Podcasts about Boston Pops Orchestra

Welcome to Season 04 Episode 4.15 - the "Producers" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Mr. Steve Wendell/And The Tony Goes To..."; Mr. Rick Mascaro/Founder, Lakeshore Center for the Arts; Mr. Jefferson Westwood, retiring Director, Rockefeller Arts Center. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a $25 gift card from Domus Fare, and 2 tickets to any movie from the Cinema Series. Entries must be received by Friday June 6th at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line and include your preferred contact information. Thanks for listening! Time Stamps (Approximate) 1:55 - Steve Wendell/And The Tony Goes To... 16:30 - Rick Mascaro/Lakeshore Center for the Arts 33:33 - Arts Calendar 35:31 - Mr. Jefferson Westwood/retiring Director, Rockefeller Arts Center Media "I Wanna Be A Producer", from the musical The Producers, music and lyrics by Mel Brooks, performed by Matthew Broderick, from the original cast album, March 2001 "What I Did for Love", from the musical A Chorus Line, music by Marvin Hamlisch, lyrics by Edward Kleban, performed by Priscilla Lopez, from the original cast album, Columbia 1975 "That's Entertainment", from the film musical The Band Wagon, music by Howard Dietz and Arthur Schwartz; written by Betty Comden and Adolph Green, performed by the Boston Pops Orchestra, John Williams, conductor, January 2014 "There's No Business Like Show Business", from the musical Annie Get Your Gun, written and composed by Irving Berlin, performed by the WDR Funkhausorchester, Michael Seal, conductor, June 2022. "There's No Business Like Show Business", from the film musical There's No Business Like Show Business, written and composed by Irving Berlin, performed by Ethel Merman. 20th Century Fox, December 1954. Artist Links Steve Wendell Rick Mascaro Jefferson Westwood Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website WCVF Fredonia WRFA Jamestown   BECOME AN OPERA HOUSE MEMBER!

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Robert Watt, former Assistant Principal Horn of the Los Angeles Philharmonic.   Robert Lee Watt was born in Neptune, New Jersey the 4th child of seven. His father, Edward Watt Jr. played trumpet professionally in a Jazz ensemble, “The New Jersey Squires of Rhythm.” When Robert was eight years old he got curious about his father's trumpet, kept high on a shelf. Too short to reach it, Robert conscripted his little brother Tony to help. But with Tony on his shoulders he lost his balance, causing both of them to fall to the floor, trumpet in hand.  Robert then attempted to fix the dents in the instrument by using a hammer. The badly damaged trumpet was the way Robert's father discovered his interest in horns. After a serious reproach, Robert's father tried to teach him trumpet. However, it wasn't until years later that Robert discovered the instrument he really wanted to play.    While helping his father clean out a room in the basement Robert discovered some old 78 recordings. The curious Robert gave the old recordings a spin. It was the “William Tell Overture” on hearing the French horns on that recording he asked his father what instrument came in after the trumpet. His father informed him that it was a “French horn” “A middle instrument that never gets to play the melody like the trumpet…why, do you like that horn?” His father asked. Robert replied, “It gives me chills when I hear it, I love it. That's what I want to play.” His father informed the young Robert that it really wasn't the instrument for him. Explaining that it was an instrument for thin-lipped white boys. “Your lips are too thick to play that small, thin, mouthpiece. You'd be better suited for the trumpet like you father.”  Upon reaching high school Robert seriously pursued the French horn. Approaching the band director of his high school in Asbury Park, Robert was again told that his lips were too thick to play the French horn. After being persistent, the band director gave Robert an old French horn that barely worked.  Nevertheless, Robert advanced quickly and was soon winning auditions for honor bands and orchestras throughout the state of New Jersey, bringing great honor to his high school. After high school Robert was accepted to the New England Conservatory of Music in Boston where he majored in music and studied French horn with Harry Shapiro of the Boston Symphony. Mr. Shapiro took great interest in Robert pushing him hard. At the end of his first year Mr. Watt was asked to perform the Strauss Horn Concerto No. 1, with the Boston Pops Orchestra under Arthur Fiedler. The following summer he received a fellowship to the Berkshire Music Festival at Tanglewood. Returning to the Conservatory for his third year Mr. Watt was informed by the president's office that the Conservatory had financial problems and that all scholarships would be canceled for the coming year. At the end of his junior year at the Conservatory Mr. Watt was informed by his French horn teacher that it was time for him to audition for a position in a major symphony orchestra. On the advice of his teacher, Mr. Watt chose Los Angeles and Chicago. When Mr. Watt returned from his audition journey, he had made the finals at both auditions. Two months later The Los Angeles Philharmonic offered him the position of Assistant First Horn. Making him the first African American French horn player hired by a major symphony orchestra in the United States. Mr. Watt joined the ranks of only a handful of African Americans playing in symphony orchestras in these United States. According to the American Symphony Orchestra League, that represented less than 2% of the total, out of twenty-six top orchestras. Mr. Watt held his position until 2007, a career spanning 37 years.  Mr. Watt performed several times as soloist with the Los Angeles Philharmonic under Zubin Mehta and several orchestras in the Los Angeles area as well as the Oakland Symphony performing the Richard Strauss Second Horn Concerto While a member of the Los Angeles Philharmonic Mr. Watt has performed with principal and guest conductors that included: Leonard Bernstein, Eugene Ormandy, Eric Leinsdrof, Carla Maria Giulini, Pierre Boulez, Zubin Mehta, Henry Lewis, James De Priest, Michael Tilson Thomas, Herbert Blumstedt, Andre Previn, Marin Alsop, Esa-Pekka Salonen and Christoph Von Dohnányi. Included among the many world renown artists he has performed with were:     Yo-Yo Ma, Luciano Pavarotti, Placido Domingo, Jose Carreras, Wynton Marsalias, Henry Mancini, Gladys Night, Isaac Hayes, Quincy Jones, Stevie Wonder, Ray Charles, Barry White, Rihanna, Paula Abdul, Herbie Hancock, Lalo Schifrin, The Carpenters, Benny Carter, Quincy Jones, Bon Jovi, Elton John and film composer, John Williams. He has played on film scores of: Spiderman II, Rush Hour, Mission Impossible, Spike Lee's “Miracle at St. Anna, Golf and many others.  Mr. Watt has played the music for the Twentieth Century Fox cartoons, The Simpsons, American Dad, Family Guy and King of the Hill for the past three years. He played on the five hour TV special “The Jacksons, an American Family” under Harold Wheeler, and played for several years for the TV program “Startrek Voyager.” In the late 80's Mr. Watt helped organize an African American Brass Quintet, “The New Brass Ensemble” which performed throughout the United States and abroad.  Mr. Watt has done public speaking lecturing on music and African history in the Los Angeles area. He was hired as guest professor at Los Angele City College teaching the course, “Music of Black Americans”. Recently Mr. Watt executive produced a short film in memory of his friend Miles Davis. The film is based on the musical composition “Missing Miles” by Todd Cochran, commissioned by Mr. Watt, for French horn and piano. The short film was chosen by the Pan African Film Festival and the Garden State Film Festival.  Mr. Watt is a licensed airplane pilot with an instrument rating. He is a saber fencer and he speaks German and Italian.

Biographical Bytes from Bala: Laurel Hill West Stories #043   Polish born violinist Timothee Adamowski was soloist with the Boston Symphony Orchestra for many years and served as one of the first conductors of the Boston Pops Orchestra. For many years his name was romantically linked with that of famed Australian soprano Nellie Melba, but he surprised everyone when he married Gertrude Pancoast of a famed Philadelphia medical family. Timothee is interred in the Pancoast family plot at LHW. 

Joining me today is American drummer and producer Joey Waronker. Joey has played for some legendary names througout his career so far including Beck, R.E.M. Roger Waters, the supergroup Atoms For Peace featuring Flea from The Red Hot Chili Peppers and Thom Yorke from Radiohead. Paul McCartney, Norah Jones, Leonard Cohen and many more! Join us as we pick through Joeys' spectacular career so far including a large chunk about Roger Waters and a very long time on the road and how this affects family life with a wife and young son back at home. We talk about his recent performance with Beck and the Boston Pops Orchestra and how dynamics play a huge part in making this a success (in my opinion Joey is one of the most dynamic drummers around today). Joeys' British affiliation doesnt end with Roger Waters though, in late 23' he recorded an album with Liam Gallagher & John Squire that was released inMarch 24' to critical acclaim, he tells us about the experience of recording and touring with these two giants of the UK music scene. Huge thanks to Joey for taking the time to do this during a particularly crazy time! looking forward to part 2!

Audiences at Tanglewood in Lenox will have the chance to commune with lost aliens, dinosaurs and Darth Vader as the Boston Pops Orchestra performs conductor laureate John Williams' iconic music during two Film Night programs on Aug. 2 and Aug. 3.

In this episode, Eric sits down with the talented and accomplished singer, songwriter, filmmaker, author, lecturer and photographer... Byron Motley. They discuss his early years; being raised in Kansas Missouri, his early exposure to music and singing and the love that he developed for performance -- to eventually having a musical career, working on Broadway and performing and recording with such luminaries as Dionne Warwick, Celine Dion, John Legend and Barry Manilow. They explore the fascinating and rich history of the Negro Baseball League… and how it's draped in a fabric that mirrors America's culture. The celebrated legacy of his late father; Negro League chief umpire Bob Motley. How Byron co-authored his father's memoir — which he made into a documentary entitled THE LEAGUE, the fascinating interviews he conducted with prominent figures including Maya Angelou and how the film is a tribute that honors Byron's late father and is an effort to keep the memory and history of the Negro Baseball League alive — and share it with future generations..! Guest Bio: Byron Motley is a modern day Renaissance Man with diverse interests and talent… An accomplished singer/songwriter/filmmaker/lecturer/author and photographer. As a performer Byron has worked on Broadway and performed and recorded with such luminaries as Natalie Cole, Dionne Warwick, Celine Dion, Barbra Streisand, Barry Manilow, Kelly Clarkson, John Legend, Mary J. Blige, and the Boston Pops Orchestra. Byron's most recent CD “Jazz & Cocktails” (Cocoa Blu Records) has garnered impressive reviews and received attention both stateside and internationally. His one-man musical show "Hitmakers, Heroes & Homeruns” has dazzled audiences nationwide honoring the Negro Baseball Leagues & Jazz. An avid baseball fan, Byron co-authored his father's memoir THE NEGRO BASEBALL LEAGUES: Tales of Umpiring Legendary Players, Breaking Barriers, and Making American History. (Simon & Schuster/Skyhorse/Sports Publishing, LLC).  Byron's documentary, "THE LEAGUE", about the history and legacy of the Negro Baseball League, was featured at the Tribeca Film Festival in June 2023 in NYC.  The project is now streaming on various platforms including, Apple, Amazon, Vudu, Spectrum Dish and other outlets!  An award-winning photographer, Byron's work has shown in galleries, boutiques and museums in the United States, Europe and Cuba. His exhibit “Viva Cuba Beisbol: A Photographic Journey into the heart and soul of Cuban Baseball” recently enjoyed a six-month gallery exhibit at the National Baseball Hall of Fame in Cooperstown, NY.  Byron's award-winning photographic book, EMBRACING CUBA (University Press of Florida), contains nearly 200 color images (with essays) exploring the richness of the island. His photography has been featured in Vanity Fair, The Advocate, New York Daily News, Los Angeles Times, 3Sixty magazines and Bruno Gmünder books and have shown in galleries, boutiques and museums in the United States, Europe, Puerto Rico and Cuba. Some of his notable subjects include: Hank Aaron - Baseball Hall of Famer and Dr. Maya Angelou - The People's Poet.For more on Eric's Perspective, visit www.ericsperspective.com#ERICSPERSPECTIVE #AFRICANAMERICAN #ARTSUBSCRIBE: http://bit.ly/2vVJkDnConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGX: https://bit.ly/2OMTikTok: https://bit.ly/4cv8zfg

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Jim Nova, 2nd trombonist with the Pittsburgh Symphony Orchestra About Jim Nova James Nova joined the Grammy award-winning Pittsburgh Symphony Orchestra in 2009 as second/utility trombone. In 2012, Nova made his solo debut with the PSO, performing Henri Tomasi's Concerto for Trombone and Orchestra. Prior to that, he was a member of the Utah Symphony Orchestra where he served eight seasons as assistant principal/second trombone.  Since 2012, James Nova has found a new passion in multitrack recording, also known as "overdubbing." Overdubbing is a process by which a musician records all the parts of a piece of music one by one and layers the recordings on top of each other to create a full ensemble. Nova has released dozens of stunning and virtuosic tracks of his own challenging arrangements of exciting repertoire for trombone choir. The arrangements employ many different trombones: contra bass, bass, tenor, small tenor, alto, and even soprano trombones! James Nova has had a lifelong love of John Williams' film scores and in December of 2017, he released a new overdub album for trombone choir, A Fall from Light to Dark. Through the chosen moments of John Williams' masterful scores, this album musically chronicles the rise and descent of Anakin Skywalker as he transforms into Darth Vader. Truly a one-man show, this album's transcriptions, playing, recording, editing, mixing, and mastering were all done by Nova himself. James Nova has always been passionate about music education. When not on stage at Heinz Hall with the Pittsburgh Symphony, he can be found at the Mary Pappert School of Music at Duquesne University where he is adjunct trombone faculty, as well as the brass coach of the Three Rivers Young Peoples Orchestras. Given their widespread popularity, Nova's recordings are playing an impactful role in inspiring the next generation of musicians and budding recording artists and he is frequently invited to teach outside the region. Since 2012, he has completed more than 85 visits to prominent festivals (such as the International Trombone Festival, American Trombone Workshop, and the Korea Trombone Festival, among others) and reputable educational institutions (such as the Curtis Institute of Music, Juilliard School of Music, and New England Conservatory, among others) as the featured artist and educator in concerts, masterclasses, and clinics. James Nova studied with Glenn Dodson at the Curtis Institute of Music followed by study with Norman Bolter at the New England Conservatory of Music. While in Boston, Nova played regularly with the Boston Symphony Orchestra and the Boston Pops Orchestra, including recordings and television broadcasts as both principal and second trombone.  James Nova is an S.E. Shires Artist and performs on his signature line of Greg Black Mouthpieces. For more info, visit jimnova.com or hear his recordings at soundcloud.com/jimnova

Chillout Classic w Radiu Spin #40 Tematem jest czterdziestka. W audycji przestawiam utwory na różny sposób związany z numerem 40. Czasem to opus, czasem czterdziesta symfonia a czasem czasy lat czterdziestych, czy tempo 40. Miłego słuchania. 1. J.S. Bach - Wariacje Goldbergowskie, Aria i 1,2,3 wariacja, Andreas Schiff. 2. F. Chopin - Polonez op.40 nr 2 g-moll, Artur Rubinstein. 3. W.A. Mozart - 3 koncert fortepianowy D-dur KV 40, cz.2 Andante, Murray Perahia, English Chamber Orchestra. 4. W.A. Mozart symfonia 40 g-moll ,cz.1 Molto Allegro, Marc Minkowski, Les Musiciens du Louvre. 5. Harold Arlen - Over The Rainbow, Judy Garland 6. Leigha Harline - When You Wish Upon a Star, Cliff Edwards. 7. Max Steiner - Temat Tary z Przeminęło z wiatrem, Itzhak Perlman, John Williams, Boston Pops Orchestra. 8. Herman Hupfeld - As Time Goes By, Billy Holiday. 9. A. Dworzak - IX Symfonia e- moll, cz. 2 Largo, New York Philharmonic, Alan Gilbert.

SynopsisIn January 1980, famous American film music composer John Williams was named conductor of the Boston Pops Orchestra. On today's date that year, he led the Pops in the premiere performance of a concert overture based on his score for the John Wayne film The Cowboys.Now, by 1980, Williams had scored dozens of classic American films but not all that many westerns — The Cowboys, from 1971, for one, and Missouri Breaks, a quirky 1976 western starring Jack Nicholson and Marlon Brando, for another.If both The Cowboys and Missouri Breaks are somewhat unconventional samples of the western genre, Williams' music is in the grand tradition of the classic film scores by Jerome Moross, who composed the music for The Big Country; Elmer Bernstein, who wrote the score for The Magnificent Seven; and Jerry Goldsmith, who has done that service for a number of other classic westerns.All these composers, however, owed a collective debt to an unlikely cowboy music composer: Brooklyn-born Aaron Copland, whose Billy the Kid and Rodeo ballet scores from the 1930s and '40s helped define the symphonic equivalent of the wide-open American landscape.Music Played in Today's ProgramJohn Williams (b. 1932) The Cowboys Overture; Boston Pops; John Williams, cond. Philips 420 178

On this episode, we talk about what three things we would wish for from a double reed genie! For our interview, we welcome Robert Sheena, English horn player of the Boston Symphony Orchestra and the Boston Pops Orchestra! This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

En este programa puedes escuchar el último concierto que dio John Williams en su habitual cita veraniega en Tanglewood, titulado Film´s Night, donde dirige a la Boston Pops Orchestra interpretanto temas de otros autores y por supuesto también suyos. En este caso le acompaña el también compositor David Newman. Espero que disfrutes del concierto... Listado de temas - John Williams' Film Night – Tanglewood 2023 1. Hooray for Hollywood – Hollywood hotel 2. Obertura – Los Cowboys 3. Scene d'Amour – Vértigo 4. Suite – Un horizonte muy lejano 35:04 5. Jurasick Park theme – Parque Jurásico 6. Love theme – Superman 7. Superman march - Superman 8. The adventures of Mutt – Indiana Jones y el Reino de la Calavera de Cristal 01:02:06 9. Call the champions – Tema oficial de las Olimpiadas de Invierno de Salt Lake 2002 10. Dry you tears from Africa – Amistad 11. Duel of the fates – La Amenaza fantasma 12. Theme from Schindler´s List – La lista de Schindler 01:22:41 13. The asteroid field – El imperio contraataca 14. Anakin's theme – La amenaza fantasma 15. Throne room and Finale – La Guerra de las Galaxias 16. Helena´s theme – Indiana Jones y el dial del destino 01:47:11 17. Flying theme – ET 18. Imperial march – El imperio contraataca

As a young girl, Brookline musician Grace Kelly dreamed of being Hollywood actress turned princess of the same name, Grace Kelly. The saxophonist told Under the Radar how movies have long inspired her musically: "Movies have always taken me into this other reality, and I think music is similar in that when you see amazing musicians on stage, working together, creating this amazing moment that gives that emotional release, like 'oh, this is just beautiful,' and I feel that way when I'm making music." The talented musician grew up to make a name for herself as a performer, playing alongside saxophone legend Phil Woods and as a soloist with the Boston Pops Orchestra at just 14. At 16, she performed at President Obama's 2009 inauguration. But professional musicians took note of her skill when she was only in middle school: "Back when I was starting professionally at 13 I didn't even know that could be a job ... I have had such incredible mentors ... starting with my first saxophone teacher who invited me to play at his jam session when I was 12-years-old, and I had never done that before." Now, at 30, the prodigy is showcasing her love for the movies in the East Coast premiere of a special concert: ‘At the Movies: Grace Kelly with Strings' featuring a 15-piece ensemble at the Berklee Performance Center on April 29. GUEST Grace Kelly, saxophonist, singer, songwriter, band leader, co-leader of the band 2saxy and composer of Under the Radar's theme music

A widely accomplished musical director, conductor, pianist, composer, and arranger, working primarily in the realm of musical theatre. His experience on Broadway includes both conducting and playing keyboards for Cinderella, How to Succeed in Business…, The Drowsy Chaperone, The Producers, Thoroughly Modern Millie, The Phantom of the Opera and Carousel. Larry has also served as Musical Director for national tours of Anastasia, A Gentleman's Guide to Love and Murder, Les Misérables, South Pacific, The Producers, Sunset Blvd. and Cats, as well as many regional productions. He has been a frequent collaborator with the Boston Pops Orchestra, contributing both vocal and orchestral arrangements, performing as pianist, coaching vocal soloists and music directing concert performances of Carousel and A Little Night Music. As a composer and lyricist, Larry has written the scores for the shows Big Bad Wolf and the Endangered Forest (Portland Opera Young Artists); Reality! (Stamford Center for the Arts reading); Groundhog Day (with lyricist Jack Lechner, BMI Musical Theatre Workshop); and Grounded For Life (with comedian Pat Hazell, York Theatre staged reading). His music and songs were regularly featured on the Pittsburgh children's TV show. Let's Read a Story, as well as the syndicated TV special Secrets of Success. He was also the 1st Prize Winner of the 1988 International Jewish Music Competition for his chamber opera A Test of Faith.

Synopsis On today's date in the year 1900, the principal of Stanton Elementary in Jacksonville, Florida was asked to give a Lincoln's Day speech to his students. Stanton was a segregated school for African-American children, and was the school that its principal, James Weldon Johnson, had himself attended. Johnson decided he would rather have the students do something themselves, perhaps sing an inspirational song. He decided to write the words himself, and enlisted the aid of his brother, John Rosamond Johnson, who was a composer. "We planned to have it sung by schoolchildren, a chorus of 500 voices," Johnson recalled. "I got my first line, 'Lift Ev'ry Voice and Sing"—not a startling first line, but I worked along, grinding out the rest." Johnson gave the words to his brother as they came to him, not even writing them down as his brother worked at the piano. By the time they finished, Johnson confessed he was moved by what they had created: "I could not keep back the tears and made no effort to do so." The song was a great success on February 12th, 1900, and then was pretty much forgotten by Johnson—but not by the children who sang it. They memorized it. Some of them became teachers, and taught it to their students. The song spread across the country, and soon became the unofficial National Anthem of Black America. "We wrote better than we knew," said Johnson. Music Played in Today's Program J.W. (1871-1938) and J.R. (1873-1954) Johnson Lift Ev'ry Voice and Sing Choirs and Boston Pops Orchestra; Keith Lockhart, conductor. BMG/RCA 63888

As a child growing up in New England, Scott's early interests and training were in the fields of music, tap dancing, magic, acting, and sports. In between his schoolwork and hours spent working at his family's diner, (which Scott claims helped his character acting skills immeasurably), Scott acted with several regional companies, as well as with the Boston Children's Theater. As a musician, Scott had a treasured involvement with the Boston Pops Orchestra, playing in the percussion section during the final year of legendary conductor Arthur Fiedler's reign. Scott also played with numerous jazz, rock, and show bands throughout the New England area.Scott moved to New York in 1978 and first worked as a bouncer/bartender in a disco directly across the street from Dangerfield's, the famous nightclub named after the well-known comedian. After watching the celebrity names revolve weekly on the marquis of that establishment, Scott decided to test his talents on a Monday night at Dangerfield's. Rodney immediately liked Scott and took him on the road where he successfully worked for three years as Rodney Dangerfield's opening act. Since then, Scott has worked with many superstars including Ann Margret, Bob Hope, Frank Sinatra, Huey Lewis and the News, Tom Jones, Julio Iglesias, Perry Como, Tony Bennett, The Gatlin Brothers, Tim McGraw, Faith Hill, Celine Dion, Cher, Clint Black, and many more. Scott's headlining status has been enjoyed at the Mohegan Sun Casino Resort in CT, the McCallum Theatre in Palm Desert, CA, and other premium venues throughout the United States. Scott also performs in Las Vegas, Lake Tahoe, and in Atlantic City, where he was voted the Best Variety Act of the Year by Atlantic City Magazine. Scott is one of the most requested headliners on several of the world's most elite cruise lines. Corporate appearances make up yet another large percentage of Scott's current schedule. Golf is one of Scott's many passions. He currently headlines as well as competes in many of the major Pro-Am events sponsored by the PGA, LPGA, USGA, and the Seniors Tour. He has headlined at several Phoenix Open, the Player's Championship, and the Bay Hill Classic, in which he played in the Pro-Am with Tiger Woods and won that event! Scott also participates in many fun- raising charity tournaments, including the Bob Hope Desert Classic, the Kraft Nabisco LPGA Championship, and the AT&T Pebble Beach.

¿Qué tiene "RRR", el exitazo taquillero de Tollywood, para haber provocado el entusiasmo de millones de espectadores de todo el mundo y la estupefacción no precisamente positiva de un sector de la cinefilia? ¿Es una delicia, un delirio o un dislate? Medio en broma y medio en serio, os traemos nuestro juicio marciano (y nianoniano) Únete a nosotros en Telegram: t.me/marcianosenuntren Con Jose Ceballos, Agustín Amador y Samu Valderas Edición: Jose Ceballos Música: M.M. Keeravani, Lantern, Pawan Krishna y John Williams & The Boston Pops Orchestra ¿Quieres anunciarte en este podcast? Hazlo con advoices.com/podcast/ivoox/311035 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

•Pastor Daryl Lynn Coley, Pastor, Musician, Songwriter, Solo Artist and given an affection name of “The Prince of Gospel” by his record label. Daryl had a unique quality of presenting Gospel music by incorporating Jazz inflections into his songs. His range was phenomenal and lyrics clear with powerful messages. •Daryl has a litany of music in his Discography which not only includes Gospel music but Jazz and his voice on a popular animation series “The Simpsons”. Daryl sang and recorded with many choirs, the late Nancy Wilson, Edwin Hawkins and was the musical director for Tramaine Hawkins when she began her solo career. •Darly was a featured vocalist with at the Boston POPS Orchestra where he shared his vocal background which he picked up from his Mother who also sang as a Lyric - Mezzo Soprano. In Daryl's own words there was all types of music in his home growing up which included Gospel, Classical and Jazz. •Please send me an email sharing your thoughts about this show segment also if you have any suggestions of future guests you would like to hear on the show. Send an email to letstalk2gmg@gmail.com •You may also “like” and share the podcast episode; or you may Subscribe to be alerted when the newest show is published. •NEW RADIO SHOW ON INTERNET RADIO STATION WMRM-DB SATURDAY MORNING 9:00 AM CST AND SATURDAY EVENING 5:00 PM CST --- Send in a voice message: https://anchor.fm/letstalk2gmg-ansonia/message

Three-time Super Bowl champion Julian Edelman joins Rich in-studio where he reveals why he's missing football now more than ever and if he'd consider a comeback of Tom Brady called, discusses his new ‘Games with Names' podcast that revisits some of the most famous games and plays in sports history, weighs in on the Patriots' “vanilla” offense that has been unimpressive in the pre-season so far, why he's picking the Las Vegas Raiders to win the AFC West, imagines what a Patriots version of HBO's ‘Hard Knocks' would have looked like, and in a game of ‘Edelman True or False' reveals how he came to conduct the Boston Pops Orchestra once, wrote three children's books, and the real story behind Rob Gronkowski putting a dent in the Lombardi Trophy at Fenway Park when he tried to use it as a bat.   Learn more about your ad choices. Visit podcastchoices.com/adchoices

Morgan White Jr. fills in on NightSide:The Fourth of July is celebrated throughout the country, but it's always special in Boston. The City was one of the first places to light fireworks on the 4th and in 1777 it hosted its first fireworks show. On the music side, the Boston Pops Orchestra has been playing “The Stars and Stripes Forever” at the end of their concert since 1899. Joining Morgan to chat more about Boston's history is Operations Manager for Boston Top Deck Trolley Tours and WBZ Radio Traffic Reporter, Jack Harte.

Morgan White Jr. fills in on NightSide:The Fourth of July is celebrated throughout the country, but it's always special in Boston. The City was one of the first places to light fireworks on the 4th and in 1777 it hosted its first fireworks show. On the music side, the Boston Pops Orchestra has been playing “The Stars and Stripes Forever” at the end of their concert since 1899. Joining Morgan to chat more about Boston's history is Operations Manager for Boston Top Deck Trolley Tours and WBZ Radio Traffic Reporter, Jack Harte.

Karan Casey  Does Singing Songs Make a Difference? This episode is a recording of Karan Casey's keynote presentation at the close of the conference of the European Music Therapy Confederation in Edinburgh, 8-12 June 2022. Karan talked about songs and social justice, arts practice research, and about her own life and experiences as a performer and campaigner on social issues. She performed a number of songs as part of the presentation, and then had a conversation with Luke Annesley to explore these issues further. It was an inspiring ending to a varied and exciting conference. About Karan: Singing songs charged with a sense of social responsibility in a career spanning over 25 years Karan Casey has released eleven albums as well as contributing to numerous other artists' projects – appearing on more than 50 albums in total. She has toured extensively throughout North America, Europe and Japan, performing with her own band as well as collaborating with such diverse musicians as Maura O'Connell, James Taylor, Bela Fleck, Boston Pops Orchestra, Kate Ellis, Niall Vallely, Pauline Scanlon, The Chieftains, The Dubliners, Peggy Seeger, Karen Matheson, Mick Flannery, Mícheál Ó Súilleabháin, Tim O'Brien, Solas and Lúnasa.  In 2018 Karan helped found FairPlé which is an organization aimed at achieving fairness and gender balance for female performers in Irish traditional and folk musics. Karan tours with her band Niamh Dunne, Sean Óg Graham and Niall Vallely. Karan's most recent album Hieroglyphs That Tell the Tale was released on the Vertical Records Label. Her song “Down in the Glen” was nominated for Best Original Folk Song at the RTE Folk Awards 2019 and she completed a PhD in music in 2019. Karan has recently performed her new show with Director Sophie Motley called I Walked into My Head which was premiered at the Kilkenny Arts Festival 2021. Karan is currently working on a new stage show to be produced at the Everyman Theatre in Cork in early 2023 as well as an album of new songs about women in the Irish revolutionary period. Please note: As we are awaiting permission to include the performance of 'The King's Shilling' in this episode, here is a YouTube link to Karan's studio version of the song. Reviews of Karan's music: "Karan Casey's latest album is revelatory. She's always been a singer of songs that tell a story and show their muscle…This is a strikingly three-dimensional work that stands the test of intensive and repeated listening with ease. A vivid and dazzling snapshot of Casey invincible, at the height of her powers.” Siobhán Long, Irish Times   “Casey's voice is among the loveliest in folk music and she's a wonderful interpreter of both contemporary and traditional material.” BOSTON GLOBE   “Karan Casey's latest solo venture is a thing of rare beauty.” SING OUT   "The most soulful singer to emerge in Irish traditional music in the past decade." THE GLASGOW HERALD   “If ever any doubt existed about who's the best Irish traditional woman singer today, "Exiles Return" sweeps aside all pretenders…Karan Casey has no vocal peer.” IRISH ECHO   Songs Siúil a Rúin (trad.) The King's Shilling (Ian Sinclair) Rocks of Bawn (trad.) Ballad of Accounting (Ewen MacColl) I'm Still Standing Here (Janis Ian) Hear How the Music it Heals (trad.) Bog Braon (trad.)   Other links and references: Casey, K. (2017, September). Singing my way to Social Justice. In Voices: A World Forum for Music Therapy (Vol. 17, No. 3).  Davis, A. Y. (2011). Blues Legacies and Black Feminism: Gertrude Ma Rainey, Bessie Smith, and Billie Holiday. Vintage. www.karancasey.com info@karancasey.com   Lyrics   Siúil a Rúin   I wish I was on yonder hill 'Tis there I would sit and cry my fill Until every tear it would turn a mill Is go dté tú mo mhúirnín slán I would sell my rock, I would sell my reel I would sell my only spinning wheel For to buy my love a sword of steel Is go dté tú mo mhúirnín slán Siúil, siúil, siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Is go dté tú mo mhúirnín slán And now my love he has gone to France To try his fortune to advance And if he returns, 'tis but a chance Is go dté tú mo mhúirnín slán Siúil, siúil, siúil a rúin Siúil go sochair agus siúil go ciúin Siúil go doras agus éalaigh liom Is go dté tú mo mhúirnín slán   I wish, I wish, I wish in vain I wish I had my heart again And it's vainly I think that I would not complain Is go dté tú mo mhúirnín slán   The King's Shilling   Oh my love has left me with bairnes twa And that's the last of him I ever saw He's joined the army and marched to war He took the shilling He took the shilling and he's off to war   Come laddies come, hear the cannons roar Take the King's shilling and you're off to war   Well did he look as he marched along With his kilt and sporran and his musket gun And the ladies tipped him as he marched along He sailed out by He sailed out by the Broomielaw   The pipes did play as he marched along And the soldiers sang out a battle song March on, march on, cried the Captain gay And for King and country For King and country we will fight today   Come laddies come, hear the cannons roar Take the King's shilling and we're off to war   The battle rattled to the sound of guns And the bayonets flashed in the morning sun The drums did beat and the cannons roared And the shilling didn't seem Oh the shilling didn't seem much worth the war   Come laddies come, hear the cannons roar Take the King's shilling and we're off to war   Well the men they fought and the men did fall Cut down by bayonets and musket ball And many of these brave young men Would never fight for Would never fight for the King again   Come laddies come, hear the cannons roar Take the King's shilling and we're off to war Come laddies come, hear the cannons roar Take the King's shilling and you'll die in war     Rocks of Bawn   Come all ye loyal heroes wherever you may be. Don't hire with any master till you know what your work will be You will rise up early from the clear day light till the dawn and you never will be able for to plough the Rocks of Bawn.   Rise up, gallant Sweeney, and give your horse some hay And give them a good feed of oats before they stray away Don't feed them on soft turnip put them out on your green lawn Or they never will be able for to plough the Rocks of Bawn.   My curse upon you, Sweeney boy, you have me nearly robbed You're sitting by the fireside with your dúidín in your gob You're sitting by the fireside now from clear daylight till the dawn And you never will be able for to plough the Rocks of Bawn   My shoes they are worn and my stockings they are thin My heart is always trembling for fear they might give in My heart is always trembling from the clear daylight till the dawn And I never will be able for to plough the Rocks of Bawn.   I wish the Queen of England she would call for me in time And place me in some regiment all in my youth and prime I'd fight for Ireland's glory from the clear daylight till dawn And I never would return again to plough the Rocks of Bawn.     Ballad of Accounting   In the morning we built the city In the afternoon walked through its streets Evening saw us leaving We wandered through our days as if they would never e All of us imagined we had endless time to spend We hardly saw the crossroads And small attention gave To landmarks on the journey from the cradle to the grave, cradle to the grave, cradle to the grave   Did you learn to dream in the morning? Abandon dreams in the afternoon? Wait without hope in the evening? Did you stand there in the traces and let them feed you lies? Did you trail along behind them wearing blinkers on your eyes? Did you kiss the foot that kicked you? Did you thank them for their scorn? Did you ask for their forgiveness for the act of being born, act of being born, act of being born?   Did you alter the face of the city? Did you make any change in the world you found? Or did you observe all the warnings? Did you read the trespass notices did you keep off the grass? Did you shuffle off the pavement just to let your betters pass? Did you learn to keep your mouth shut, Were you seen and never heard? Did you learn to be obedient and jump to at a word, jump to at a word, jump to at a word?   Did you ever demand any answers? The who, the what or the reason why? Did you ever question the setup? Did you stand aside and let them choose while you took second best? Did you let them skim the cream off and then give to you the rest? Did you settle for the shoddy? Did you think it right To let them rob you right and left and never make a fight, never make a fight, never make a fight?   What did you learn in the morning? How much did you know in the afternoon? Were you content in the evening? Did they teach you how to question when you were at the school? Did the factory help you grow, were you the maker or the tool? Did the place where you were living Enrich your life and then Did you reach some understanding of all your fellow men, all your fellow men, all your fellow men?     I'm Still Standing Here   See these lines upon my face They're a map of where I've been In the deep they are traced a deeper life has settled in How do we survive living out our lives   I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here   See these marks upon my skin They're the lyric of my life Every story that begins Means another ends in sight Only lover's understand Skin just covers who I am   I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here   See these bruises see these scars Hieroglyphs that tell the tale You can read them in the dark Through your fingertips like braille   I wouldn't trade a line make it smooth or fine Or pretend that time stands still I want to rest my soul here where it can grow without fear Another line another year I'm still standing here                

Concerto for Oboe  (Piano reduction) by John Williams (b. 1932)Prelude: Exuberantly, BroadlyPastorale: Moderato, with NostalgiaCommedia: Playfully, JoyfullyJohn Williams is a distinguished American composer, best known for his film scores. In 2005 the American Film Institute selected Williams's score for Star Wars as the greatest film score of all time. He has won 25 Grammy Awards and received 52 Academy Award nominations and 5 Academy Awards. He is also a composer and conductor of concert music. He wrote this concerto in 2011 for Keisuke Wakao, the principal oboist of the Boston Pops Orchestra, of which Williams was music director for many years. Some composers try to create excitement by forcing the players to struggle with technical difficulties.* Not so John Williams, and certainly not his Oboe Concerto. Williams' concerto requires practice and precision from the oboist, but mostly it demands fluency, energy and expressiveness in the moment. Its phrases fall naturally within a human breath. The oboe part is written in a range where it can produce a nuanced timbre, can start and end notes precisely, and has a speech-like potential to engage the listener's emotions. The piano reduction is precisely notated to reproduce the complex ensemble playing and rich sonorities of the Boston strings without risking injury or public humiliation to the pianist. He lets both players' hands move efficiently without straining for uncomfortably large intervals.This generous gift to the oboists and pianists of the world shows how well Williams can cast spells, play games, evoke moods and tell stories. It is a genial piece, composed in a language of beautiful, logically connected sounds, and with the sweet smile of reason. _________________________________Essa-Pekka Salonen stated this in his comments to an audience at Hertz Hall, Berkeley, California, c. 2012. Fascination with virtuosic musical performance as a form of heroism has been part of Western music at least since the early nineteenth century when great soloists like Paganini and Liszt began to be idolized in the press along with popular heroes like Cook, Nelson and Napoleon. _________________________________Photo by May Phan

As war engulfs the world, President Franklin Delano Roosevelt secretly meets with a group of super powered individuals to convince them to join the war effort on the side of the Allied Powers. Will the newly christened Operation: American Defense be enough to turn back the onslaught of the Axis Powers? How will the introduction of superhumans change the course of the war? Tune in to find out! Support us on Patreon: https://www.patreon.com/mistconceptionspod Join our Discord: https://discord.gg/PxbfcpTJu2 Cast: David (he/him; @MrBananaSocks) as the Editor in Chief, Mitch (he/they; @mitchbustillos) as Omission (he/him), Marlo (she/her; @boggwitch) as Crystal Gazer (she/her), Phil (he/them; @BMCPHILANTHROPY) as Torchbearer (he/him), Kristie (she/her; @PolishKristie) as Geiger Gwen (she/her), Occam (they/them; @occamsockemrobo) as Dr. Fusion (he/him), Kari (she/her) as Mother Midnight (she/her) Music in this episode: Adagio in G Minor by Thomas Albinoni, America by Boston “Pops” Orchestra, The Battle Barge by LIVINGFORCE, Too Much by Harlan Leonard and his Orchestra, Tear It Down by Clyde McCoy and his Orchestra, Stratosphere by Jimmie Lunsford and his Orchestra, Well, Get It! by Tommy Dorsey, Volcano by Count Basie, Vivaldi:Concerto No.4 in F minor, Op.8, RV 297, " L'inverno ", Allegro Non Molto by Teatro La Fenice Orchestra

What if we could create a TV show—a news channel filled with stories of people doing heroic things that might not get noticed otherwise? Here are some thoughts on the Olympics you probably won't hear many other places.The song we used in this episode was "Olympic Fanfare and Theme" performed by the Boston Pops Orchestra and conducted by John Williams. We don't own any rights.Contact usLinktree: www.Linktr.ee/HappyLifeStudiosEmail: Podcast@HappyLife.StudioYo Stevo Hotline: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol Facebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.Twitter.com/HappyLifStudios YouTube: www.YouTube.com/StevoHaysIf you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comVenmo: @StevoHaysCheck: Payable to Hays Ministries or Steve Hays and send to PO Box 102 Maple Valley, WA 98038

Episode 116. Sam and Hugh are back!!! And so is Indiana Jones. This time he is going on a crusade; his last crusade one might say. Did Sam enjoy the film so much he's now on his own personal quest to find the Holy Grail? Or was he so bored that he thought he was going to die of old age and boredom? Find out this and much more on this week's episode of Please Watch This!!! Contact: pleasewatchthis.pod@gmail.com @pleasewatchpod Music: "Let That Sink In" & "Southside" by Lee Rosevere "Barbra Streisand" (Original Mix)" By Duck Sauce  "The Raider's March" (From "Raiders of the Lost Ark") by John Williams and the Boston Pops Orchestra

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Leroy Anderson (June 29, 1908 – May 18, 1975) was an American composer of short, light concert pieces, many of which were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music."

Tim sings a disc golf Christmas Carol, we talk grocery shaming, Christmas lists, Phone Santas, and have a Holiday themed Dollar Treat.  Intro/Interlude/Outro Music: Holiday for Strings by the Boston Pops Orchestra

In this HCI Podcast episode, Dr. Jonathan H. Westover (https://www.linkedin.com/in/jonathanhwestover/) talks with Justin Locke about his new book, Principles of Applied Stupidity. See the video here: https://youtu.be/x8VnxQP1Db8. Justin Locke (https://www.linkedin.com/in/justinlocke/) spent 18 seasons playing bass with the Boston Pops Orchestra. He has worked with some of the most famous conductors in the world, including John Williams, Henry Mancini, Leonard Bernstein, and Arthur Fiedler. Justin is the author of "Real Men Don't Rehearse," a collection of amusing behind the scenes tales of playing in the Boston Pops. Justin's second book, which we will discuss today, is an unusual look at the management techniques of the best conductors. It is titled "Principles of Applied Stupidity." These are essentially somewhat devious and manipulative (but marvelously effective) management skills that are very much "outside the box." Check out Dr. Westover's new book, 'Bluer than Indigo' Leadership, here: https://www.innovativehumancapital.com/bluerthanindigo. Check out Dr. Westover's book, The Alchemy of Truly Remarkable Leadership, here: https://www.innovativehumancapital.com/leadershipalchemy. Check out the latest issue of the Human Capital Leadership magazine, here: https://www.innovativehumancapital.com/hci-magazine. Ranked #6 Performance Management Podcast: https://blog.feedspot.com/performance_management_podcasts/ Ranked #6 Workplace Podcast: https://blog.feedspot.com/workplace_podcasts/ Ranked #7 HR Podcast: https://blog.feedspot.com/hr_podcasts/ Ranked #12 Talent Management Podcast: https://blog.feedspot.com/talent_management_podcasts/ Ranked in the Top 20 Personal Development and Self-Improvement Podcasts: https://blog.feedspot.com/personal_development_podcasts/ Ranked in the Top 30 Leadership Podcasts: https://blog.feedspot.com/leadership_podcasts/ --- Support this podcast: https://anchor.fm/hcipodcast/support

Hunter and Shaun start to explore the musical world of John Williams from 1959! In a career that spans five decades, John Williams has become one of America's most accomplished and successful composers for film and for the concert stage. He has served as music director and laureate conductor of one of the country's treasured musical institutions, the Boston Pops Orchestra, and he maintains thriving artistic relationships with many of the world's great orchestras, including the Boston Symphony Orchestra, the New York Philharmonic, the Chicago Symphony and the Los Angeles Philharmonic. Mr. Williams has received a variety of prestigious awards, including the National Medal of Arts, the Kennedy Center Honor, the Olympic Order, and numerous Academy Awards, Grammy Awards, Emmy Awards and Golden Globe Awards. He remains one of our nation's most distinguished and contributive musical voices. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/musicspeaks-podcast/support

Agito is the name of the symbol in the Paralympics. It's Latin for "to move". In the Paralympics it stands for “Spirit in Motion,” representing the strong will of every Paralympian and how the athletes constantly inspire and excite the world with their performances--always moving forward and never giving up.The song we use in this episode is "Olympic Fanfare and Theme" by John Williams and The Boston Pops Orchestra. We don't own any rights.In case you were wondering, the audio clip we used regarding "letting your light shine" came from the movie Coach Carter.Here is the link to Anastasia Pagonis' interview I was so inspired by https://www.youtube.com/watch?v=APPZks6FT3U I couldn't find Gia Pergolini's online. I had to record hers directly from the TV.Contact usEmail: Podcast@HappyLife.StudioVoicemail: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol Facebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.Twitter.com/HappyLifStudios YouTube: www.YouTube.com/StevoHaysIf you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comCheck: Payable to Hays Ministries or Steve Hays and send to PO Box 102 Maple Valley, WA 98038

I'm stoked! And so is 6-time Gold medalist Amy Van Dyken. Listen and find out why in this special bonus Olympic episode.Here is the link for the video of Amy Van Dyken: https://olympics.com/tokyo-2020/en/paralympics/news/videos/amy-van-dyken-limitations-are-what-you-put-on-yourselfThe song we use in this episode is "Olympic Fanfare and Theme" by John Williams and The Boston Pops Orchestra. We don't own any rights.Contact usEmail: Podcast@HappyLife.StudioVoicemail: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol Facebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.Twitter.com/HappyLifStudios YouTube: www.YouTube.com/StevoHaysIf you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comCheck: Payable to Hays Ministries or Steve Hays and send to PO Box 102 Maple Valley, WA 98038

A Happy Life Studio's special Olympic edition. I will never have a body of an Olympian, or win an Olympic medal, but there's more than one way to win Gold. The songs we use in this episode are "Bugler's Dream" and "Olympic Fanfare and Theme" by John Williams and The Boston Pops Orchestra. We don't own the rights to either.Contact usEmail: Podcast@HappyLife.StudioVoicemail: (425) 200-HAYS (4297)Webpage: www.HappyLife.lol Facebook: www.Facebook.com/HappyLifeStudios Instagram: www.Instagram.com/HappyLife_Studios Twitter: www.Twitter.com/HappyLifStudios YouTube: www.YouTube.com/StevoHaysIf you would like to help us spread the HappyPayPal: www.PayPal.me/StevoHaysCash App: $HappyLifeStudiosZelle: StevoHays@gmail.comCheck: Payable to Hays Ministries or Steve Hays and send to PO Box 102 Maple Valley, WA 98038

Founded in 1881 the Boston Pops have thrilled audiences with a "new" niche of popular symphonic music, playing concerts of a "lighter kind of classical music".

Music includes: The Star Spangled Banner, God Bless America, Lift Every Voice And Sing, Blues From An American In Paris, Boogie Woogie Bugle Boy, American Patrol and El Capitan. Performers include: Sousa's Band, Edwin Franco Goldman, The Andrews Sisters, Fred Waring, Ralph Flanagan, The Boston Pops Orchestra and Horace Heidt.  

A fan favorite, the Boston Pops, is bringing back its pop-up performances on Wednesday and Thursday. WBZ NewsRadio's James Rojas reports.

MISSION; The mission of MToxins has always been to provide the highest quality, ethically collected venoms available worldwide at a fair price to assist in the creation of life saving antivenoms. With the opening of our new facility as well as public serpentarium we push our mission further with educating and inspiring the future generations of scientists to help continue to study these animals and their venoms, protect their habitats and share in the fascination of how these animals benefit mankind. Mr. Nathaniel Fränk provides a critically helpful services to people worldwide. In less than 60 days there gave been more than 400,000 recorded snake bites from venomous snakes. An additional number of bites have been made by scorpions and spiders.Antivenom is made using several processes. It all starts with the “facing the snake”. This discussion is replete with compassionate respect for the animals and a genuine interest in saving lives. The snake is an important partner in medical research and current pharmaceuticals. Practical advice is shared.This discussion is both dramatic and humorous.http://www.mtoxins.com/home.htmlMUSIC GENEROUSLY PROVIDED BY;Leroy Anderson    American composerAnderson completed "The Typewriter" on October 9, 1950 http://www.leroyanderson.com/Leroy Anderson was an American composer of short, light concert pieces, of which many were introduced by the Boston Pops Orchestra under the direction of Arthur Fiedler. John Williams described him as "one of the great American masters of light orchestral music

Legendary trumpeteer talks his illustrious career as former Associate Principal Trumpet of the Boston Symphony Orchestra / Principal Trumpet of the Boston Pops and his subsequent life as studio musician in Los Angeles, including his many collaborations with John Williams as soloist on such scores as Born On The Fourth of July, JFK, Nixon and Saving Private Ryan Hosted by Maurizio Caschetto and Tim Burden Trumpet legend Tim Morrison has defined probably more than any other soloists one of the key signature styles of John Williams, enhancing the American spirit in many of the composer's brilliant pieces for film and the concert hall through his singing, lyrical trumpet sound and purity of tone. Tim Morrison has been the voice of Ron Kovic's struggle in Born on the Fourth of July and the reminiscence of President Kennedy's core American values in JFK; he underlined John Quincy Adams' noble speeches in Amistad, and accompanied with somber, plaintive tones the drama of World War II American soldiers in Saving Private Ryan. Whenever John Williams needed that signature American sound in some of his film scores, he often chose Tim Morrison to be the interpreter of choice. Also, as Principal Trumpet of the Boston Pops Orchestra from 1987 to 1997, he has often being the soloist of choice in many concerts and recordings with Williams on the podium. In this wide, in-depth conversation, Tim Morrison talks about his brilliant career and musical life, from his studies and early days as performer to his arrival in Boston, his many collaborations with John Williams as soloist on Born on the Fourth of July, JFK, Nixon and Saving Private Ryan, but also the many brilliant Boston Pops recordings he performed in, including the iconic Summon the Heroes solo. He also reflects on Williams' comment about his "American sound", his life as studio musician in L.A., and his solo recording album After Hours.

The Boston Pops Orchestra is holding a live virtual performance this weekend ahead of Valentine's Day. WBZ NewsRadio's James Rojas reports.

In January of 1980, the famous American film music composer John Williams was named conductor of the Boston Pops Orchestra, and on today’s date that year led the Pops in the premiere performance of a concert overture based on his score for the John Wayne film “The Cowboys.” Now, by 1980 Williams has scored dozens of classic American films, but not all that many westerns. “The Cowboys,” from 1971, for one, and “Missouri Breaks,” a quirky 1976 western starring Jack Nicholson and Marlon Brando, for another. If both “The Cowboys” and “Missouri Breaks” are somewhat unconventional samples of the western genre, Williams’ music is in the grand tradition of the classic film scores by Jerome Moross, who composed the music for “The Big Country,” Elmer Bernstein, who wrote the score for “The Magnificent Seven,” and Jerry Goldsmith, who has done that service for a number of other classic westerns. All these composers, however, owed a collective debt to an unlikely cowboy music composer: Brooklyn-born Aaron Copland, whose “Billy the Kid” and “Rodeo” ballet scores from the 1930s and '40s helped define the symphonic equivalent of the wide-open American landscape.

In January of 1980, the famous American film music composer John Williams was named conductor of the Boston Pops Orchestra, and on today’s date that year led the Pops in the premiere performance of a concert overture based on his score for the John Wayne film “The Cowboys.” Now, by 1980 Williams has scored dozens of classic American films, but not all that many westerns. “The Cowboys,” from 1971, for one, and “Missouri Breaks,” a quirky 1976 western starring Jack Nicholson and Marlon Brando, for another. If both “The Cowboys” and “Missouri Breaks” are somewhat unconventional samples of the western genre, Williams’ music is in the grand tradition of the classic film scores by Jerome Moross, who composed the music for “The Big Country,” Elmer Bernstein, who wrote the score for “The Magnificent Seven,” and Jerry Goldsmith, who has done that service for a number of other classic westerns. All these composers, however, owed a collective debt to an unlikely cowboy music composer: Brooklyn-born Aaron Copland, whose “Billy the Kid” and “Rodeo” ballet scores from the 1930s and '40s helped define the symphonic equivalent of the wide-open American landscape.

Legendary saxophonist and woodwind specialist talks his career as studio musician in Los Angeles, from his early days as session player to his collaborations with Maestro John Williams, including the stunning alto saxophone solos he performed on the score for Steven Spielberg's 2002 film Catch Me If You Can Saxophonist and woodwind specialist Dan Higgins is unquestionably one of the most talented session musicians on the planet and also highly respected among his peers. His stunning skills both as saxophonist and woodwind player on several instruments (including clarinet and flute) have been appreciated by a wide variety of composers and musicians with whom Higgins collaborated throughout his amazing career. He has performed in the woodwind section on several John Williams' film scores since the mid-1990s, but he's first and foremost remembered for the stunning alto saxophone solos he recorded on the brilliant score Maestro Williams composed in 2002 for the film Catch Me If You Can, directed by Steven Spielberg and starring Leonardo Di Caprio and Tom Hanks. Born in Boston, MA, in 1955, Dan Higgins first distinguished himself as an outstanding saxophonist while attending University of North Texas. After moving to Los Angeles, Dan started to work as a freelance studio musician, mostly on record dates, but also on many recordings for television shows, including playing on live shows and specials, following the footsteps of other great saxophone players like Gene Cipriano, Ronnie Lang and Plas Johnson. His career as studio musician for the film and television industry is impressive: he has worked on 700+ motion picture scores and is a featured saxophone soloist on many great films with such notable composers as John Williams, Alan Silvestri, Marc Shaiman, Randy Newman, David Newman and Alexandre Desplat among others. Dan Higgins has worked extensively with John Williams for more than 25 years. His first collaboration was playing alto saxophone on a few “period music” source pieces that Williams arranged as part of the musical score for Schindler's List (1993). However, the big breakthrough came in 2002, when the Maestro called upon Dan's talents as soloist on alto saxophone for the score to Steven Spielberg's Catch Me If You Can. The film was a box office hit and the score garnered an Academy Award nomination for Best Original Score. The success pushed Williams to prepare a three-movement concert suite based on the main thematic material from the score called Escapades for Alto Saxophone and Orchestra. Higgins premiered the concert suite with the Maestro on the podium conducting the Boston Pops Orchestra in May 2003 and subsequently appeared as guest soloist to perform the piece with notable orchestras such as the Los Angeles Philharmonic, New York Philharmonic and the Chicago Symphony Orchestra. In this conversation, Dan talks about his amazing career as studio musicians in Los Angeles, his early days as jazz musician, how he picked up the legacy from legendary studio saxophonists like Gene Cipriano and Ronnie Lang and also how he learned discipline from them. Dan talks extensively about the projects he did with John Williams, with a special focus on his soloist work on Catch Me If You Can, remembering the recording sessions for that film and offering his own unique insight into the creative process of Maestro Williams. Dan also recollects the work on The Adventures of Tintin and the unique instructions John Williams gave him before recording the zany “Canto Bight” jazz piece for The Last Jedi. For more information and the list of the musical excerpts, visit https://thelegacyofjohnwilliams.com/2021/01/08/dan-higgins-podcast/

It is time for another big music breakdown. Today we pick apart the Christmas classic, written by Leroy Anderson in 1946, Sleigh Ride. The Boston Pops play us through an adventure on a cold winter night on our way to a kicking party in the woods. Come join me! Song of the Day: https://open.spotify.com/track/3a4qtbZPae1svRBXnrM5EK?si=f4QeETfbSxWkvJe4i2h0AQ Fun Versions: https://open.spotify.com/track/5ASM6Qjiav2xPe7gRkQMsQ?si=TtW28aJaRsGiRObMxDzU7w https://open.spotify.com/track/0ErjxyZ4qHQVs5umCBIClk?si=AfJjjVAWThe92gUJxGGNHw https://open.spotify.com/track/3KHCV3XwRnNQrcM1jXHl1g?si=S7cDgkFHT6SS9QolzC4Sxw Video of John Williams and the Boston Pops Orchestra: https://www.youtube.com/watch?v=OATi34PKNPw --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This week's Extra Milestone is so iconic that we may just need a bigger boat. Anthony Battaglia reunites with Sam to discuss two immensely significant blockbusters that have irreparably shaped the cinematic landscape. We start with a discussion on Steven Spielberg's Jaws, including our differing experiences with the movie, our appreciation for the writing and acting, differences from Peter Benchley's novel, a confession as to our shared fear of open water, and even an extremely hot take involving the infamous sequels! After we dry off from that conversation, we take an isolated look at Irvin Kershner's The Empire Strikes Back and how it changed Star Wars (and sequels in general) forever, why it maintains its effectiveness after dozens of viewings, why we can never view the Dagobah sequence the same way again, whether or not it contains the best lightsaber battle ever, and the dichotomy between good and evil that was solidified in this film. SHOW NOTES: 00:03:30 – Jaws 01:04:35 – The Empire Strikes Back NEXT WEEK: To close out the packed month of June, we're returning to the films of Billy Wilder with The Apartment, and we're assembling a generous handful of Cinemaholics alumni to do so! Music in this Episode: "Theme from Jaws" by John Williams & the Boston Pops Orchestra, and "Imperial March" by John Williams. Cinemaholics in this Episode: Sam Noland and Anthony Battaglia   Support the show on Patreon: https://www.patreon.com/cinemaholics See omnystudio.com/policies/listener for privacy information.

J'ai foiré l'équilibrage des sons et du coup JP est très bas, je vous en présente toutes mes excuses, j'essaierai de faire mieux la prochaine fois ! Geekeries :-Charles : Final Fantasy 7 Remake (jeux vidéo); Animal Crossing (jeux vidéo)-Thierry : La Vallée Perdue (film) que vous pouvez retrouver ici : https://www.youtube.com/watch?v=zHvfZzBnr08-Renaud : Mr Robot (série); La Maison du Diable (film)-Xavier : Star Trek : Enterprise (série)-JP : Elite Dangerous (jeux video); Dune (saga ciné, série, livres, fan edit Spicedriver Edition visible ici : https://www.youtube.com/watch?v=94d77kdmOvU); L'émission commence à partir de 00:23:51 après avoir parlé de l'évolution de nos cadets qui sont devenus des enseignes !Pour regarder ou écouter JP faire du jeu de rôle Star Trek Adventure c'est par ici : https://www.twitch.tv/videos/604690979 Les musiques sont :-L'ouverture du film telle qu'elle est sur la version Blu-ray-Le thème de Star Trek performé par le Boston Pops Orchestra, mené par John Williams sur l'album Pops out of this world-Le thème de Lois et Clark ripé sur YouTube-Le thème Klingon Battle performé par le London Pops Orchestra, plus lent que la version originale mais je trouve plus lourde et impactante-Le thème Starfleet Academy par Ron Jones disponible sur l'album The Star Trek Album

Keith Lockhart, conductor of the Boston Pops Orchestra, talks with Rhod about the famous July 4 Pops concert in a time of coronavirus and the challenges of rehearsing an orchestra together apart. Then watch the Pops' viral performance of John Williams' opening anthem for the 1996 Summer Olympics, Summon The Heroes. And why not look in on the Boston Pops At Home. 

Russian pianist Alexander Paley, who calls Lithuania his second home, took his vocation seriously from a young age. Having played the piano since the age of six, he won a national music competition in Moldova just a decade later. After graduating from the Moscow Conservatory (in the classes of Bella Davidovich and Vera Gornostayeva), he can be proud of his first prize at the Leipzig International Bach Competition (1884), the Bosendorfer Prize (1986) and the Grand Prix Young Artist Debut (New York, 1988). While concerting, he has shuffled the world, sharing the stage with the Los Angeles Philharmonic, the Boston Pops Orchestra, the Aspen Festival Orchestra, and more. The interviewed musician remembers his university days, discusses quarantine, and declares his love for Lithuania.

Mayor Marty Walsh announces the cancelation of all festivals, parades, concerts, and other large-scale events where people might gather in the city over the summer. Instead, he's urging event coordinators to adapt and continue to support their communities during the pandemic, like the Boston Pops Orchestra which will play a virtual July 4th concert. WBZ's Karyn Regal reports.

Mayor Marty Walsh announces the cancelation of all festivals, parades, concerts, and other large-scale events where people might gather in the city over the summer. Instead, he's urging event coordinators to adapt and continue to support their communities during the pandemic, like the Boston Pops Orchestra which will play a virtual July 4th concert. WBZ's Karyn Regal reports.

Dans cet épisode Historica 007 on débute une série d’épisodes consacrés aux différents moyens dont ont disposé les fans de la série originale pour prolonger l’expérience Battlestar Galactica hors du petit écran, à savoir les produits dérivés. Dans cette première partie on s’intéresse aux produits audio et audiovisuels, et tout particulièrement aux bandes originales de la série de 1978 avec quelques informations spécialement destinées aux collectionneurs. Quelques liens en rapport avec l'épisode : La version du générique de Battlestar Galactica enregistrée par John Williams avec le Boston Pops Orchestra en 1993. La musique du générique de la série originale composée par Stu Philips et Glen Larson, tirée du CD remasterisé en 2003 à partir du vinyle de 1978. La chanson It's Love, Love, Love des Space Angels entendue dans le casino de Carillon. L'album de Moroder sorti en 1978 qui reprend les thèmes du pilote Saga Of A Star World en version disco. Le thème de Battlestar Galactica repris par The Electric Moog Orchestra, sorti en 1978.Vous pouvez écouter l'album entier des reprises en version Moog sur Spotify. Le thème de Battlestar Galactica ré-enregistré par Stu Phillips en Écosse et sorti en CD en 1999.Vous pouvez écouter l'album entier ré-enregistré en Écosse sur Spotify. Vous pouvez écouter l'album original de 1978 remasterisé en 2003 sur Spotify. L'intro très découpée du remontage du film Mission Galactica au format Super 8. GalactiFrak fait partie du label PodShows et est disponible sur podCloud, ainsi que sur Apple Podcasts ou Spotify Retrouvez les notes de l'émission sur galactifrak.lepodcast.frRetrouvez GalactiFrak sur Facebook, Twitter et Instagram. Suivez Draven et Karine sur Twitter

In this episode, Mark Rheaume talks about Boston Pops, the orchestra that came to Hancher and presented a pop-inspired rendition of John Williams music. The Boston Pops Orchestra is a group of highly skilled musicians who love to put their own spin on classical music by adding a twist of pop and lighter classical music. The Orchestra was conducted by John Williams from 1979 to 1985, and they draw from that time with him in this performance.

Probably the least stressful thing for John Williams in 1984 was composing the score to "The River," which reunited him with director Mark Rydell for the fourth and final time. Williams employed the talents of longtime collaborator Tommy Tedesco for the score's wonderful guitar solos, and created an Oscar-nominated score light years from the work he had done on his previous two films. The work kept his mind off the drama that unfolded earlier in the summer when he abruptly resigned as conductor of the Boston Pops Orchestra over reactions from musicians. And after working on "The River," Williams found himself quite busy in 1985 though he had zero film commitments that year. Host Jeff Commings talks about the story behind Quincy Jones taking over as composer on "The Color Purple," Williams' return to television and the concerto he composed for the Boston Pops after the relationship was rekindled.

Today on Boston Public Radio: Shannon O’Brien and Charlie Chieppo discussed the latest national and state political headlines, including news around the House impeachment inquiry and developments in the Grant Thornton R.M.V. controversy. Charlie Chieppo is principal of Chieppo Strategies, Senior Fellow at the Pioneer Institute and Adjunct Professor at Suffolk University. Shannon O'Brien is former State Treasurer and Democratic nominee for governor. TV writer Bob Thompson reviewed the PBS documentary “College Behind Bars” and Netflix’s “The Irishman.” Charlie Sennott discussed President Donald Trump's support for pro-democracy protesters in Hong Kong, and his claims of having re-opened talks with the Taliban. Sennott is a WGBH News Analyst and C.E.O. of the GroundTruth Project. MIT economist Jon Gruber discussed the feasibility and long-term impact of a wealth tax like the ones being proposed by Elizabeth Warren and Bernie Sanders. We opened lines to callers to ask: If you had to choose, would you rather watch movies at home or in a theater? Boston Pops Orchestra conductor Keith Lockhart previewed upcoming holiday programming from the Pops.

Welcome to the PeayCast! We record hours after the Govs thumped North Carolina Central in a big season-opening win at the Fort and we have reactions (good!) from Mark Hudspeth's first win as head coach. We touch on soccer and volleyball, Tyler Rogers ascent to the Big Show with the San Francisco Giants and still more football as we peer into the future next week. Colby also tells a story of husbanding failure. Our guest (one of the greats, tbh) is Drew Dudley of the softball team, a sparkplug for a program that has become one of the best at Austin Peay and discuss, among other things, her ever-pleasant demeanor, her dad ditching her during ding-dong-ditch and her healthy fear of flying. Audio Intro: Rush, “Tom Sawyer” Dudley Intro/Outro: John Williams and the Boston Pops Orchestra, "Imperial March" Audio Outro: Simple Creatures, “Thanks, I Hate It”

Welcome to the PeayCast! We record hours after the Govs thumped North Carolina Central in a big season-opening win at the Fort and we have reactions (good!) from Mark Hudspeth’s first win as head coach. We touch on soccer and volleyball, Tyler Rogers ascent to the Big Show with the San Francisco Giants and still more football as we peer into the future next week. Colby also tells a story of husbanding failure. Our guest (one of the greats, tbh) is Drew Dudley of the softball team, a sparkplug for a program that has become one of the best at Austin Peay and discuss, among other things, her ever-pleasant demeanor, her dad ditching her during ding-dong-ditch and her healthy fear of flying. Audio Intro: Rush, “Tom Sawyer” Dudley Intro/Outro: John Williams and the Boston Pops Orchestra, "Imperial March" Audio Outro: Simple Creatures, “Thanks, I Hate It”

Holger Wemhoff trifft Anne-Sophie Mutter! Die vierfache Grammy-Preisträgerin und weltweit eine der besten Geigerinnen unserer Zeit präsentiert ihr neues Projekt „Across The Stars“ - das neue Album mit „Star Wars“ -Filmmusik von dem legendären Komponisten John Williams, den sie mit deutschem Lebkuchen überraschte, und der mit ihr einen einzigartigen Tribut an die Soundtrack-Tradition Hollywoods entstehen ließ. Wie sie davon schwärmt, und wie aufgeregt Anne-Sophie Mutter vor ihrem ersten Open Air-Konzert ist, erzählt sie in ihrer wunderbar erfrischenden Art in unserem Podcast. Jetzt hier reinhören!

A member of the Boston Pops Orchestra is found within a timpani drum, and clarinetist Gordon Nosegold (Rhys Naylor) is at a loss for what could have happened. Fake ages, high school politics, and hitmen are just some of the elements involved in the mystery. Brought to you By: The Sonar Network https://thesonarnetwork.com/

A member of the Boston Pops Orchestra is found within a timpani drum, and clarinetist Gordon Nosegold (Rhys Naylor) is at a loss for what could have happened. Fake ages, high school politics, and hitmen are just some of the elements involved in the mystery.

A member of the Boston Pops Orchestra is found within a timpani drum, and clarinetist Gordon Nosegold (Rhys Naylor) is at a loss for what could have happened. Fake ages, high school politics, and hitmen are just some of the elements involved in the mystery. Brought to you By: The Sonar Network

Meet the extraordinary and tireless Keith Lockhart, conductor of the famed Boston Pops Orchestra.  Here the maestro discusses his career, his love of music and performing, and the great tradition that is The Boston Pops!  Jordan Rich and Ken Carberry are founders of Chart Productions. Their website is here.

TBJ108: Jim "Don't call me BB" Nova on writing, driving and April Fooling.  Pittsburgh Symphony trombonist Jim Nova puts up with more abuse from Andrew & Lance for no good reason.  From his website: My love for all musical things Star Wars began a long time ago, in a galaxy far, far away… As a six-year-old child, my father took my brother and me to see The Empire Strikes Back. Even at that age, I was overwhelmed with how important the music was to the storytelling, and thus began my lifelong love of the incredible scores of John Williams. A few years later, at age nine, I began playing the trombone in my home state of Connecticut. As a child, I received my early musical exposure and training from my father, Anesti Nova. During high school, I studied with my first private trombone teacher, Assistant Principal/Second Trombonist of the Hartford Symphony, George Sanders. After graduating high school I attended the prestigious Curtis Institute of Music in Philadelphia where I received my bachelor’s degree studying with Glenn Dodson, who was Philadelphia Orchestra’s Principal Trombonist at the time. This is where the seed of this album A Fall from Light to Dark first began to grow. When I was a student at Curtis, Mr. Dodson would hold epic trombone get-togethers called, “Bone Bashes” where the Curtis trombone students and the Philadelphia Orchestra trombone section would play through incredible arrangements and transcriptions of all kinds of pieces. This where I first started to create my own trombone ensemble arrangements and transcriptions. Mr. Dodson’s Han Solo-like swagger was contagious as we would tackle these pieces. I then moved to Boston to pursue a Master’s Degree on a full scholarship at the New England Conservatory of Music, studying with Norman Bolter who was Second Trombonist of the Boston Symphony Orchestra and Principal Trombone of the Boston Pops Orchestra at the time. It was during this time that Mr. Bolter fostered my “Start with what you can do” attitude that I still use today, in both my own artistic development as well as with my students. He truly was and still is, my master Yoda in so many ways. After finishing my master’s degree, I freelanced in Boston for several years, substituting on a regular basis with the Boston Symphony Orchestra and the Boston Pops Orchestra, making several recordings and television broadcasts with both groups as both principal and second trombone. It was here in Boston that my musical path first crossed with John Williams! I had the opportunity to perform with him on countless Boston Pops concerts and even performed on the world concert premiere of the concert suite from Star Wars Episode 1: The Phantom Menace. In this fun and lively discussion, we cover: The Bubble Butt Strikes Back The joke is on...? Parker soprano trombone mouthpiece Juilliard gig with Joe Alessi 40th "Trombone at the Movies" gig, featuring film music trombone choir arrangements at colleges and universities Soundcloud page has passed 750,000 listens ITF closing concert in summer of 2019 with full concert versions of the same music A "Who's Who" of amazing players on the ITF Christopher Bill crashing in his basement and an upcoming collaboration debuting May the Fourth Context is everything His evolving relationship with Joe Alessi Boston Brass Fanfare Project Mary Pappert School of Music at Duquesne University, with a real-live Pappert Person Cathy Heller's podcast, "Don't Keep Your Day Job" Jim's cat is a coffee model Jim's lead foot Less horsepower than a horse Play in a big orchestra, drive a fast car He took off like a stabbed rat Paying for a ticket with a ticket Exhibition of speed Driving at race tracks and in driving schools Becoming a performance driving teacher Taking possession of his BMW while on tour with the PSO The Green Death Parallels between learning driving and learning trombone Jimmy James LINKS: Jim's website Jim's PSO page Jim's Soundcloud page Jim's Duquesne University page Jim's arrangements for sale on Noteflight The International Trombone Festival concert Jim mentions Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Episode 49, Christmas in the 1940s, presents a mix of secular and traditional songs that celebrated the holiday season during and right after World War Two. Performers include The Andrews Sisters, The Boston Pops Orchestra,... Read More The post Episode 49, Christmas in the 1940s appeared first on Sam Waldron.

Shaun White's 4th place finish in the 2014 Sochi Olympics, and his nasty crash and injury last October in New Zealand, set the stage for a great story because he didn't quit. In this episode, we talk about failing, not quitting, and what those things set us up for. The songs we use in this episode are "Gonna Be Worth It" by Rita Springer, "Respect Me Respect You" by Steve Hays and "Olympic Fanfare and Theme" performed by the Boston Pops Orchestra and conducted by John Williams. We only own the rights to "Respect Me Respect You" (because I wrote and performed it). www.HappyLife.lol www.Facebook.com/HappyLifeStudios www.Instagram.com/HappyLife_Studios www.Twitter.com/HappyLifStudios www.PayPal.me/StevoHays

Have you ever wished you could be sharper or smarter? Ever compared yourself to others who may be more talented, richer or more popular? If you could, would you trade yourself in for a newer model? In this Olympic episode, Tony and I talk about a curler and the things that make him happy, even though all those around him would love to discredit and discard them. One man's trash is another man's treasure? Sometimes the things we think are worthless, disgusting and meant for the dumpster, are the things that are the most priceless. The songs we use in this episode are "Olympic Fanfare and Theme" performed by the Boston Pops Orchestra and conducted by John Williams, "Classic" by MKTO and "Shoes" by Kelly. We don't own the rights to any of them. www.CampDaniel.org www.Facebook.com/camp.daniel.5 www.Instagram.com/camp_daniel www.HappyLife.lol www.Facebook.com/HappyLifeStudios www.Instagram.com/HappyLife_Studios www.Twitter.com/HappyLifStudios www.PayPal.me/StevoHays

Music includes: The Star Spangled Banner, America, Here's My Boy, Appalachian Spring, Naval Reserve March, On the Alert and Strike Up the Band. Performers include: Boston Pops Orchestra, Shep Fields, Peerless Quartet, Goldman Band, Boston Symphony, The High Hatters and Conway's Band.

Over the past few years, we hear at CINEMATIC SOUND RADIO have been paying our respects to two-time Academy Award winning composer James Horner with various radio specials including a four hour plus special produced a few days after his death. We also produced a two-part series last year featuring some of his lesser known film scores. Jason Drury has also been producing an epic three-part radio documentary in Horner’s honour. The third and final part of that program is scheduled to be released next week right here on CINEMATIC SOUND RADIO. James Horner was part of a holy trinity of film composers I grew up with admiring. The others were John Williams and Jerry Goldsmith. Those three brought me into the world of film music with their timeless and classic scores and made me a fan of this art form for life. Todays program is dedicated to re-recorded James Horner music. Fans of the show know of my love for re-recordings or new recordings of previously existing scores so I thought this would be a unique way to mark the 2nd anniversary of James Horner’s passing. Today’s program will include performances by The City of Prague Philharmonic, The Cincinnati Pops Orchestra, The Boston Pops Orchestra, Royal Liverpool Philharmonic Orchestra and the Royal Scottish National Orchestra. Solo performers include flutist Sara Andon, pianist Jean-Michel Bernard, pianist Dan Redfeld, and violinist Mari Samuelsen. Conductors include Nic Raine, John Scott, John Williams, Erich Kunzel, David Arnold, Joel McNeely and John Debney. Cinematic Sound Radio http://www.cinematicsound.net WROCK Radio http://www.wrockradio.com Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com Also available through Podtyrant http://www.podtyrant.com

Sometimes I get a guest recommendation repeatedly, which is a sure sign that I need to sit down with them and do an interview. This is completely the case with Tracy Rowell.   Tracy is an active performer and teacher in the Cleveland area. Formerly the Assistant Principal Bassist of the National Arts Centre Orchestra in Ottawa, Canada, Tracy currently serves as Principal Bass for CityMusic Cleveland. She has also performed with orchestras such as the Boston Symphony Orchestra, Boston Pops Orchestra, North Carolina Symphony, and Carmel Bach Festival. We dig into all sorts of topics, like: studying with Paul Ellison and Ed Barker playing in the National Arts Centre Orchestra in Ottawa, CA moving to Ohio attending George Vance’s summer bass workshop starting to teach the double bass to 5-year-olds the brilliance of the Suzuki “Mother Tongue” concept how focusing on sound above all else is critical for teaching beginners learning how 90% of playing the cello happens pre-Twinkle ...and much more! This was a fun conversation for me--Tracy is doing great things for the bass! Links to check out: Tracy's Oberlin page Tracy performing Reitba by François Rabbath (YouTube) Playing the String Game by Phyllis Young (a book Jason mentions) Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Enter our latest string giveaway for Helicore strings at contrabassconversations.com/strings! Hosting for Contrabass Conversations is provided by Bass Capos.  Bass Capos are an excellent choice for any bass player using or looking to implement a double bass extension. Easy to install and adjust, cheaper and more reliable than hand-built latches, also lighter and quicker in operation.  

You know Boston is a baseball town, when the conductor of the Boston Pops, Keith Lockhart, is off to a Red Sox game. Listen in as Reid asks asks the maestro untold questions about Disney soundtracks, tuxedos, and fireworks. www.keithlockhart.com "Talk Time with Reid Moriarty" is a series of 7 minute interviews with people Reid finds interesting, and you might too! www.reidmoriarty.com

Songs include: I Can't Get Started, Bei Mir Bist du Shoen, Nobodys Darlin But Mine, Why Was I Born, The Dipsy Doodle, The Merry Go Round Broke Down and Dinner Music For a Pack of Hungry Cannibals. Performers include: Tommy Dorsey, Jimmy Davis, Billie Holiday, Raymond Scott, The Andrews Sisters, The Boston Pops Orchestra and Sonny Boy Williamson I.

In this special 4th of July edition of Classical Classroom Research Presentations, Dacia ponders why Americans listen to Russian music on their Independence Day. She uncovers the [not really that] secret history of how one man and his love of pyrotechnics made Tchaikovsky’s 1812 Overture the theme music for America’s most patriotic celebration. Written, produced, and otherwise manhandled by Dacia Clay. Music used in this episode includes: – Pyotr Tchaikovsky’s 1812 Overture, Boston Pops Orchestra, RCA 63516 References: For information on David Mugar, Arthur Fiedler, and the Boston Pops Orchestra, click here and here. For information about Tchaikovsky’s 1812 Overture, click here. Photograph: Bettmann/Corbis

In this special 4th of July edition of Classical Classroom Research Presentations, Dacia ponders why Americans listen to Russian music on their Independence Day. She uncovers the [not really that] secret history of how one man and his love of pyrotechnics made Tchaikovsky’s 1812 Overture the theme music for America’s most patriotic celebration. Written, produced, and otherwise manhandled by Dacia Clay. Music used in this episode includes: – Pyotr Tchaikovsky’s 1812 Overture, Boston Pops Orchestra, RCA 63516 References: For information on David Mugar, Arthur Fiedler, and the Boston Pops Orchestra, click here and here. For information about Tchaikovsky’s 1812 Overture, click here.

Steve Dorian of Rockapella fame sits down to discuss his unique career in the music business.  The multi-talented tenor reminisces about his time as a rollerblading singing guitarist for Busch Gardens as well as his current work with the world famous Rockapella.  We also find out Keith Lockhart, conductor for the Boston Pops Orchestra, is a great guy to have a few beers with!  Tune in!

This episode brings the melodious voice of Olivia Kissel to your very own living room! Or car...or iPod...or what-have-you...anyway, she's awesome! You're going to love her! Tammy relays some shocking (SHOCKING) news to me (you all probably knew about it ages ago...I'm always the last to know!), I recommend some music and Tammy talks about some super cool upcoming events!Note: I interviewed Olivia in February of this year (2011) and since then Zafira (her troupe) has disbanded to pursue adventures as soloists. :-)Download Episode 51Or Listen Here: On This Episode:Olivia KisselTribalConCarnycastPotential CastTwin Peaks PodcastUpside Down and Halfway to Happyland (Joss Whedon stuff) - Episode with Tammy!Deep Roots Dance (Shay Moore's blog - formerly Double Take Bellydance) - "Doing vs. Teaching"Princess Farhana (blog) - "One Zill Up"Gilded Serpent Article concerning Dallas Observer faux pasOzma's awesome response to the Dallas Observer articleDallas Observer's apology on FBGhawazi CaravanGhawazi Caravan at Earth Spirit FestivalGhawazi Caravan performing at the Evernight Gothic Bellydance EventCarolena N. and Devi M. duet (yummy!)Rachel Brice's music mixEskmo (a.k.a. Brendan Angelides) - Facebook pageCold November Rain by Guns N' RosesJohn Hodgman on The Daily ShowUnmata at Tribal Fest (the fight section starts just after the 11:30 minute mark)Eclipse Fusion performs to "Trust In Me"Cracked Pot on FacebookBasement JaxxAround Town:November 26th (Orlando, FL) Orlando PURE presents PURE Reflections: Beauty Reimagined. It is a multimedia dance-theater show exploring and challenging concepts of beauty and body image, in particular, the negative influence of unrealistic media images on our view of ourselves and each other, and how our practice of dance in a supportive community creates a healing environment to foster positive feelings about our bodies.December 10-11 (San Luis Obispo, CA) Tribal Fusion Faire - workshops withAmel Tafsout, Tempest, Seba, and more.Featured Artists:Artist: Eskmo - Amazon or Album: EskmoSongs: We Got More, Become Matter Soon For You, Moving GlowstreamArtist: Basement Jaxx - Amazon or Album: ZephyrSongs: Peace of Mind, Hip Hip Hooray,Additional Music:Artist: Ensemble Al Asdeka - Amazon or Album: OasisSongs: La Roza Linda, Dance of the Tamir Agha, Lake of Clouds, NochesArtist: Solace - Amazon or Album: Opium HeadSongs: Bol Two, Weeping Tree, Sleeping SoberSong: The Syncopated Clock - Amazon or Artist: Arthur Fieldler and the Boston Pops OrchestraAlbum: Leroy Anderson: Greatest HitsSong: Dragnet Theme Song - Amazon or Artist: Soundtrack and Theme OrchestraAlbum: TV Themes: Classic Police and DetectiveSong: Sexy and I Know it - Amazon or Artist: LMFAOAlbum: Sorry for Party Rocking

Songs include: Heartaches, I Want To Be a Cowboy's Sweetheart, Tiger Rag, The Beer Barrel Polka and Jalousie. Artists include: The Andrews Sisters, Bing Crosby, Tommy Dorsey, Patsy Montana, The Boston Pops Orchestra, Ted Weems and The Mills Brothers. 

See the blog at www.airspeedonline.blogspot.com. Today we're going to revisit one of the most important aspects of flying - And that's the music you listen to while you do it!Sure, there are more important things - like safety - but the fact remains that putting together the right soundtrack can make your flying even more inspiring. If you have an audio input to the intercom in the aircraft you fly or otherwise have a means of listening to music while you fly here's some music that you should consider adding to your playlist.Bear in mind that safety comes first. If the music results in any chance of discraction or a miscommunication or failure to give or receive a communication necessary for the safety of the flight, leave your music player at home. But if you can manage the volume of the player, not have to fumble with it when your should be doing other things (playlists are helpful here), and satisfy yourself as pilot in command that you can hear and be heard in the cockpit and at the controller's workstation (such as by using a squelch or cutout feature like I use), by all means add a soundtrack to your flight.Here's what has been in my iPod while I fly.Eric Johnson has a way with the Fender Statocaster that is unlike that of any other player. He's melodic and heavily jazz-influenced. Music from his Ah Via Musicom and Venus Isle albums got lots of airplay in the 1990s and he has toured with the likes of Steve Vai and Joe Satriani and recently hit the road with Sammy Hagar. This is All About You from Venus Isle. Note the arpeggios and underlying drive. Really good for high airwork.[Audio](Buy Eric Johnson albums, DVDs, and other stuff at http://theconnextion.com/ericjohnson_index.cfm?ArtistID=175.)I'd be really surprised if composer and conductor John Williams isn't a pilot. I promised myself that I would use the word "evocative" only once in this episode, and this is it. I put this on one of the first flight mixes I ever made and it was one of the first tunes that jumped off the CD player and became a soundtrack for what I was doing at the time. It was on short final at Lapeer in southeast Michigan. Nothing quite like Williams to swell up when you're locked in to approach and have your attitude and airspeed nailed.This is, of course, Flying from E.T., The Extraterrestrial. Those who fly aircraft with yokes instead of sticks will have an easier time imagining that they're holding on to bicycle handlebars, but both should avoid the temptation to strap a milk craft to the cowling for your little buddy to ride in.This version comes from John Williams and the Boston Pops Orchestra's album, The Classis Spielberg Scores.[Audio](Buy the album at http://www.amazon.com/Williams-Classic-Spielberg-Scores/dp/B000002C0F/sr=8-1/qid=1165705583/ref=pd_bbs_1/103-4775352-7547032?ie=UTF8&s=music).No playlist is complete without some heavy metal. And there's none heavier than Iron Maiden. This is Aces High from 1984's Powerslave. Great driving metal groove and lyrics that tell a story of aerial combat in World War II.[Audio](Buy the album at http://www.amazon.com/Powerslave-Iron-Maiden/dp/B000063DFN/sr=1-5/qid=1165706163/ref=sr_1_5/103-4775352-7547032?ie=UTF8&s=music).Unless you count the diggery-doo, the English accordion, or the great highland bagpipes, there is probably no more technically ungainly instrument than the bassoon. It's four or five feet tall and has a double-reed that begs to sqwawk and evade the player's efforts to control it. There's an old joke that the definition of an optimist is a bassoon player with a pager.Well, if there's one guy who can carry both a bassoon and a pager with confidence. He's Paul Hanson. Paul has taken the bassoon into jazz and other circles with amazing aplomb. He can out-sasxophone a saxophone and it all sounds completely organic. Ever run into one of those phases in your training when the controls seem to defy you, nothing goes the way it's supposed to, and you're constantly behind the aircraft? Usually right before you solo or right before get the hang of the landing flare or just before you start to nail your instrument approaches? This one is for you, my brothers and sisters.Let Paul remind you of what can happen with even the most ungainly of hardware if you train hard and believe that the music will come. This is The Gold Coast from Voodoo Suite. It's in 7/4 and he's playing a bassoon and yet it sounds great. Yeah, your first full-procedure VOR approach is going to be ugly, but that's okay. Listen to how you'll feel on your 50th . . .[Audio](Buy the album at http://www.cdbaby.com/cd/hansonp.)We started with one guitar god and we're going to end with another. When Sony went looking for a great song to use in its ads celebrading the 20th anniversary of the compact disc, it looked no further than Joe Satriani's Summer Song from his album, The Extremist. This is great music for whatever you want to do while listening to it. It has energized me in the wee hours studying for exams and it has caused more than a few oscillations over the speed limit out on the highway. Now I'm no A&P and this is largely unscientific, but I'll bet that, if you plug Summer Song into the intercom of your aircraft, you'll get two or three additional knots of airspeed. Airplanes love Joe Satriani! Sound crazy? Well, it's a lot cheaper than wheel fairings!(Buy the album at http://www.amazon.com/Extremist-Joe-Satriani/dp/B000002BWH/sr=1-1/qid=1165711434/ref=pd_bbs_sr_1/103-4775352-7547032?ie=UTF8&s=music.)That's it for this installment of what should be cranking while you're turning and banking.Got your own suggestions? E-mail us at steve@airspeedonline.com. Links to information about the artists and how to buy this music are on the blog at www.airspeedonline.blogspot.com. Although we mightAs always, this is not flight instruction or a recommendation about how to operate an aircraft. Consult a qualified instructor, obey the regulations, and, above all, fly safely!_______________________________[Illustrative musical snippets used as permitted by 17 USC Ã?§ 107 (http://www.law.cornell.edu/uscode/html/uscode17/usc_sec_17_00000107----000-.html) for criticism and comment and as otherwise permitted by applicable law.]

"St. Louis Blues" is a piece of American music composed by William Christopher Handy in the blues style. It remains a fundamental part of jazz musicians' repertoire. It was also one of the first blues songs to succeed as a pop song; it has been performed by numerous musicians of all styles from Louis Armstrong and Bessie Smith to Glenn Miller and the Boston Pops Orchestra. It has been called "the jazzman's Hamlet". Published in September of 1914 by Handy's own company, it later gained such popularity that it inspired the dance step the "Foxtrot". Though the name of the song may imply that it is about events in the city of St. Louis, Missouri, it instead refers to a sophisticated woman from that city who has stolen the affection of the singer's lover. The form is unusual in that the verses are the familiar standard twelve bar blues in common time with three lines of lyrics, the first two lines repeated, but it also has a 16-bar bridge written in the habanera rhythm. The opening line, "I hate to see that evenin' sun go down" may be one of the more recognizable lyrics in pop music, and set the tone for many subsequent blues songs. Handy said in writing "St. Louis Blues" his objective was "to combine ragtime syncopation with a real melody in the spiritual tradition." He had been inspired by a chance meeting with a black woman on the streets of New Orleans distraught over her husband's absence, who lamented: "Ma man's got a heart like a rock cast in de sea," a key line of the song.[1] Details of the story vary but agree on the meeting and the phrase. [edit]