filming the band. The main thing he caught was Cass Elliot's open-mouthed astonishment at Big Brother's performance -- or rather at Janis Joplin's performance. The members of the group would later complain, not entirely inaccurately, that in the reviews of their performance at Monterey, Joplin's left nipple (the outline of which was apparently visible through her shirt, at least to the male reviewers who took an inordinate interest in such things) got more attention than her four bandmates combined. As Pennebaker later said “She came out and sang, and my hair stood on end. We were told we weren't allowed to shoot it, but I knew if we didn't have Janis in the film, the film would be a wash. Afterward, I said to Albert Grossman, ‘Talk to her manager or break his leg or whatever you have to do, because we've got to have her in this film. I can't imagine this film without this woman who I just saw perform.” Grossman had a talk with the organisers of the festival, Lou Adler and John Phillips, and they offered Big Brother a second spot, the next day, if they would allow their performance to be used in the film. The group agreed, after much discussion between Janis and Grossman, and against the wishes of their manager: [Excerpt: Big Brother and the Holding Company, "Ball and Chain (live at Monterey)"] They were now on Albert Grossman's radar. Or at least, Janis Joplin was. Joplin had always been more of a careerist than the other members of the group. They were in music to have a good time and to avoid working a straight job, and while some of them were more accomplished musicians than their later reputations would suggest -- Sam Andrew, in particular, was a skilled player and serious student of music -- they were fundamentally content with playing the Avalon Ballroom and the Fillmore and making five hundred dollars or so a week between them. Very good money for 1967, but nothing else. Joplin, on the other hand, was someone who absolutely craved success. She wanted to prove to her family that she wasn't a failure and that her eccentricity shouldn't stop them being proud of her; she was always, even at the depths of her addictions, fiscally prudent and concerned about her finances; and she had a deep craving for love. Everyone who talks about her talks about how she had an aching need at all times for approval, connection, and validation, which she got on stage more than she got anywhere else. The bigger the audience, the more they must love her. She'd made all her decisions thus far based on how to balance making music that she loved with commercial success, and this would continue to be the pattern for her in future. And so when journalists started to want to talk to her, even though up to that point Albin, who did most of the on-stage announcements, and Gurley, the lead guitarist, had considered themselves joint leaders of the band, she was eager. And she was also eager to get rid of their manager, who continued the awkward streak that had prevented their first performance at the Monterey Pop Festival from being filmed. The group had the chance to play the Hollywood Bowl -- Bill Graham was putting on a "San Francisco Sound" showcase there, featuring Jefferson Airplane and the Grateful Dead, and got their verbal agreement to play, but after Graham had the posters printed up, their manager refused to sign the contracts unless they were given more time on stage. The next day after that, they played Monterey again -- this time the Monterey Jazz Festival. A very different crowd to the Pop Festival still fell for Janis' performance -- and once again, the film being made of the event didn't include Big Brother's set because of their manager. While all this was going on, the group's recordings from the previous year were rushed out by Mainstream Records as an album, to poor reviews which complained it was nothing like the group's set at Monterey: [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] They were going to need to get out of that contract and sign with somewhere better -- Clive Davis at Columbia Records was already encouraging them to sign with him -- but to do that, they needed a better manager. They needed Albert Grossman. Grossman was one of the best negotiators in the business at that point, but he was also someone who had a genuine love for the music his clients made. And he had good taste -- he managed Odetta, who Janis idolised as a singer, and Bob Dylan, who she'd been a fan of since his first album came out. He was going to be the perfect manager for the group. But he had one condition though. His first wife had been a heroin addict, and he'd just been dealing with Mike Bloomfield's heroin habit. He had one absolutely ironclad rule, a dealbreaker that would stop him signing them -- they didn't use heroin, did they? Both Gurley and Joplin had used heroin on occasion -- Joplin had only just started, introduced to the drug by Gurley -- but they were only dabblers. They could give it up any time they wanted, right? Of course they could. They told him, in perfect sincerity, that the band didn't use heroin and it wouldn't be a problem. But other than that, Grossman was extremely flexible. He explained to the group at their first meeting that he took a higher percentage than other managers, but that he would also make them more money than other managers -- if money was what they wanted. He told them that they needed to figure out where they wanted their career to be, and what they were willing to do to get there -- would they be happy just playing the same kind of venues they were now, maybe for a little more money, or did they want to be as big as Dylan or Peter, Paul, and Mary? He could get them to whatever level they wanted, and he was happy with working with clients at every level, what did they actually want? The group were agreed -- they wanted to be rich. They decided to test him. They were making twenty-five thousand dollars a year between them at that time, so they got ridiculously ambitious. They told him they wanted to make a *lot* of money. Indeed, they wanted a clause in their contract saying the contract would be void if in the first year they didn't make... thinking of a ridiculous amount, they came up with seventy-five thousand dollars. Grossman's response was to shrug and say "Make it a hundred thousand." The group were now famous and mixing with superstars -- Peter Tork of the Monkees had become a close friend of Janis', and when they played a residency in LA they were invited to John and Michelle Phillips' house to see a rough cut of Monterey Pop. But the group, other than Janis, were horrified -- the film barely showed the other band members at all, just Janis. Dave Getz said later "We assumed we'd appear in the movie as a band, but seeing it was a shock. It was all Janis. They saw her as a superstar in the making. I realized that though we were finally going to be making money and go to another level, it also meant our little family was being separated—there was Janis, and there was the band.” [Excerpt: Big Brother and the Holding Company, "Bye Bye Baby"] If the group were going to make that hundred thousand dollars a year, they couldn't remain on Mainstream Records, but Bob Shad was not about to give up his rights to what could potentially be the biggest group in America without a fight. But luckily for the group, Clive Davis at Columbia had seen their Monterey performance, and he was also trying to pivot the label towards the new rock music. He was basically willing to do anything to get them. Eventually Columbia agreed to pay Shad two hundred thousand dollars for the group's contract -- Davis and Grossman negotiated so half that was an advance on the group's future earnings, but the other half was just an expense for the label. On top of that the group got an advance payment of fifty thousand dollars for their first album for Columbia, making a total investment by Columbia of a quarter of a million dollars -- in return for which they got to sign the band, and got the rights to the material they'd recorded for Mainstream, though Shad would get a two percent royalty on their first two albums for Columbia. Janis was intimidated by signing for Columbia, because that had been Aretha Franklin's label before she signed to Atlantic, and she regarded Franklin as the greatest performer in music at that time. Which may have had something to do with the choice of a new song the group added to their setlist in early 1968 -- one which was a current hit for Aretha's sister Erma: [Excerpt: Erma Franklin, "Piece of My Heart"] We talked a little in the last episode about the song "Piece of My Heart" itself, though mostly from the perspective of its performer, Erma Franklin. But the song was, as we mentioned, co-written by Bert Berns. He's someone we've talked about a little bit in previous episodes, notably the ones on "Here Comes the Night" and "Twist and Shout", but those were a couple of years ago, and he's about to become a major figure in the next episode, so we might as well take a moment here to remind listeners (or tell those who haven't heard those episodes) of the basics and explain where "Piece of My Heart" comes in Berns' work as a whole. Bert Berns was a latecomer to the music industry, not getting properly started until he was thirty-one, after trying a variety of other occupations. But when he did get started, he wasted no time making his mark -- he knew he had no time to waste. He had a weak heart and knew the likelihood was he was going to die young. He started an association with Wand records as a songwriter and performer, writing songs for some of Phil Spector's pre-fame recordings, and he also started producing records for Atlantic, where for a long while he was almost the equal of Jerry Wexler or Leiber and Stoller in terms of number of massive hits created. His records with Solomon Burke were the records that first got the R&B genre renamed soul (previously the word "soul" mostly referred to a kind of R&Bish jazz, rather than a kind of gospel-ish R&B). He'd also been one of the few American music industry professionals to work with British bands before the Beatles made it big in the USA, after he became alerted to the Beatles' success with his song "Twist and Shout", which he'd co-written with Phil Medley, and which had been a hit in a version Berns produced for the Isley Brothers: [Excerpt: The Isley Brothers, "Twist and Shout"] That song shows the two elements that existed in nearly every single Bert Berns song or production. The first is the Afro-Caribbean rhythm, a feel he picked up during a stint in Cuba in his twenties. Other people in the Atlantic records team were also partial to those rhythms -- Leiber and Stoller loved what they called the baion rhythm -- but Berns more than anyone else made it his signature. He also very specifically loved the song "La Bamba", especially Ritchie Valens' version of it: [Excerpt: Ritchie Valens, "La Bamba"] He basically seemed to think that was the greatest record ever made, and he certainly loved that three-chord trick I-IV-V-IV chord sequence -- almost but not quite the same as the "Louie Louie" one. He used it in nearly every song he wrote from that point on -- usually using a bassline that went something like this: [plays I-IV-V-IV bassline] He used it in "Twist and Shout" of course: [Excerpt: The Isley Brothers, "Twist and Shout"] He used it in "Hang on Sloopy": [Excerpt: The McCoys, "Hang on Sloopy"] He *could* get more harmonically sophisticated on occasion, but the vast majority of Berns' songs show the power of simplicity. They're usually based around three chords, and often they're actually only two chords, like "I Want Candy": [Excerpt: The Strangeloves, "I Want Candy"] Or the chorus to "Here Comes the Night" by Them, which is two chords for most of it and only introduces a third right at the end: [Excerpt: Them, "Here Comes the Night"] And even in that song you can hear the "Twist and Shout"/"La Bamba" feel, even if it's not exactly the same chords. Berns' whole career was essentially a way of wringing *every last possible drop* out of all the implications of Ritchie Valens' record. And so even when he did a more harmonically complex song, like "Piece of My Heart", which actually has some minor chords in the bridge, the "La Bamba" chord sequence is used in both the verse: [Excerpt: Erma Franklin, "Piece of My Heart"] And the chorus: [Excerpt: Erma Franklin, "Piece of My Heart"] Berns co-wrote “Piece of My Heart” with Jerry Ragavoy. Berns and Ragavoy had also written "Cry Baby" for Garnet Mimms, which was another Joplin favourite: [Excerpt: Garnet Mimms, "Cry Baby"] And Ragavoy, with other collaborators

christmas united states america tv music women american university time california history texas canada black father chicago australia uk man technology body soul talk hell mexico british child san francisco canadian new york times brothers european wild blood depression sex mind nashville night detroit angels high school band watching cold blues fish color families mcdonald republicans britain atlantic weight beatles martin luther king jr tears midwest cuba nevada columbia cd hang rolling stones loneliness west coast grande elvis flowers secretary losers bay area rock and roll garcia piece hart prove deciding bob dylan crossroads twist victorian sad big brother mainstream rodgers chain sweat hawks summertime bach lsd dope elevators lamar hawkins pcos californians od aretha franklin tina turner seventeen texan bradford jimi hendrix appalachian grateful dead goin wand eric clapton gimme miles davis shelton leonard cohen nina simone methodist tilt bee gees ike blind man monterey billie holiday grossman gee mixcloud janis joplin louis armstrong tom jones little richard my heart judd apatow monkees xerox robert johnson redding rock music partly taj mahal booker t cry baby greenwich village bohemian venice beach angela davis muddy waters shad jerry lee lewis otis redding ma rainey phil spector kris kristofferson joplin david crosby joan baez crumb charlatans rainey john cage baez buried alive steppenwolf jerry garcia etta james helms fillmore merle haggard columbia records gershwin albin bish jefferson airplane gordon lightfoot mahal stax gurley lassie minnesotan todd rundgren on the road afro caribbean mgs la bamba dusty springfield unusually port arthur john lee hooker john hammond sarah vaughan judy collins benny goodman mc5 kerouac southern comfort big mama clive davis take my hand stoller three dog night be different bessie smith roky beatniks cheap thrills mammy john phillips ritchie valens holding company c minor pigpen hound dog berns buck owens texaco stax records prokop caserta lionel hampton haight ashbury bill graham red dog dinah washington richard lester elektra records alan lomax meso wanda jackson louie louie unwittingly abernethy be alone robert crumb family dog leiber solomon burke pennebaker albert hall big mama thornton lonnie johnson flying burrito brothers roky erickson bobby mcgee lou adler son house winterland peter tork kristofferson walk hard the dewey cox story rothchild richard morgan lester bangs art club spinning wheel mazer sidney bechet ronnie hawkins monterey pop festival john simon michelle phillips reassured big bill broonzy country joe floor elevators mike bloomfield chip taylor cass elliot eddie floyd moby grape jackie kay blind lemon jefferson billy eckstine monterey pop monterey jazz festival steve mann jerry wexler paul butterfield blues band gonna miss me quicksilver messenger service jack hamilton music from big pink okeh bach prelude jack casady brad campbell me live spooner oldham country joe mcdonald to love somebody bert berns thomas dorsey autoharp albert grossman cuckoo bird silver threads grande ballroom erma franklin electric music billy roberts benzedrine okeh records racial imagination stefan grossman alice echols tilt araiza

S1E8 2nd CLASS IN POLAND, 1st CLASS IN PALESTINE

Play Episode Listen Later Oct 25, 2023 28:46

In 1938 Britain and the USA call an international conference to rescue Jewish refugees from Hitler. The world refuses to open its doors, a humanitarian disaster that clears the way for Hitler's Final Solution. But astonishingly, Zionists attending the conference see this as an achievement. How could that be? Episode 8 of KEYS: A Troubled Inheritance released on 25 October 2023, and now available on all platforms. In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of Kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images Mike Joseph Sami Abu Salem Music Keys Theme & Variations on a Bach Prelude in B minor - Micha Wink PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips SPEAKERS AND CAST in programme order James Stewart as Joseph Goebbels and voice of Der Stürmer George May as Israel Gold Lilli Gold interviewed by USC Shoah Foundation, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ Andrea Brondino as Monsignor Giuseppe di Meglio Richard Tebboth as David Ben Gurion Rosa Gold interviewed by Mike Joseph Alice Gold as young Lilli Gold Mick Napier as Henryk Ehrlich Peter Kirsten as Leipzig policeman

S1E7 BRITAIN BOOSTS ZIONISM

Play Episode Listen Later Oct 18, 2023 28:57

In Episode 7, when Nazi Germany excludes Jews from citizenship, Israel Gold, Mike Joseph's grandfather, is forced to consider emigrating to Palestine. He learns Hebrew and Arabic, because his kind of Zionism seeks a bi-national state of all its inhabitants. But in 1937, the British Government reveals a different plan: a Jewish state, with its native Palestinian population removed by force. How will Zionism react, and what will Israel Gold do? In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images Mike Joseph Sami Abu Salem Music Keys Theme & Variations on a Bach Prelude in B minor - Micha Wink Ba'a M'nucha, Nathan Alterman & Kurt Weill - Gail Stewart soprano, Mike Joseph piano PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips SPEAKERS AND CAST in programme order Lilli Gold interviewed by USC Shoah Foundation, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ George May as Israel Gold Rosa Gold interviewed by Mike Joseph Richard Tebboth as David Ben Gurion

S1E6 UKRAINE'S INCONVENIENT HISTORY

Play Episode Listen Later Oct 11, 2023 29:44

Nationalism comes under the spotlight in Episode Six: Israel Gold, Mike Joseph's grandfather, adds a four-kilo dictionary to his soldier's kit bag in November 1917. We discover why. Then, without knowing it, Israel Gold becomes Ukrainian, an identity which will through time reveal the strengths of multiculturalism and the perils of ethnic nationalism. In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of Kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images & music Mike Joseph Sami Abu Salem Micha Wink Lilli Gold, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Micha Wink Keys Theme & Variations on a Bach Prelude in B minor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips CAST in programme order Terry Dimmick as car park attendant George May as Israel Gold

S1E5 THE QUEEN AND THE CLAIMANT

Play Episode Listen Later Oct 4, 2023 32:00

Mike Joseph's mother petitions the Queen for help to recover her Nazi-plundered house from a resistant Germany. The Queen's response unlocks a wave of British government action, which escalates towards an international crisis. In this episode, a very personal family story becomes a highly political dispute. In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists.In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city.Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips, James Stewart Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images & music Mike Joseph Sami Abu Salem Micha Wink Lilli Gold, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ Brahms, German Requiem, The Holden Consort Orchestra and Choir http://ml.cs.colorado.edu/~ben/Brahms/ Licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Micha Wink Keys Theme & Variations on a Bach Prelude in B minor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips CAST in programme order Christine Willison as Lilli Gold James Stewart as Robert Fellowes, voices of UK Foreign Office, Martin Gilbert, British Ambassador to Germany.

S1E4 NAZI JOURNALIST DEFIES JEWISH JOURNALIST

Play Episode Listen Later Sep 27, 2023 36:05

What do you say to an old Nazi? With this question, Mike Joseph's daughter Asha opens an episode in which we hear what Mike does say when suddenly, in 1991 he encounters the Nazi who stole his mother's house fifty years earlier. The old Nazi shouts him down. Then Mike finds that he is not the only voice in newly-reunited Germany refusing to return property stolen by the Nazis. In this epic journey, Mike sets out to uncover his Holocaust inheritance, but is led relentlessly to discovering his Nakba inheritance. It turns out that the two different catastrophes are more connected than he thought possible. In 2023, can both stories be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips, James Stewart Interpreters and Translators Dina Brandt, Alex Dunai, Markus Hartmann, Burkhardt Kolbmuller, Svitlana Kovalyk, Itamar Shapira, Nadia Slobodyan, Hannah Kleinfeld, Atef Alshaer Images & music Lilli Gold, Mike Joseph, Holger Jackisch, Sami Abu Salem Lilli Gold, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ Dresden Bombing: Bundesarchiv Bild 146-1994-041-07, Dresden, zerstörtes Stadtzentrum.jpg Bundesarchiv, Bild 146-1994-041-07 / Unknown author / CC-BY-SA 3.0, CC BY-SA 3.0 de, https://commons.wikimedia.org/w/index.php?curid=5483604 Licensed under the Creative Commons Attribution-Share Alike 3.0 Germany license. Foreign & Commonwealth Office main building.jpg, created: circa 2014 QS:P,+2014-00-00T00:00:00Z/9,P1480,Q5727902 Public sector information licensed under the Open Government Licence v2.0. Klaus Kinkel: Tohma, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons Helmut Kohl: © European Communities, 1996 / EC, Photo: Christian Lambiotte Otto Lambsdorff: Bundesarchiv, B 145 Bild-F046792-0029 / Wegmann, Ludwig / CC-BY-SA 3.0, CC BY-SA 3.0 DE https://creativecommons.org/licenses/by-sa/3.0/de/deed.en, via Wikimedia Commons Hinrich Lehmann-Grube: Axel Hindemith, CC0, via Wikimedia Commons Brahms, German Requiem, The Holden Consort Orchestra and Choir http://ml.cs.colorado.edu/~ben/Brahms/ Licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license PRODUCTION Mike Joseph - Producer, Zac Ware - Sound Editor, Micha Wink - Keys Theme & Variations on a Bach Prelude in B minor, Pamela Koehne-Drube - Audience and Web Advisor PRESENTERS Mike Joseph, Asha Phillips CAST in programme order Daniel Ratthei as Burkhardt Kolbmuller [German] Werner Bauer as Ralph Dippmann [German] James Stewart as Ralph Dippmann [English] Christel Stoecker-Danby voicing confiscation and conveyance to Dippmann [German], James Stewart [English] James Stewart as Holger Jackisch and voices of UK Foreign Office, Leipzig City Council and Federal German Government, Daily Telegraph Klaus Riekemann as Hinrich Lehmann-Grube and Christian Jacke Bruno Bubna-Kasteliz as Klaus Kinkel and Otto Lambsdorff Christine Willison as Lilli Gold

S1E3 RESISTING RESTITUTION

Play Episode Listen Later Sep 20, 2023 29:43

In 1943, while Mike's mother's family were being killed, a Nazi journalist obtained Mike's mother's home, the Leipzig house from which the SS had expelled them a few years earlier. In 1951, instead of returning the home to Mike's mother, East Germany stole it again, and handed it back to the Nazi journalist. Now it is 40 years later, 1991, and Mike arrives in newly reunited Germany to try finally to recover his mother's house. But he encounters official obstruction and resistance. And then he discovers the Nazi journalist is still alive, and still holding his wartime plunder. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips. Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Hannah Kleinfeld Atef Alshaer Images Lilli Gold Mike Joseph Holger Jackisch Sami Abu Salem PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Micha Wink Keys Theme & Variations on a Bach Prelude in B minor Pamela Koehne-Drube Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips CAST in programme order Wera Hobhouse as Marie Nummer Christel Stoecker-Danby as Leipzig Housing Manager Kerstin Barthelmes as Frau Jordan, Leipzig Property Claims Officer James Stewart as Ralph Dippmann Klaus Riekemann as Aron Adlerstein Melissa Pawelski as Suzannah Kucharski Clemens Hofer as Peter Kirsten Christel Stoecker-Danby voicing confiscation and conveyance to Dippmann James Stewart voicing conveyance to Dippmann

S1E2 KEYS OF EXILE AND LOSS

Play Episode Listen Later Sep 6, 2023 34:09

In the second episode of Keys, as the Second World War ends, people long for better times, and the United Nations does something about it, declaring genocide a crime against humanity, declaring slavery an abuse of human rights, declaring asylum and freedom of thought to be human rights, as well as the right to own property and not have it stolen. But two states immediately deny that right to refugees from their terror. Mike's mother is one of many thousands, denied that right. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS for this episode Testimony Testimony and commentary by Mike Joseph, Asha Phillips, Lilli Gold, Rose Gold. Interpreters and Translators Dina Brandt Alex Dunai Markus Hartmann Burkhardt Kolbmuller Svitlana Kovalyk Itamar Shapira Nadia Slobodyan Audio sources The Hundred Year House, BBC 1999 Images Lilli Gold Mike Joseph Holger Jackisch Sami Abu Salem PRODUCTION Mike Joseph - Producer Zac Ware - Sound Editor Micha Wink - Keys Theme & Variations on a Bach Prelude in B minor Pamela Koehne-Drube - Audience and Web Advisor PRESENTERS Mike Joseph Asha Phillips CAST in programme order Terry Dimmick as Car Park Attendant Peter Kirsten as Leipzig Policeman Young Asha Phillips as Dorothea Gold Wera Hobhouse as Marie Nummer Zac Ware as Fritz Grunsfeld James Stewart as Ralph Dippmann [English] Klaus Riekemann as Leipzig Property Administrator [German] Richard Tebboth as Leipzig Property Administrator [English] James Stewart as Wolfgang Vogel [German] Patrick Thomas as Wolfgang Vogel [English]

S1E1 HOLOCAUST JOURNEY CONFRONTS THE NAKBA

Play Episode Listen Later Sep 6, 2023 35:58

One day in 2006, in a noisy café in Ukraine, Mike thought he had just met a survivor of the Holocaust massacre that destroyed his mother's family. He turned out also to be a veteran of Israel's War of Independence, now bitterly rejecting Israel's occupation of Palestine, telling his family there was no hope and they should leave. This incident, captured in sound, sums up the contradictions Mike discovers in this epic journey. Working to uncover his Holocaust inheritance, he is led relentlessly to discovering his Nakba inheritance. It turns out the two different catastrophes are very connected. But can they both be heard and understood? With unique personal testimony, recordings, letters and memories by those who survived and those who did not, this challenging audio series is devised, dramatised and narrated by broadcaster Mike Joseph. PLACE NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists. In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city. Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941. Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city. Fatima Abu Salem grew up in the thriving Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place. Place names matter. How we name places reveals our own histories, identities and yearnings. CREDITS Testimony Testimony and commentary by Mike Joseph, Amnon Neumann, Fatima Abu Salem, Sami Abu Salem, Lilli Gold, Rose Gold, Henryk Luft, Moshe Kolesnik, Yehudah ben Baruch, Itamar Shapira, Asha Phillips. Interpreters and Translators Dina Brandt, Alex Dunai, Markus Hartmann, Burkhardt Kolbmuller, Svitlana Kovalyk, Itamar Shapira, Nadia Slobodyan Video sources Lilli Gold, © 1998 USC Shoah Foundation. From the archive of USC Shoah Foundation – The Institute for Visual History and Education http://sfi.usc.edu/ Israel and West Bank locations by agreement with Boom Cymru TV Cyf. Batorego Cemetery, Ivano-Frankivsk; Henryk Luft; Yad Vashem viewing platform; handmade Israeli flag © Mike Joseph Zochrot Truth Commission session with Amnon Neumann by agreement with Zochrot Images Lilli Gold Mike Joseph Sami Abu Salem PRODUCTION Mike Joseph Producer Zac Ware Sound Editor Jesse Lawrence Video Editor Micha Wink Keys Theme & Variations on a Bach Prelude in B minor Pamela Koehne-Drube Audience and Web Advisor Michelle Alderson Graphic Designer PRESENTERS Mike Joseph & Asha Phillips CAST in programme order Peter Kirsten as Leipzig Policeman Werner Bauer as Ralph Dippmann George May as Israel Gold Andrea Brondino as Henryk Luft

KEYS: A Troubled Inheritance Teaser

Play Episode Listen Later Jul 17, 2023 0:49

By remembering his family lost in the Holocaust, Mike Joseph encounters the Palestinian Nakba. How do radically different histories connect? Documentary series KEYS: A Troubled Inheritance launches in Wednesday 6th September 2023 An epic journey to uncover a Holocaust inheritance leads relentlessly to discovering a Nakba inheritance: two catastrophes that are very different, but very connected. Can they both be heard and understood? With personal testimony, letters and memories by those who survived and those who did not, this challenging audio series is dramatised and narrated by broadcaster Mike Joseph. NAMES When the place names in Keys get confusing, these notes will help. Mike's grandparents came from Galicia, a part of eastern Europe on no modern map. Today some of Galicia is southeast Poland, another part is western Ukraine. Galicia no longer exists.In the last century, many of Galicia's Jews, Ukrainians and Poles also ceased to exist, violently, as their province was repeatedly ruptured by the front lines of two World Wars, genocide and ethnic cleansing. Before 1918, Galicia was the Austro-Hungarian Empire's most eastern province. Its capital was Lemberg (German) = Lwów (Polish) = Lviv (Ukrainian). Three names, but one city.Further south, Mike's grandfather grew up in Stanislau (German); left Stanislaviv (Ukrainian) in 1918 for a better life in Germany; deported back to Stanisławów (Polish) in 1938, which became Stanislaviv (Ukrainian) in 1939; killed in Stanislau (German) in 1941.Before Mike first visited that city in 1999, the Soviet Union renamed it Ivano-Frankovsk (Russian). Today the place where he found his grandfather's surviving colleagues and allies is called Ivano-Frankivsk (Ukrainian). Five names, but one city.Fatima Abu Salem grew up in the large Palestinian village of Burayr, at crossroads leading to Gaza, Hebron and Beersheba. Today a few ruins of Burayr are surrounded by the fields of kibbutz Bro'r Hayyil. Two names, but one place.Place names matter. How we name places reveals our own histories, identities and yearnings. Testimony Testimony and commentary by Mike Joseph, Lilli Gold, Henryk Luft, Itamar Shapira, Amnon Neumann, Sami Abu Salem, Fatima Abu Salem, Asha Phillips. PRODUCTION Mike Joseph Producer Jesse Lawrence Video Editor Zac Ware Sound Editor Micha Wink Keys Theme & Variations on a Bach Prelude in B minor Michelle Alderson Graphic Designer Pamela Koehne-Drube Audience and Web Advisor

KEYS: A Troubled Inheritance Trailer

video bach different ways c minor well tempered clavier prelude no bach prelude

Play Episode Listen Later Jul 17, 2023 4:52

Bach Prelude No. 2 in C minor (from WTK1): Different Ways To Play

Sonata Secrets

Play Episode Listen Later May 27, 2023 11:59

Come along when we explore the harmonic journey of Bach's Prelude no. 2 in C minor from the Well-Tempered Clavier. Since there are very few markings other than the notes, pianists different choices create different interpretations of the same music. With pianist Henrik Kilhamn. Video: https://youtu.be/6sQHahneCGQ

Equal Temperament

Coffee, Cake and Culture - The Music Podcast

Play Episode Listen Later Jan 30, 2023 65:00

In Episode 5, Andy explains to Rob the mysterious concept of Equal Temperament. Musicians, composers, scientists and instrument makers in the West, worked for hundreds of years to manipulate sound to make our concept of tonality different from all other music. How and why did they do this and why is this linked to a Jaffa Cake? See the recipe on https://www.coffeecakeandculture.com.au/ Music featured in this Episode is:1. Shakuhachi playing by a grand master2. Mozart - Requiem – Dies Irea. Abbado3. The Pythagorean Comma. Det Springend Punkt4. Chinese Music featuring a flute, banjo, citar and erhu 5. Street music from XIII to XVI centuries - Ensemble Anonymous and Strada6. Graduel a' Alienor de Bretagne Orbis Factor7. Dunstable - Veni Sancto spiritus. Pomerium8. Josquin – Veni Sancto Spiritus. Hilliard Ensemble9. Krebs – Dr David Pitches.Hammerwood Park organ10. Couperin – Saraband in G minor. Moraitis (meantone)11. Couperin – Saraband in G Minor (not meantone)12. Bach – Prelude in C major13. Bach – Prelude in Ab Major14. Flute quartet in C – Mozart – Marc Zuili playing a 1789 Flute (original instruments)15. Flute quartet in C- Mozart – modern instruments Hosted on Acast. See acast.com/privacy for more information.

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Das Wohltemperirte Clavier: A Bach prelude

Auckland Libraries

Play Episode Listen Later Jan 30, 2023 11:06

Listen in to this Kura Tūturu | Real Gold track to hear from music librarian Marilyn Portman on a very special first printed edition of a musical score recently donated to Auckland Libraries Heritage Collections. Das wohltemperirte Clavier, oder, Präludien und Fugen durch alle Töne. By J.S. Bach, Book I is perhaps Bach's best-loved keyboard work. Known in English as "the 48" or the "Well-Tempered Clavier", it was composed and used as a valuable teaching tool for students. Learn more about this first printed edition : http://heritageetal.blogspot.com/2023/01/bachs-well-tempered-clavier-first.html Digital copy available here: https://kura.aucklandlibraries.govt.nz/digital/collection/rarebooks/id/12770/rec/1 Music courtesy of International Music Score Library Project (IMSLP). Creative Commons License. https://imslp.org/wiki/Prelude_and_Fugue_in_E-flat_minor,_BWV_853_(No 8 Bach,_Johann_Sebastian) https://imslp.org/wiki/Prelude_and_Fugue_in_E_major,_BWV_854_(No. 9 Bach,_Johann_Sebastian) Performed by Peter Bradley-Fulgoni. Recorded September 2016 in St. Paul's Hall, Huddersfield University

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22. 什么是好钢琴家？

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Play Episode Listen Later Oct 10, 2022 14:14

第22期了，今天不先聊作曲家，聊聊我心目中对好钢琴家的理解。到底什么是弹得好？真的只是主观感受吗？有时也不尽然。包含曲目：0:26- J.S. Bach: Prelude and Fugue in E flat minor / D sharp minor (WTK, Book I, No. 8) , BWV 853；András Schiff4:23- 4 Impromptus, Op. 90, D. 899 - No. 3 in G-Flat Major (Live)；Sviatoslav Richter11:09- Goldberg Variations; BWV 988 - Aria (主题)； Glenn Gould

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El cuerpo habla junto con la voz

Esto no es radio

Play Episode Listen Later Aug 31, 2022 31:48

Desde niño, Miguel Ángel soñó con ser cantante de ópera. Y desde niño lo logró. Cumplió sus sueños incluso más allá de lo que esperaba. Sin embargo, no tardaría en enfrentarse a la realidad de que, tarde o temprano, y por simple naturaleza, su carrera como niño soprano tendría que terminar. Y su futuro en la música estaría en el aire. Este episodio fue escrito y producido por Luis López, nuestro productor general, quien también hizo el diseño sonoro y musicalización. Edición de guión y dirección sonora de Fernando "Micro" Hernández Becerra. Nuestra asistente de producción es Sandra Fernández. Natalia Luján es productora y editora de comunidades. Esta temporada contamos con ilustraciones de Xitlalli Rayas. Los créditos de todo el equipo pueden encontrarlos en la página estonoesradio.mx. Síguenos en Twitter como @estonoesradio y en Instagram como @estonoesradiomx. Gracias a Miguel Ángel Reynosa Quiñones por compartirnos su voz, tanto hablada como cantada, y tanto en vivo como en archivo. Música utilizada en este episodio con licencia de atribución CC BY: Kevin MacLeod - Enchanted Journey Kevin MacLeod - Georges Bizet: Habanera Kevin MacLeod - J. S. Bach: Prelude in C - BWV 846

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El cuerpo habla junto con la voz

Esto no es radio (this is not radio)

Play Episode Listen Later Aug 31, 2022 31:48

sin desde micro nuestra junto hern habla edici la voz el cuerpo becerra cumpli luis l bach prelude c bwv sandra fern

The Lonely Hearts Club - Ep.21: Mixed Emotions

Radio D&D

Play Episode Listen Later Jul 21, 2022 172:40

The Lonely Hearts pay a visit to College Place, hoping to learn more about the abandoned phylactery they stole from the shipment of ancient artifacts. Podcast Artwork: DrawForthArts: https://www.etsy.com/shop/drawfortharts Music (Freemusicarchive.org): Damned by Jahzzar (https://creativecommons.org/licenses/by-sa/4.0/) Face Punch by Jesse Spillane (Attribution 4.0 International: https://creativecommons.org/licenses/by/4.0/) Faster Does It by Kevin MacLeod (Attribution 3.0 Unported: https://creativecommons.org/licenses/by/3.0/) Free Jazz by Steve Combs (https://creativecommons.org/licenses/by/4.0/) Ghost Dance by Kevin MacLeod (https://creativecommons.org/licenses/by/3.0/) J.S. Bach: Prelude in C - BWV 846 by Kevin MacLeod (https://creativecommons.org/licenses/by/3.0/) Jazzy Detective by John Bartmann (Attribution-ShareAlike: https://creativecommons.org/licenses/by-sa/4.0/) Lift Motif by Kevin MacLeod (https://creativecommons.org/licenses/by/3.0/) Rollin at 5 – 210 – Full by Kevin MacLeod (Attribution 3.0 Unported: https://creativecommons.org/licenses/by/3.0/) Trio for Piano Violin and Viola by Kevin MacLeod (https://creativecommons.org/licenses/by/3.0/) Vibe Ace by Kevin MacLeod (Attribution 3.0 Unported: https://creativecommons.org/licenses/by/3.0/) Sound Effects (Freesound.org) FM Radio Tuning Sweep by davidbain (https://creativecommons.org/publicdomain/zero/1.0/) Fire.wav by contramundum (https://creativecommons.org/publicdomain/zero/1.0/) Electricity by deleted_user_7146007 (https://creativecommons.org/publicdomain/zero/1.0/)

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J S Bach Prelude from Cello Suite #1

Mister Radio

Play Episode Listen Later Jun 1, 2022 2:57

J S Bach Prelude from Cello Suite #1 Performed by Steve Freides

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[DJ SET] Melissa Weikart

TsugiMag

Play Episode Listen Later May 31, 2022 64:07

Melissa Weikart nous présentait hier soir un DJ d'une soixantaine de minutes pour fêter la sortie de son album “Here, There” dispoinible depuis vendredi dernier sur Northern Spy ! De Tirzah à Françoise Hardy, de JS. Bach à Duke Ellingtonn, la semaine commençait en douceur sur www.tsugiradio.fr Melissa Weikart - Diamond Tirzah - Fine Again Melissa Weikart - Here, There Bix Beiderbecke - In a Mist Françoise Hardy - Hallucinogène Melissa Weikart - High Time Prefab Sprout - Knock On Wood Weyes Blood - A Lot's Gonna Change Kris Davis - All The Things You Are Melissa Weikart - Ocean Song Mitski - Come Into The Water J.S. Bach - Prelude & Fugue in A Minor (transposed) Melissa Weikart - Testing Caroline Polachek - New Normal Ran Blake & Jeanne Lee - You Stepped Out of a Dream Melissa Weikart - Shiver Laurel Halo - Rome Theme III Duke Ellington - Do Not Disturb Melissa Weikart - Who Made It Nina Simone - Everyone's Gone to the Moon Melissa Weikart - Happy Nino Ferrer (Melissa Weikart cover) - Les Cornichons

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Percussionist Jasmine Lai and pianist Nicholas Feng

The Talent

Play Episode Listen Later May 18, 2022 56:45

On our final heat episode of the season, percussionist Jasmine Lai and pianist Nicholas Feng performed a programme ranging from Carl Vine and Eric Sammut, to Bach and Haydn and including the premier of a new piece by Jasmine Lai. Percussionist and composer Peter Neville was our guest mentor, with Julia Hastings and Heather Fletcher rounding out the panel as regular mental and host.Nicholas performed:-J.Haydn: Variations in F minor Hob XVII:6-C.Vine: Five Bagatelles no.5 "Threnody"Jasmine Performed:-J.S.Bach: Prelude from Cello Suite no.5-J.Lai: Cityscape-E.Sammut: Libertango--Host: Heather FletcherRegular Mentor: Julia HastingsProducer: Jem SherwillSound Engineers: Joe Gofron, Kiran McCooey, Kirsty Norvilas, Greg MathesonPodcast Producer: Jem SherwillThe Talent is made possible with the generous support from the Robert Salzer Foundation.

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Royalty Free Bach Prelude Tale Teller Club Backing Tracks Samples SFX Loops CC FX Film Stuff

100% Free SFX & Ringtones

Play Episode Listen Later Mar 30, 2022 4:01

THe Tale Teller Club is releasing great music with a copyright waiver worldwide.Search our complete data bass herehttps://www.tale-teller.club/100-free-sound-effectsHow to get this free loop/sampleyou can download it from https://www.tale-teller.club/juicy-loops-factory and the Spreaker app https://www.spreaker.com/show/100-free-sound-effectsCheck out our own story www.tale-teller.club/immersion#loops #reels #shorts #youtube #tiktok #sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocals#music #musicpodcasts #musician #composer #digitalmusic #arranger #performer, #classical #classicallytrained #contemporarymusic #recordingartists #††ç #TTC ##sound #soundeffects #specialeffects #free #logicpro #taleteller #taletellerclub #soundrecordings #ASMR #recordings #studio #creators #creatortools #soundtracks #postedit #freedownloads #audio #audiotools #audiorecording #podcaster #podcasttools #gamedesigners #musicians #filmmakers #juicysounds #free-lessons #digital-music-school #digi-mus #ads #advertising #voiceover #vocal

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Rachel Mercer J.S. Bach Prelude fifth solo suite BWV 1011

Conversations with Musicians, with Leah Roseman

Play Episode Listen Later Mar 19, 2022 8:32

At the end of E9 S2, my conversation with the incredible cellist Rachel Mercer, you will find Rachel's heartfelt introduction to this inspiring performance which she made for this podcast. I have added it here as a special bonus episode in case listeners wish to listen to it again without having to scroll through the interview. For those listeners who have discovered this recording separately from the interview, I invite you to listen to Rachel's perspectives on her life and career. You can find both the video version here: https://leahroseman.com/episodes/e9-s2-rachel-mercer To learn more about Rachel and her recordings, including solo Bach, and many projects: http://www.rachelmercercellist.com/ Help this podcast with a tip? https://ko-fi.com/leahroseman I'm an independant podcaster who could really use the help and encouragement! photo credit: David Leyes --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

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Episode 85: 18185 Ruth Slenczynska

Classical Music Discoveries

Play Episode Listen Later Mar 18, 2022 66:43

Born in 1925 in Sacramento, California, to Polish immigrants, Slenczynska gave her concert debut at the age of four (just as the world entered the Great Depression), performed on television aged five, and at six made her European concert debut in Berlin. 92 years later, the extraordinary pianist still performs to audiences around the world.‘MY LIFE IN MUSIC' TRACKLIST: Rachmaninoff: 6 Romances, Op. 38: 3. Daisies Rachmaninoff: 13 Preludes, Op. 32: No. 5 in G Major. Moderato Barber: Nocturne 'Homage to John Field', Op. 33 Barber: Fresh from West Chester: II. Let's Sit It Out, I'd Rather Watch Chopin: Grand valse brillante in E-Flat Major, Op. 18 (Ed. Paderewski) - currently not available Chopin: Berceuse in D-Flat Major, Op. 57 Grieg: Lyric Pieces, Op. 65: 6. Wedding Day at Troldhaugen Debussy: Préludes / Book 1, L. 117: 8. The Girl with the Flaxen Hair Chopin: 12 Études, Op. 10: No. 3 in E Major (Ed. Paderewski) Chopin: Fantaisie in F Minor, Op. 49 Chopin: 24 Préludes, Op. 28: No. 3 in G Major (Ed. Paderewski) J.S. Bach: Prelude and Fugue in C-Sharp Major, BWV 84 Purchase the music (without talk) at:http://www.Ruth Slenczynska (classicalsavings.com).storeYour purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @khedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Johann Sebastian Bach.Prelude and Fugue in E minor, BWV 533. "The Cathedral."

AWR - Instrumental Music3

Play Episode Listen Later Mar 5, 2022 4:44

J.S. Bach wrote this as a Prelude and Fugue in E Minor, BWV 533 ("The Cathedral")while he worked in Arnstadt, Germany.

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Bach Family.Bach.Prelude in C Major, BWV 846. Classical Piano Music for Meditation.Prayer.

AWR - Instrumental Music3

Play Episode Listen Later Jan 1, 2022 2:03

This piece is from Book I of Bach's "The Well-Tempered Clavier," published in 1722.

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När bångstyriga bybor störde kyrkofriden under stormaktstiden

Historia.nu

Play Episode Listen Later Dec 29, 2021 46:27

Kyrkan under stormaktstiden var långt ifrån den upphöjda sakrala plats för predikan, bön och kontemplation som vi kanske föreställer oss. Kyrkoledning upplevde ofta ordningsproblem med bångstyriga bönder som till och med under biskopsbesök kunde smita ut på kyrkbacken för en sup eller för att skvallra med grannar och vänner. Reformationen var mångt och mycket genomförd på stormaktstiden, men allmogen vägrade att låta sig disciplineras av kyrkoledningen. Bullriga bybor, unga pojkar och spyende damer störde kyrkofriden, samtidigt som grisar och hundar bökade upp ben på kyrkogården medan festen och lekarna aldrig ville ta slut på kyrkbacken. Prästerna var så rotade i församlingen att de inte var beredda att genomföra kyrkoledningens krav på ordning i strid med sina församlingsbor. I detta avsnitt av podden Historia Nu samtalar programledare Urban Lindstedt med Göran Malmstedt, professor i historia vid Göteborgs universitet som skrivit boken Bondetro och kyrkoro – Religiös mentalitet i stormaktstiden Sverige. Med reformationen blev själva predikan på svenska av guds ord central, men under långa gudstjänster smet ofta allmogen ut för att skvallra eller ta en sup. Det hände också att det uppstod högljudda konflikter i kyrkan om vem som skulle ha den bästa platsen i kyrkbänkarna. Unga pojkar kunde ofta kasta saker på församlingen, det var också vanligt att berusade spydde och både bönder och präster tog gärna med sina hundar till gudstjänsterna. Prästerna och kyrkoledningen försökte disciplinera oregerliga bönder med böter och skamstraff, men församlingen gick sällan med på vad som helst. Prästerna var också en integrerad del av församlingen med samma ursprung och livsstil som allmogen. De visste att de inte fullt ut kunde genomdriva kyrkoledningens ideal.Lyssna också på: Glädje, kärlek och fest under den mörka stormaktstiden Musik: J. S. Bach - Prelude in e minor BWV 855 med Audio Waves - Eliche Remblon. Bild: Kermesse av Marten van Cleve, c. 1591-1600, Public Domain. See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/historianu-med-urban-lindstedt.

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Listen and Play Broken Chords

MusicLessons4Keyboard

Play Episode Listen Later Dec 9, 2021 4:17

Who is Jazer Lee? Learn more as he plays the Bach Prelude in C Major. "I'm here to help you accelerate your piano learning through a fun and practical approach, no fluff. I love creating Youtube videos and writing blogs to help fellow pianists around the world improve their craft. I went to a conservatory to study classical piano and also have my Associate and Licentiate diplomas. I hope I can be helpful to you through my blogs or YT videos." Are you wanting to play classical pieces but don't know where to start? After about 1-2 years of music training, I recommend playing these 5 beginner pieces. They are beautiful, famous and fun pieces to study. I also discuss briefly the educational benefits of playing these pieces. Watch Part 2 (Another 5 beginner pieces): https://youtu.be/BHsZDh4BIGo PS. I use the word 'beginner' loosely here. In an ideal situation, my students would learn many other simpler works before these 5. But not everyone has the time to dedicate themselves to a strict and long program of piano study. The point of this video is simply to show you some potential works that might interest you, whether you play seriously or for leisure. Good luck! Thanks for listening.

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Vanilla paradise Ambience & music

Play Episode Listen Later Nov 12, 2021 60:00

List of sounds:

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Vanilla paradise Ambience & music

Play Episode Listen Later Nov 12, 2021 60:00

List of sounds:

nature gardens eating female iv asmr tea copyright laughing foley footage marie antoinette baroque sfx ambience bwv bach prelude bach partita

133. Songs From The Devon Floor

The Story Must Be Told

Play Episode Listen Later Aug 17, 2021 21:00

OK. OK we gave him a CHANCE. Yep, we let Devon in on the Story game. Don't get mad at me! GEEZ. Invocation Story: "Songs from the Devon Floor" Outro Two weeks until we STORY you down AGAIN. In this episode: J.S. Bach - Violin Partita No. 2 - 4. Gigue C.W. Gluck - Melody from Orpheus G. Rossini - William Tell Overture E. Satie - Gnossienne No. 1 F.B. Conti - Il Mio Bel Foco J.S. Bach - Prelude in C Major, BVW 846 Our first book of PSALMS: www.thestorymustbetold.com MERCH: http://BabyNeedsDaddy.com PATREON: https://www.patreon.com/tsmbt

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Bach Prelude in C Major

MusicLessons4Keyboard

Play Episode Listen Later Jul 30, 2021 2:15

What do we know about Johann Sebastian Bach (1685-1750). He was born in Eisenach, Germany, composer of the Baroque era, and the most celebrated member of a large family of north German musicians. In 1695, when he was just nine years old, his parents died. He was sent to live with his brother, Johann Christoph, an organist. Johann Sebastian Bach had a prestigious musical lineage and took on various organist positions during the early 18th century, creating famous compositions like "Toccata and Fugue in D minor." Some of his best-known compositions are the "Mass in B Minor," the "Brandenburg Concertos" and "The Well-Tempered Clavier." Bach died in Leipzig, Germany, on July 28, 1750. Today, he is considered one of the greatest Western composers of all time. Source: Encyclopedia Britannica and Biography.com. Thank you for listening.

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Bach Prelude and Morning Quiche

MusicLessons4Keyboard

Play Episode Listen Later Jul 24, 2021 3:40

What is the secret to a happy life? Music by Bach and bacon. Not just any bacon, mind you. It must be real wood smoked and thick cut like the Wright brand. Their thickest cut. Use this bacon with burgers, grilled cheese sandwiches and Quiche Lorraine. What is music4Dad all about? Music and entertainment with a food and wine theme. Today's podcast was published on an empty stomach. Good thing there is plenty of bacon on hand preventing me from food shopping. It doesn't take much for this food and wine lover to spend a car payment in two trips on one day. And, that includes gourmet cheese for pizza and pasta dishes. Thank you for listening. Watch the video on my YouTube channel published June 11, 2021 with the same name: Music4Dad. Have a wonderful day made even better with thick cut bacon and piano music by Bach.

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Lenten Practices with Clare Carberry

Homegrown Sonshine with Alberta Stevens

Play Episode Listen Later Mar 10, 2021 38:39

In this episode, as part of our series on Home-Ed rituals and practices, I continue my conversation with my dear friend Clare Carberry, whom you met in the previous episode, about her practices and rituals around the current season of Lent. I have always been big on Easter and Christmas. However, the quiet periods leading up to the festivities when Christians ought to be preparing for a spiritual encounter on special celebrations like Easter was slightly lost on me. This is why it was an absolute delight to get a peek into how Clare's family engages with and transforms traditional Lenten practices of the Catholic Church into a charming and memorable home-ed rhythm. We discuss a wide range of Lenten practices and rituals that can easily be adopted to usher in warmth and delight into your home school rhythm. Tune in for inspiring and relatable stories, practical tips for prayers, hymns, read-aloud suggestions, fireside treats and as always, a space for thought-provoking topical poetry. I would love to hear your thoughts. Join the discussion via our Facebook group: A Liturgy Of Love Morning Time Group Other ways to connect: ● Instagram ● Website ● Twitter Resources: Morning Time Resources: see A Liturgy of Love: A wholesome and culturally diverse Morning Time Curriculum for the Whole Family, inspired by the Charlotte Mason approach, created by Alberta Stevens Books Amon's Adventure: A Family Story for Easter by Arnold Ytreeide Praying in the Presence of our Lord for Children by Fr Antione Thomas Life of St Peter Claver – St Peter Claver was a Jesuit Spanish Priest to African Slaves in the Caribbean during the Transatlantic slave trade. Poem Good Friday, by Christina Rossetti Music Theme Music- by Kainan Awoonor-Renner Backing track to poem - Bach: Prelude in F minor by Nico de Napoli courtesy Free Music Archive

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North From Duluth: A Poetry Reading

New Rivers Press Podcast

Play Episode Listen Later Mar 5, 2021 9:53

Friend of the podcast Kevin Zepper reads three poems from 1981 New Rivers Press title NORTH FROM DULUTH by Roger Blakely. The poems, in order, are "North from Duluth," "Old Dan Solberg," and "Icebergs." The songs heard in this episode, in order, are "J.S. Bach Prelude in C" courtesy of Kevin MacLeod, "Audrey" by Johnny Ripper, and "Threshold" by Podington Bear. These songs are licensed under varying creative commons licenses and were accessed on 4 March 2021 at freemusicarchive.org This episode was produced by Alex Ferguson with recordings by Kevin Zepper. New Rivers Press is a teaching press operating in association with Minnesota State University Moorhead. The press gives student interns hands-on experience with editing, publishing, and the business of books. Since 2003, every New Rivers Press title has been edited and designed by MSUM students under the supervision of New Rivers Press staff. Find us on social media @nrppodcast. For more information about the press, our authors, and our upcoming events, follow us on social media (@newriverspress) or check out our website: newriverspress.com. Thank you to Minnesota State Educational Innovations for making this podcast possible. The views expressed are solely those of the individuals involved and do not necessarily represent those of New Rivers Press, Minnesota State University Moorhead, or any employees thereof. Transition Music Copyright © 2018 by Sakora Studio. Music composed by Thomas Maresh. Podcast Image created by Mikaila Norman.

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Bach Prelude from Cello suite n. 4

The #1 Musical Experience

Play Episode Listen Later Feb 3, 2021 5:46

Why We Should Expose Our Kids To Classical Music https://ourtownlive.net #herbw79Suite no. 4 is one of the most technically demanding of Bach's suites, as E-flat is an uncomfortable key on the cello and requires many extended left hand positions. The Prelude primarily consists of a difficult flowing quaver movement that leaves room for a cadenza before returning to its original theme. The very peaceful Sarabande is quite obscure about the stressed second beat, which is the basic characteristic of the 3/4 dance, since, in this particular Sarabande, almost every first beat contains a chord, whereas the second beat most often doesn't.

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19 Bach - Prelude

Ruach Breath of Life

Play Episode Listen Later Jan 29, 2021 1:37

19 Bach - Prelude by Ruach Breath of Life

bach prelude

18. Blenda was here. Med Håkan Nordmark

Din podd på jorden

Play Episode Listen Later Nov 18, 2020 42:20

Blenda eller Blända. Du har troligen hört eller läst namnet men är kanske inte helt säker på vem hon var eller vad hon gjorde? Enligt sägnen var Blenda ledare för en grupp värendska kvinnor som med kvinnlig list och manliga hjärtan lyckades lura och slå ihjäl en dansk armé som var på krigståg i Sverige. Kungen belönade Blenda och kvinnorna för deras handlingar och arvet efter dem är tydligt än idag. Exempelvis påstås att det är deras handlingar som är anledningen till den uråldriga Värendsrätten och det faktum att kvinnor i Värend har tillåtelse att brodera det kungliga monogrammet på sina folkdräkter. Blenda har en central plats i den småländska självbilden, så pass att gator, organisationer, passager och rondeller än idag namnges efter henne. Ganska bra jobbat av en person som aldrig ens har funnits. Följ med på en historisk syn på Blenda, hennes handlingar, hur sägnen kom till och om de många som försökt bevisa hennes existens. Musik: Latché Swing - Hungaria freemusicarchive.org/music/Latch_Swing/demo_2008/Hungaria Kevin MacLeod - J. S. Bach: Prelude in C - BWV 846 freemusicarchive.org/music/Kevin_MacLeod/Classical_Sampler/Prelude_in_C_-_BWV_846

sverige enligt med h kungen ganska exempelvis blenda bach prelude nordmark c bwv latch swing

S1E09 从央美到纽约，聊聊那些年带我入圈的艺术大师

ARTsOUT | 艺术出圈

Play Episode Listen Later Jun 28, 2020 36:14

这期请来了青年画家王敬宜来聊一聊绘画这个话题，节目里聊了很多影响敬宜绘画作品风格的艺术家们并对这些艺术家和其风格做了科普，比如克劳德·莫奈，安迪·沃霍尔，雷尼·马格利特，和安东尼奥·高迪。敬宜为我们放上了文字和图片的详细描述，感兴趣的朋友千万不要错过。「关于嘉宾」王敬宜，青年画家。2013年毕业于中央美术学院油画系，2016年毕业于纽约艺术学院，其作品曾展览于（Art New York) 艺术博览会, 纽约苏富比拍卖行，Time Arts画廊等艺术机构。并在纽约举办过3次个人展览。受到多家艺术媒体的关注及报道。现在生活和工作在纽约。「联系我们」微博「ARTsOUT艺术出圈」公众号「ARTsOUT艺术出圈」即刻「ARTsOUT-Lingzi」欢迎加入我们的听友群，添加微信号artsout_official 即可入群商业合作：artsoutofficial@gmail.com欢迎支持我们的创作，爱发电：https://afdian.net/@artsout「节目章节」00:00:18 嘉宾介绍00:01:29 绘画的启蒙00:02:45 莫奈以及印象派00:04:41 印象派对嘉宾的影响00:08:15 超现实主义绘画00:13:24 安迪沃霍与波普艺术00:20:22 建筑师高迪对绘画的灵感启发00:22:08 自然元素对嘉宾创作风格的影响「音乐侵删」ED｜Sunset Rollercoaster- My JinjiBGM｜Bach Prelude & Fugue 1 C Major BWV 846 Bach Prelude & Fugue 4 C Sharp Minor

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S1E09 从央美到纽约，聊聊那些年带我入圈的艺术大师

ARTsOUT | 艺术出圈

Play Episode Listen Later Jun 28, 2020 36:14

fugue c sharp minor bach prelude art new york

S1E09 从央美到纽约，聊聊那些年带我入圈的艺术大师

ARTsOUT | 艺术出圈

Play Episode Listen Later Jun 28, 2020 36:14

这期请来了青年画家王敬宜来聊一聊绘画这个话题，节目里聊了很多影响敬宜绘画作品风格的艺术家们并对这些艺术家和其风格做了科普，比如克劳德·莫奈，安迪·沃霍尔，雷尼·马格利特，和安东尼奥·高迪。敬宜为我们放上了文字和图片的详细描述，感兴趣的朋友千万不要错过。节目信息主播｜苏凌子嘉宾｜王敬宜 ED｜Sunset Rollercoaster- My JinjiBGM｜Bach Prelude & Fugue 1 C Major BWV 846 Bach Prelude & Fugue 4 C Sharp Minor关于嘉宾王敬宜，青年画家。2013年毕业于中央美术学院油画系，2016年毕业于纽约艺术学院，其作品曾展览于（Art New York) 艺术博览会, 纽约苏富比拍卖行，Time Arts画廊等艺术机构。并在纽约举办过3次个人展览。受到多家艺术媒体的关注及报道。现在生活和工作在纽约。节目章节00:00:18 嘉宾介绍00:01:29 绘画的启蒙00:02:45 莫奈以及印象派00:04:41 印象派对嘉宾的影响00:08:15 超现实主义绘画00:13:24 安迪沃霍与波普艺术00:20:22 建筑师高迪对绘画的灵感启发00:22:08 自然元素对嘉宾创作风格的影响大家有什么感兴趣的话题或者有任何疑问，也欢迎给我们留言。感谢你们的支持。

fugue c sharp minor bach prelude art new york

SOPP597: Learning big fugues and 32nd notes

learning minor fugue bwv fugues bach prelude

Play Episode Listen Later Jun 15, 2020 11:47

This question was sent by Bill. And he writes, "I put in 15-30 minutes a day working on the sight reading course. I've been working on BWV 543 Bach Prelude & Fugue in A Minor mostly beyond that. Two things that frustrate me are it takes me about 3 months to learn these big fugues (practicing about 1.5 hours/day) and the playing the strings of 32nd notes evenly at high tempo. Any suggestions to speed up learning and play better at high tempos would be appreciated. I do like the sight reading course, it certainly has me reading better! Regards, Bill"

SOPP578: I would like to study the Bach's BWV 532 and 552

study scotland fugue bwv d major bach prelude eb major

Play Episode Listen Later May 18, 2020 10:34

This question was sent by Maureen. And she’s our Total Organist student. And she writes, Hi Vidas, The concern with the coronavirus is ratcheting up as you will know. Scotland is beginning to grow concerned and lockdown is being implemented for next week. I thought it would be a great opportunity to play as often as possible during the time when this happens here in Scotland. I would like to study the Bach Prelude and Fugue in D Major, BWV 532 and BWV 552 (this is Prelude and Fugue in Eb Major). Is this fingered for purchase by any chance? I would love to purchase it if it is. Thank you, Appreciatively, Maureen

163: You must understand!

Best of the Web: the MetaFilter Podcast

Play Episode Listen Later May 1, 2020 94:20

It was a time known as The Great Resetting, when, after a months of wandering in a week late or so with episodes, jessamyn and I finally managed to release a new episode smack dab on the 1st. It was spoken of in legend as...episode 163 of the MetaFilter podcast.Helpful LinksPodcast FeedSubscribe with iTunesDirect mp3 downloadMisc - jessamyn has been placing jokes in the local paper - revisit the old Is MetaFilter Back Yet?" video Jess and I made, good god, NINE years ago - Sufjan Stevens: teach the controversy - Bruce fucken Campbell Jobs - Designer for print + web publication by Rich Text Projects - TV Opening Sequences Quiz by AndrewStephens (MeFi Post) - I have eaten the plums by Lazlo Hollyfeld - Nick Cave and the Bad Seeds - Deanna (TNG edition) by avocet - Ultimate Quarantine House Selection! by Iridic (MeFi Post) - Basho poems by vacapinta - StockOrrery by lucidium - Restoring 100- to 200-year-old woodworking planes by not_the_water MetaFilter - Twitch.tv is more than just video-games: by Fizz - Rage Within the Machine by theodolite - Aprs Sufjan, le dluge by Etrigan - Evil Elvis sings Original Elvis by filthy light thief - One Gruff Harding, Two Gruff Harding by i_am_joe's_spleen - it's gotta be big and it's got to be dumb by Fizz - Hello, Gordon! Hello, Gordon! Hello, Gor-- by cortex - early "Stay Away" by jessamyn - Gorgeous Libraries by Iris Gambol - Mathematician John Horton Conway died yesterday of COVID-19. by Obscure Reference - Bird's Eye View of What We Call the Brand Zoom Funk by WCityMike Ask MetaFilter - A dog unfriendly TV? by mmmmmmm - Do banks really monitor ATMs for left cash? by geoff. - What happens during breakdown on bridge or in tunnel? by toastchee - What stops someone from clearing out the Treasury via check? by Nonsteroidal Anti-Inflammatory Drug - Identify/translate Arabic cassette tape by gryphonlover - Gifts ideas for an octogenarian, Italian-American barber. by eotvos - How did they accomplish this multi-person musician jam by katecholamine - What technobabble should I google? by aubilenon - Word game involving linking similar-sounding words by definitions? by The otter lady - Help Me Paint a Mural (Please God help Me!) by WalkerWestridge - How do I help my spouse keep up our home internet setup after I die? by sciatica Music Tracks featured this month: - My Way (Roboticized) by q*ben - Bach Prelude in C, but shifted by a sixteenth-note by mpark - Salaman by umbú

tv music gifts twitch jobs identify designers projects campbell restoring arabic treasury great reset nick cave stay away italian americans atms sufjan stevens fizz gor podcast feeds twitch tv basho birds eye view etrigan bach prelude metafilter obscure reference ask metafilter

Episode 69: Canopy: Lee

Another Path

Play Episode Listen Later Apr 7, 2020 65:02

The boys spend their first night in the capital of their former foe. Music Credits: Intro: Distant Lands by Hanu Dixit Video Link: https://youtu.be/3Hr47ldDDtk Ambient: https://soundcloud.com/strange-day/ambient Music: Invitation to the Castle Ball: https://youtu.be/Mgny7FYSb-E J.S. Bach - Prelude in C Major 1973: https://youtu.be/S4u9e_xjU1w Underground Stars - Loxbeats: https://youtu.be/vpJDMD2EzkA Matt Poss Band - Coming In Hot: https://youtu.be/GPHVooGb2IM Friction Looks - Silent Partner: https://youtu.be/r0yxIedsd-A Lost In Prayer - Doug Maxwell: https://youtu.be/SMFgcfEeyxU Tempting Fate by Audionautix is licensed under a Creative Commons Attribution license (https://creativecommons.org/licenses/by/4.0/) Artist: http://audionautix.com/ "Holiday Weasel" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

artist canopy audionautix bach prelude

Miércoles de ceniza 2020

WCCM Colombia Audio

Play Episode Listen Later Feb 26, 2020 4:23

Reflexiones de Cuaresma del P. Laurence Freeman. Traducción Marina Müller WCCM Argentina Voz: Elba Rodríguez WCCM Colombia J.S. Bach - Prelude from Lute Suite No. 3 In G Minor BWV 995

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Episode 65: Canopy: Jack

Another Path

Play Episode Listen Later Jan 28, 2020 50:46

our heroes touch base with their allies, learn about what lies ahead and hear word from an old friend. Intro: Distant Lands by Hanu Dixit Video Link: https://youtu.be/3Hr47ldDDtk Ambient: https://soundcloud.com/strange-day/ambient Music: Sir Cubworth: Theme for a One-Handed Piano Concerto: https://youtu.be/Yc6WeWjkEoY –––––––––––––––––––––––––––––– Wanderlust by Scandinavianz https://soundcloud.com/scandinavianz Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/WanderlustScandinavianz Music promoted by Audio Library https://youtu.be/Poe37HkCOGc –––––––––––––––––––––––––––––– J.S. Bach - Prelude in C Major Under Cover by Wayne Jones : https://youtu.be/4Co0vUl_BvI Get Back Up by Silent Partner: https://youtu.be/pMdlF4rbf6Y A Gift of Silver from Another Path OST: https://soundcloud.com/user-829537708/a-gift-of-silver

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Bach Prelude no 1 in C + Gounod = Ave Maria

Sonata Secrets

Play Episode Listen Later Nov 21, 2019 11:31

Henrik Kilhamn explains this well known piece that actually consists of two parts between the two composers. Bach uses one musical idea of the arpeggio pattern throughout the prelude and changes the harmony one step at a time, creating a wonderful sense of assuring and relieving. 130 years later, Gounod wrote a melody to the prelude as accompaniment, which is now known as Ave Maria. Performance of Ave Maria: 8:39.

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Relaxing Classical Cello Music Solo

Best classical study music, focus, thinking, meditation, relaxing music

Play Episode Listen Later Oct 30, 2019 60:08

Please, read this. Hello. If the podcast was helpful for you, I ask you to give some money to a charity. I truly believe we can make a better world with less cynicism and egoism. You can handle several days without coffee. However, that money REALLY can help. Even a few dollars. Where to send and how much is only on you. Children, nature, homeless people. All problems are more real and nearer than you think. Just be a good person. Be a real hero. Peace. My podcast about WEB Development. Check it out if you are interested. Apple Podcasts Spotify Google Podcasts Castbox Cello Suite No.1 by J.S. Bach: Prelude

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SOPP463: I am finishing up learning the notes to the Bach Prelude in D, BWV 532

learning staying finishing bwv easter season bach prelude

Play Episode Listen Later Jul 23, 2019 10:43

This question was sent by Anne, and she writes: “I am finishing up learning the notes to the Bach Prelude in D, BWV 532. This has been a long road to learn this piece – I started working on it again in January but put it aside in March for the Easter season before getting back to it in late April after Easter was over. I am currently practicing the spots that I have trouble with slowly each day and then I play the entire Prelude up to speed as many times as it takes to get through it with the least amount of errors. Staying focused is my biggest problem at this point. My mind tends to drift when I’m doing all the repetitions. However, each day it feels as if it is becoming more and more familiar and I hope this eventually will allow me to play through the piece with few errors. I will continue doing this for the next month before I begin to think about performing it. I have a lesson this coming week so I’ll be interested to hear what my teacher has to say. I have not had a lesson for a while due to the Easter Season. Hopefully, he will like what I have done with the piece.”

Cameron Carpenter with Thomas Neenan • SUN / APR 7, 2018/19

Upbeat Live

Play Episode Listen Later Apr 8, 2019 40:46

About the Performance: “Carpenter is one of the rare musicians who changes the game of his instrument… He is a smasher of cultural and classical music taboos. He is technically the most accomplished organist I have ever witnessed… And, most important of all, the most musical.” (Los Angeles Times) Program: BACH : Prelude and Fugue in D major, BWV 532 BACH / Cameron CARPENTER : French Suite No. 5 in G major, BWV 816 BACH : Prelude and Fugue in B minor, BWV 544 BACH : In dulci jubilo, BWV 608 BACH : Prelude and Fugue in A minor, BWV 543 Intermission BACH / Cameron CARPENTER : Toccata and Fugue in D minor, BWV 565 Cameron CARPENTER : Serenade and Fugue on B.A.C.H. Thomas MELLAN : Ballade de l'Impossible Cameron CARPENTER : Improvisation BACH : Passacaglia and Fugue in C minor, BWV 582 Artists: Cameron Carpenter organ SUN / APR 7, 2019 -7:30PM Upcoming concerts: www.laphil.com/calendar Upbeat Live schedule, details, and speaker bios: www.laphil.com/ubl

fugue bwv bach prelude cameron carpenter

SOPP350: Two recent developments have made me feel ready for my first Bach Prelude and/or Fugue

Michael Chertock Presents

Play Episode Listen Later Dec 6, 2018 14:15

This question was sent by Leon. And he writes: Dear Vidas: Two recent developments have made me feel ready for my first Bach Prelude and/or Fugue. Last week I learned about the great but shunned French organist Charles Quef. I tried his little fugue and was able to do it slightly less than half speed with fewer than three mistakes per system. After that, I wrote to my contrebombarde friend who played a Quef/Fauré piece, which Bach pieces he'd suggest. He was very busy with Armistice 100th anniversary uploads, so I asked him to wait to answer. Got it today. And this week, I returned to trying the Dupré 79 Chorales, which I had not done since April. I was able to sight-read from where I'd been stuck for many months at #69, to #55 to find one that would require more than a little work. So, based on that, which of David E. Lamb's suggestions would you support, or offer others? Fugue in G Major, BWV 576 (might not be Bach) Fantasia and Fugue in C Minor, BWV 537 Prelude and Fugue in G minor, BWV 535 Prelude and Fugue in C Major, BWV 545 (NOBODY plays the pedal trills in the Prelude) He added that the G minor is seldom played; the C major a lot; the C minor being popular, but still not played that often. I know I have not been able to afford your course to deserve this kind of answer, but I'm hoping for your grace. Peace, Leon

peace french lamb bach davide fugue bwv armistice recent developments c major c minor g major dupr bach prelude

The Personal Beethoven: Episode 1, Beethoven's Childhood

Play Episode Listen Later Nov 9, 2018 13:42

What affect did Beethoven’s overbearing father have on his early musical development? Did Beethoven really play for Mozart? What was his relationship with his mother and brothers? Michael addresses these issues surrounding Beethoven’s childhood and eventual arrival in Vienna. Written, narrated and performed by Michael Chertock Musical excerpts taken from the following: L. Van Beethoven: Piano Concerto No. 4 in G major, Op. 58, I. Allegro Moderato L. Van Beethoven: Piano Sonata No. 8 in C minor, Op. 13 “Pathetique”, I. Grave L. Van Beethoven: Piano Sonata No. 1 in F minor, Op. 2, II. Adagio J.S. Bach: Prelude in C Major, BWV 846 W.A. Mozart: Sonata No. 12 in F major, K332 W.A. Mozart: Fantasia in C minor, K475 L. Van Beethoven: Piano Sonata No. 1 in F minor, Op. 2, I. Allegro L. Van Beethoven: Piano Sonata No, 8 in C minor, Op. 13 “Pathetique”, III. Rondo Musical excerpts recorded at the University of Cincinnati College-Conservatory of Music in the Robert J. Werner Recital Hall. Technical production provided by Tom Hughes Marketing Strategies © 2018 Michael Chertock

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SOPP295: Played the opening pedal passage for a short person in BWV 532

St Andrew's Church Oxford

Play Episode Listen Later Sep 28, 2018 14:19

This question was sent by Anne, and she writes: I started working on Bach Prelude and Fugue in D Major, BWV 532. The opening pedal run is not hard except that I am a short person. The benches I sit and practice on are not adjustable so I have to sit close to the edge of the seat to be able to use the pedal board. In order to do this pedal run using only toes - I have to adjust myself as I go up the scale because my legs are not long enough. Somehow I will have to figure out how to do the adjusting and also have my hands ready to play the opening chords at the end of the run. Should be an interesting few weeks until i get this figured out! Secrets of Organ Playing: https://www.organduo.lt

secrets played passage pedal fugue bwv d major bach prelude

Ep #26 Emily Lanxner, steel pan player and composer

The World Fusion Show

Play Episode Listen Later Jun 22, 2018 28:06

Ep #26 with Emily Lanxner, composer and steel pan player. Emily lives in Hardwick, VT and is an exceptional steel pan player. She performs a Bach Prelude in this episode along with a song by Cesária Évora. As an environmental activist she uses her music to bring attention to honey bees and the current concern with colony collapse disorder. For the live music we are also joined by Haitian drummer Maestro Renald and play a rousing Rara piece with the Koné horns. A Worldsoul Records production derrikjordan.com You can see this and all previous TV episodes of The World Fusion Show on the YouTube channel at https://www.youtube.com/channel/UCl_qGDBJ-IVM28kF68RwM5Q To support The World Fusion Show and to make more shows possible please go to derrikjordan.com and click on the support page.

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Episode 4 - Rick Steves

Thank You, I'm Sorry

Play Episode Listen Later Apr 26, 2018 27:25

Written by & starring: Chad Weaver, Chris Clem, Zachery Boyce, and Jake Wells. Special thanks to Ryan McGirr. Produced & edited by Layne Gerbig Music in intro: Where's my Jetpack?! by Computer Music All-Stars licensed under CC BY-SA 4.0 creativecommons.org/licenses/by/4.0/ Also included: “Lost in Love - Stringset Hall (ID 524),” “Fanfare Jingle 2 (ID 413),” and “Bears Conference (ID 528)“ by Lobo Loco licensed under CC BY-NC-ND 4.0 creativecommons.org/licenses/by-nc-nd/4.0/ “Carefree” and “J. S. Bach: Prelude in C - BWV 846” by Kevin MacLeod licensed under CC BY 3.0 https://creativecommons.org/licenses/by/3.0/

lost id kevin macleod cc by sa jetpacks carefree rick steves lobo loco chris clem bach prelude c bwv chad weaver

Good Friday - at the foot of the cross (Part 1) - 30/3/18 (Luke 22:39 – 23:12)

Play Episode Listen Later Mar 30, 2018 33:00

Readings, talks and music from the first half of the 3-hour service. Gethsemane, Peter's denial, and the trial of Jesus. (Music by J.S.Bach: Prelude in F# minor, played by Bob Samuels; Andante from violin concerto in A minor, played by Roger Peach and Bob Samuels)

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Ep.34: PassivHaus

La Morsa Era Yo Arquitectura

Play Episode Listen Later Mar 22, 2018 101:41

Han pasado 6 meses desde nuestro último episodio. Varios han sido los factores que nos han imposibilitado reunirnos para grabar, sobre todo dificultades para coincidir todos a la vez. Por eso hemos decidido tomar un nuevo rumbo. A partir de ahora no nos preocuparán tanto las ausencias y probablemente habrá menos tertulia. Alguno se habrá preparado los temas más que el resto y llevará la voz cantante. Incluso habrá episodios, mucho más cortos, en el que sólo participe una persona. Es una idea que tenemos en mente y ya veremos cómo la vamos desarrollando. ¡Y una gran noticia! José Ramón @arquitectamos que tantas veces nos ha acompañado se une definitivamente al equipo. El episodio de hoy es una muestra de ese nuevo rumbo. Una entrevista de Deco, y puntualmente alguna pregunta mía, a Adelina Duarte y Pedro Mariñelarena, presidenta y coordinador respectivamente de la Plataforma de Edificación Passivhaus España. Seas o no de la profesión. estamos convencidos que te interesa enterarte de lo que es el estándar PassivHaus, lo sostenible que resulta y todo lo que te puedes ahorrar gracias a él. Y aunque ya hace mucho tiempo, no podíamos dejar de agradecer a todas las personas socias y simpatizantes de la Asociación Podcast que con sus votos nos han elegido, y van tres veces, como mejor podcast 2017 en la categoría de Arte y Cultura de los premios que conceden anualmente. No deja de asombrarnos que un podcast específico sobre arquitectura interese a tanta gente. De corazón, gracias. Sumario y enlaces de interés 0:00:00 Pedro Mariñelarena sobre PassivHaus 0:01:16 Presentación 0:08:14 Promo Invita la casa 0:09:38 PassivHaus Plataforma de edificación PassiveHaus España Passipedia - The Passive House Resource Libro infantil Construimos una casa pasiva 1:35:25 Promo C'mmons Baby! 1:39:08 Despedida y formas de contacto CréditosSelección musical a cargo de C'mmons Baby! Todas las canciones incluidas en este episodio en el momento de su publicación se distribuyen bajo licencia Creative Commons. A longa marcha, Grampoder, álbum Golf Whiskey J. S. Bach: Prelude in C - BWV 846, Kevin MacLeod, álbum Classical Sampler Divertissement, Kevin MacLeod, álbum Classical Sampler Close, Lizard Kisses, álbum Not Seeing Is A Flower Suscripción Feed | iTunes | iVoox

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ep70 Stephen Hawking and Jesus, Jesus & religious liberty? let the little children go to kid church

Ringside with the preacher men

Play Episode Listen Later Mar 19, 2018 68:16

If your bracket has been busted and you have some free time on your hands this March, turn on Ringside with the preacher men! It's a win win. We will not let you down! So get that Filet Mignon off the grill, pour that Cognac, sit back and be entertained, informed and #blessed! Jesus loves you! We have a special guest, Kevin the IT guy! Kevin's our brilliant website composer and connection to the information superhighway. Also check out our new game, Which Guy in a Wheelchair Said It? Stephen Hawking or Larry Flynt TOPICS: 1. DOES JESUS CARE ABOUT RELIGIOUS LIBERTY? Philosophers and politicians should care, but not the church. God doesn't need religious liberty! And why would be happy that Muslims and proselyte our kids? 2. WHY PALM SUNDAY? Why does Jesus ride in on a donkey? What's the message He is sending? 3. STEPHEN HAWKING, THE THEORY OF EVERYTHING, CHRISTIAN VOCATION. What did Hawking contribute? Should Christians care? 4. KID CHURCH? For or Against? Why should I force my kids to stay in boring church? ARTWORK - Crucifixion by Pablo Picasso MUSIC: dead bees - i love my man J.S. Bach -Prelude and Fugue 5 Ghost Dogs - She wants to hold you in her heart

god jesus christ church christians muslims stephen hawking little children religious liberties jesus jesus cognac hawking ringside theory of everything filet mignon bach prelude christian vocation

01 BACH Prelude And Fugue In E Major, BWV 566

Trinity Parish (Seattle) - Audio recordings, sermons, and more

Play Episode Listen Later Dec 25, 2017 10:54

Seattle Girls Choir and Byrd Ensemble on December 3, 2017.

fugue e major bach prelude

Episode 14 - The Cumbria Massacre - Part 1

The Minds of Madness - True Crime Stories

Play Episode Listen Later Sep 24, 2017 65:41

PART #1 – On June 2nd 2010 one of the worst ever gun massacres in UK history occurred. In the space of an eight hour period, a 52 year old taxi driver named Derrick Bird went on a 25 mile rampage of mass murder throughout the county, indiscriminately shooting passers-by, innocent people going about their everyday business, his own colleagues and acquaintances, and even his own twin brother. Music Credits: Kevin MacLeod – J. S. Bach: Prelude in C - BWV 846 – YouTube Audio Library Chris Zabriskie – Cylinder 7 Kai Engel – Nothing Bonus Track Damiano Baldoni – A Ghra Chris Zabriskie – Undercover Vampire Policeman Kai Engel – Chance PC One – Children Of The Sun PC One – Fortress PC One – A Dark Blue Arc Fatal Injection – Love Kai Engel – Run Ars Sonor – The Shed All music is used under an Attribution License - https://creativecommons.org/licenses/ The Funkoars – Feel The Madness Used with Permission - http://goldenerarecords.com.au/ge/funkoars/ Facebook -https://www.facebook.com/themindsofmadness/ Please check out this episodes sponsor TalkSpace Go to https://www.talkspace.com/minds And use coupon code MINDS to get $30 off your first month and show your support for this podcast. For our UK listeners please check out the following Facebook page for an exiting Ture Crime Podcast event – True Crime Podcast Social (London) - https://m.facebook.com/groups/612876758917713 To vote for our Friends at They Walk Among Us please go to - https://www.lovieawards.eu/ Twitter - @MadnessPod Patreon -https://www.patreon.com/MadnessPod Don't forget to Subscribe, Like, Review, and Share. Please help listeners find this show more easily, by taking the time to review on iTunes. Thank you

friends united kingdom madness minds true crime permission massacre cumbria bach prelude c bwv they walk among us

2017 07 15 Bach Prelude 16

Nathan's Freedom Zone

Play Episode Listen Later Jul 15, 2017 4:19

2017 07 15 Bach Prelude 16 by Crystal Spider

bach prelude

2017 07 14 Bach Prelude 14 Bwv84x

Nathan's Freedom Zone

Play Episode Listen Later Jul 14, 2017 4:39

2017 07 14 Bach Prelude 14 Bwv84x by Crystal Spider

bach prelude

"The Salieri Syndrome: Feeling Mediocre - A New Perspective" [RFS-FJ009]

Radio Film School

Play Episode Listen Later Jan 26, 2016 29:56

For all you artists who've ever felt mediocre, this episode is for you."Amadeus" is easily one of my favorite movies. I can watch it over and over. It tells the tragic and fictional tale of Italian composer Antonio Salieri and his "complicated" relationship with Wolfgang Amadeus Mozart. It won F. Murray Abraham his first (and I think only) Oscar for Best Support Actor. In the film, Salieri laments at being just a mediocre composer when compared to the likes of Mozart (whom he claims to have killed).As artists, we sometimes feel like Salieri, don't we? We see other people's work and feel like we pale in comparison. That we're just...mediocre. Today on the show we're going to explore this topic and see if we can't come to a new perspective that is healthier for our craft (and career).On this episode, we'll hear from some talented Atlanta-based filmmakers, namely Chris Fenner (who you may remember from the very first "Short Ends" episode "What the Hell Are You?"); Dan Duncan of Remedy Films; and music video filmmaker Isaac Deitz. We also hear again from a Radio Film School favorite, Brandon McCormick of Whitestone Motion Pictures. Lastly, we hear from Yolanda Cochran, who recently finished a 6-month consulting gig at Netflix.Music Tips - Picking Music for Your ProductionThis week during the sponsor segment I start a series of tips related to music and film. This week's tip is on picking music for your production. Remember, a huge way you can support the show is by checking out our sponsors. We're supported in part by Song Freedom. Click here and use offer code radio for a one-time Standard Gold Level license worth $30.We're also supported by YOU, the listeners. Become a Dare Dreamer FM Premium member and gain access to bonus episodes, ebooks, templates, and other resources to help you grow in your craft and career.Music in this EpisodeMusic in this episode was curated from FreeMusicArchive.org, Kevin MacLeod's Incompetech.com and Song Freedom. In order of appearance:"I Heard if Through the Grapevine" by Marvin Gaye. Courtesy of Song Freedom. All rights reserved."The Great Break Off" by The Insider. CC BY-SA."Bach Prelude in C" by MANWOMANCHILD. Public Domain."Please Listen Carefully" by Jahzzaar. CC BY-SA."Sonata No. 13 in E Flat, Op. 27 No. 1-I Andante - Allegro - Tempo 1" (that's a mouthful) by Daniel Veesey. Public Domain."Prelude in C" by Kevin MacLeod. CC BY."Egmont Overture Finale" by Kevin MacLeod.CC BY."Troy Holder - Ode to Joy" by Tory Holder. Public Domain.

music netflix italian syndrome insider kevin macleod mozart new perspectives marvin gaye courtesy mediocre amadeus public domain grapevine cc by sa free music archive wolfgang amadeus mozart salieri i heard sonata no antonio salieri e flat bach prelude dan duncan daniel veesey radio film school kevin macleod's incompetech

David Lan

Private Passions

Play Episode Listen Later Oct 19, 2014 31:21

David Lan is a huge force in theatre in Britain, indeed internationally. But how he got there is surprising. Brought up in Cape Town, he began his career as an anthropologist, living for two years in a remote area of Zimbabwe in order to study spirit magic. He went on to become a playwright and documentary director, and he's written the libretto for two operas. One critic recently described Lan as a 'Diaghilev-like figure' because of his flair for bringing artists together. As Artistic Director of the Young Vic, he led the £12.5m theatre rebuild - and has over the last 14 years established a reputation both for spotting new talent, and for persuading directors from all over the world to come to London to direct wildly inventive productions. His latest role, announced this year, is Consulting Artistic Director for the New York Arts Centre, which is still being built, on the site of the 9/11 attacks. In Private Passions, David Lan talks about his upbringing in South Africa, and how he learnt to love music as a young boy in his grandmother's shop, which sold bicycles - and piles of old 78s. He describes his time as an anthropologist in Zimbabwe, living in a remote and dangerous part of the country just after the war of independence. And he pays tribute to the relationship at the heart of his life, with distinguished playwright Nicholas Wright, whom Lan met when he was only 17. Music includes Beethoven, Shostakovich, Paul Simon, Nina Simone, a Bach Prelude played by jazz pianist Keith Jarrett, and the overture to Mozart's Magic Flute - played on marimbas. To hear previous episodes of Private Passions, please visit http://www.bbc.co.uk/podcasts/series/r3pp/all A Loftus production for BBC Radio 3. Produced by Elizabeth Burke.

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Episode 12 - Ingo Kühn zum Intensivpflegekongress der DGF in Weimar

Die Intensivrundschau

Play Episode Listen Later Aug 13, 2013

Ingo Kühn, Landesbeauftragter der DGF in Thüringen, stellt den 8. Intensivpflegekongress der DGF in Weimar vor. LINKS: * Hier geht's zum Intensivpflegekongress, der zusammen mit dem Weimar Sepsis Update 2013 der Deutschen Sepsis Gesellschaft stattfindet. * Was die Wikipedia über Weimar weiß. Viele interessante Menschen... * Zu guter letzt die Tourist Information. * Der Braincast von Arvid Leyh - ein Podcast über Hirnforschung und Psychologie. Dringende Hör- und Sehempfehlung! * "DasGehirn.Info hat sich zum Ziel gesetzt, das Gehirn, seine Funktionen und seine Bedeutung für unser Fühlen, Denken und Handeln darzustellen – umfassend, verständlich, attraktiv und anschaulich in Wort, Bild und Ton. Wir wollen unsere Begeisterung für das Gehirn mit Ihnen teilen. Daher dürfen fast alle angebotenen Informationen für nicht-kommerzielle Zwecke genutzt werden..." * Bei Youtube gibt's ein Live-Video der Stanley Clarke Band & Hiromi. Anderthalb Stunden sehr feiner Jazz... erst nach etwa einer Stunde tauscht Clarke den Kontrabass gegen den E-Bass. Schööön! SHOWNOTES: Aus dem Podsafe Music Network www.musicalley.com: Lenny Marcus mit "Ode To Joy", Cello Journey mit "Bach Prelude from Suite No.1", Dr. Sean Jackson mit "Toccata And Fugue in D Minor" und Odin's Court mit der Rock-/Metalversion von "Ode To Joy". FEEDBACK: * Bitte per eMail an intensivRS@gmail.com oder im ZWAI-Forum Schreibt mir Eure Themenwünsche!

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Organist David Deffner performs Johann Sebastian Bach's Prelude in B Minor, BWV 544, for the UC Davis Department of Music.

music bach organ uc davis bwv b minor bach prelude uc davis department deffner johann sebastian bach's prelude

Bach Prelude #5

DMS Music Podcasting

Play Episode Listen Later Dec 22, 2009 1:24

5th grader performing on Casio Privia PX-310 88 weighted keys. Recorded direct through M-Audio Firewire 410 Interface into Audacity (a free digital audio/sound editor.)

audacity interface bach prelude

Bach: Prelude in B-flat Minor Arranged in Major

Play Episode Listen Later Oct 20, 2009 3:05

This is a personal arrangement of Bach's Prelude in B-flat Minor BWV 867 - The Well-Tempered Clavier, Vol 1. As I played this piece, I mentally converted it from the minor key of B-flat to the parallel major key. I did this as a demonstration of how such simple alterations in music can make such a dramatic difference on the emotions and thoughts that the music evokes. Please click here (or visit the site) to listen to this work played in the original minor key and then listen to this arrangement again - hopefully you'll enjoy both!

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Bach: Prelude in B-flat Minor BWV 867 - The Well-Tempered Clavier, Vol 1

minor classical music johann sebastian bach well tempered clavier b flat bach prelude romantic music

Play Episode Listen Later Sep 27, 2009 3:15

This is one of those preludes that is great for those times when words just cannot express the longings of the heart. To me, this prelude is like a lamentation or a mourning - something heartfelt and sincere. It is also in a fairly uncommon key - that of B flat minor. I hope that you enjoy my recording of this work.

Bach: Prelude No. 9 in E Major - Alternate Interpretation

bach interpretation alternate classical music johann sebastian bach e major prelude no bach prelude romantic music

Play Episode Listen Later Feb 19, 2009 1:19

A few days ago I released a recording of Bach's Prelude No 9 in E Major. I also decided to record this alternate interpretation of the prelude. These are two very different ways of playing the same notes of a score and indicate how versatile Bach's music usually is. His music is extremely open to the interpretation of the musician and leaves so much room for play. It is impossible to know for certain how Bach would have preferred his music to be played (despite experts claiming to know), and is even possible that he varied his own interpretation of his works. This leaves his music a mystery to be enjoyed uniquely by each performer. Be sure to listen to this recording along with the alternate recording of the same piece.

Bach: Prelude No. 9 in E Major BWV 854

Play Episode Listen Later Feb 17, 2009 1:55

This prelude is one of my favorites to play when I need to slow down the pace of life. It is a pastorale as indicated by the 3rds in the melody line and the 12/8 time signature. The slow-moving, yet joyful Cantus Firmus is so beautifully augmented by the counterpoint voice. It is always amazing to me to think of the volume of wonderful music that Bach composed. I hope that you enjoy my interpretation and recording of Bach's Prelude in E Major No. 9.

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Bach: Prelude No. 8 in E flat Minor