Podcasts about cincinnati conservatory

As Women's History Month comes to a close, join our host and founder, Yoli Tamu, in celebrating her most inspirational mentor! This week features Ka-Ron Brown Lehman, Artistic Director of Lehman Danceworks, Inc. and Retired Modern Dance Instructor. "Dancing Mama," as she's affectionately known to her students, is a legendary dancer, teacher, choreographer, artistic director, and mother of three, who has made significant contributions to the world of dance and the performing arts. She shares her secrets to cultivating excellence, instilling the value of hard work, and fostering the power of self-belief through dance! Discover how she honors legendary dancers of the past and present and how you, too, can create a legacy that will always be remembered. Mrs. Lehman is a renowned figure in the dance world with a career spanning over five decades. As the former Artistic Director of the Los Angeles County High School for the Arts Dance Department, she has left an indelible mark on dance education. Her impressive resume includes performances on Broadway as a featured dancer and Associate Choreographer, as well as in film and television specials, alongside artists like Ben Vereen, Paula Kelly, Flip Wilson, Richard Pryor and Aretha Franklin. And, yes, she's that dancer in the video "Let's Groove Tonight" by Earth, Wind & Fire! Her teaching experience as a Master Modern Instructor encompasses prestigious institutions such as Cincinatti Ballet Academy, Cincinnati Conservatory of Music, and Northern Kentucky University, as well as numerous master classes and workshops across the United States and internationally. Her dedication to the arts has earned her several accolades, including the American Legion Award, the American Choreography & Educator Award, and a Distinguished Teacher Award from the White House Commission on Presidential Scholars. Mrs. Lehman's legacy in dance education and performance continues to inspire new generations of dancers and artists, even after her retirement from modern dance instruction in 2020. To learn more about Mrs. Lehman and her work, connect with her on Facebook.

Host Jason Blitman talks to Jinwoo Chong (I Leave It Up To You) about the inspiration behind his new novel, what it means to start over, and the most accurate way to eat sushi. Jason is then joined by actress, comedian, content creator Dylan Mulvaney who talks about what she's been reading, her new book Paper Doll, and her endless upcoming projects. Jinwoo Chong is the author of the novel Flux, a finalist for the PEN/Hemingway and VCU Cabell First Novel awards, a New York Times Book Review Editors' Choice, and named a best book of the year by Esquire, GQ, and Cosmopolitan. His short stories and other work have appeared in The Southern Review, Guernica, The Rumpus, Literary Hub, Chicago Quarterly Review, and Electric Literature. He lives in New York City.Dylan Mulvaney is an actress, comedian and content creator known for her viral series Days of Girlhood which has over 1 billion views across all social media platforms. Dylan was recently named Forbes' 30 under 30, Out 100 and Attitude Magazine's Woman of the Year for 2023. To celebrate her first year of transition, Dylan produced a live show - Day 365 - at The Rainbow Room to support The Trevor Project and raised nearly two hundred thousand for queer youth. Dylan is a graduate of the Cincinnati Conservatory of Music and has performed in the Broadway musical Book of Mormon in the US, Canada and Mexico. Her greatest hope is to bring trans stories and queer joy to mainstream media.BOOK CLUB!Use code GAYSREADING at checkout to get first book for only $4 + free shipping! Restrictions apply.http://aardvarkbookclub.comWATCH!https://youtube.com/@gaysreading FOLLOW!Instagram: @gaysreading | @jasonblitmanBluesky: @gaysreading | @jasonblitmanCONTACT!hello@gaysreading.com

Ashley Hall-Tighe is a superb trumpeter, musician, educator, and certified life coach. Ashley has an impressive career, having served on the faculties of several universities, including the Longy School of Music of Bard College, and she currently teaches at the Cincinnati Conservatory of Music. But that's not all – Ashley also works as a coach, helping individuals and groups combine wellness and music. What's particularly remarkable is her ability to combine her professional life with her personal life. In this episode, we'll dive into many aspects of her career and her wellness coaching.We begin our conversation in Part 1 by discussing the many chamber music groups Ashley has performed with throughout her career. She shares what she's learned from these experiences, including the challenge of balancing touring with her family life. From there, we shift our focus to the challenges facing women in music. We also talk about her personal philosophy of living, touching on the importance of balance and setting priorities. One exciting highlight of Ashley's career is her debut album, Upcycle, and we spend some time discussing the inspiration behind the project. We then take a step back to explore Ashley's beginnings, specifically how she worked to refine her approach to playing, ultimately becoming more effective as a musician. As our conversation continues, we transition into her wellness training, starting with her work at the Longy School of Music.In Part 2 [Subscriber Content], we take a closer look at Ashley's expertise and coaching training. She walks us through the services she offers on her website, offering insight into her unique approach to combining wellness and music. We also talk about the courses she teaches, including a 16-hour course that's designed to help musicians and artists thrive. To wrap up, Ashley shares a glimpse into her daily routine, telling us how each morning begins with a cup of coffee and some time for journaling. And for those of you who are curious about where she calls home, she lives in a beautiful log cabin outside of Cincinnati!Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

University of North Carolina at Pembroke (UNCP) Percussion Professor and Chair of the Music Department Joseph Van Hassel stops by to talk about his recent PASIC performance with Alexandros Fragiskatos on a drumset duet (04:20), his UNCP job, freelancing, and his work in various positions for PAS (13:10), owning Media Press Publications and the detective work of finding “hidden gems” (37:20), growing up in Ohio, his composer brother, doing Bands of America in high school and getting further interested in percussion, and having a paper route (45:00), his years at Ohio University for undergrad (51:50), Cincinnati Conservatory of Music (OH) for the master's (58:45), Hartt School of Music (CT) for the doctorate and sabbatical work (01:09:10), and finishes with the Random Ass Questions, including commentary on student performances, the original Superman Movies of the 1970s and 1980s, great fiction and nonfiction books, and Christopher Reeve (01:23:50).Finishing with a Rave on the 2024 film Wicked: Part One (01:47:00).Joseph Van Hassel Links:Joseph Van Hassel's homepageJoseph Van Hassel's PASIC pageJoseph Van Hassel's UNCP pageMedia Press Publications

Kristy Cates is a professional actress who's based in New York City. She made her Broadway debut in the original cast of the smash hit, WICKED, as the understudy to Idina Menzel, and can be heard on the iconic cast recording. She went on to play the lead role of Elphaba on Broadway, in the first national tour, and in Chicago. Her other main stem credits include Miss Bassett in FINDING NEVERLAND and Grandma Josephine in CHARLIE & THE CHOCOLATE FACTORY. She is also a professional voiceover artist and has been heard on national tv/radio commercials for such brands as Subway, Almay Cosmetics, Chase Bank, PNC, and more. Not to mention that she is an original member of the New York Film Academy's Musical Theatre faculty dating back to 2009, where she is the current Chair of Musical Theatre for the Professional Conservatory of Musical Theatre. In 2019, she was named “Young Alumni of the Year” by her esteemed alma mater, the Cincinnati Conservatory of Music, for her combined accomplishments in performance and teaching. I had the great pleasure of interviewing her about a lot of this and more. *I do not own any of the content used in this podcast. Follow Kristy Cates on Instagram: @kristy_cates If you love this show, please leave us a review. Go to ⁠⁠⁠⁠⁠⁠⁠⁠RateThisPodcast.com/karereviewspodcast⁠⁠⁠⁠⁠⁠⁠⁠ and follow the simple instructions. Follow Kare Reviews at ⁠⁠⁠⁠⁠⁠⁠⁠www.karereviews.net⁠⁠⁠⁠⁠⁠⁠⁠ and on Twitter:⁠⁠⁠⁠⁠⁠⁠⁠@KareReviews⁠⁠⁠⁠⁠⁠⁠⁠ Also please visit the newly launched Patreon page:⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/jeffreykare?fan_landing=true⁠⁠⁠⁠⁠⁠⁠⁠ Follow Jeffrey Kare on Twitter:⁠⁠⁠⁠⁠⁠⁠⁠@JeffreyKare⁠⁠⁠⁠⁠⁠⁠ If you like what you've heard here, please subscribe to any one of the following places where the Kare Reviews Podcast is available. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Anchor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Google⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Breaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Overcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Pocket Casts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠RadioPublic --- Support this podcast: https://podcasters.spotify.com/pod/show/jeffrey-kare/support

University of Southern Florida (USF) Percussion Professor Kevin von Kampen returns to discuss getting his master's degree at USF and moving to Florida (02:15), working in middle school and high school, teaching drumlines, and freelancing with many pop artists on their tours, including Weird Al Yankovic (15:30), getting his doctorate at Cincinnati Conservatory of Music, praise for the city of Cincinnati, and his accomplishments there (30:10), and finishes with the Random Ass Questions, including discussions of building diverse repertoire, building a closet of crazy outfits and costumes, his impression of me hosting the podcast, sports fandoms, and his love for performing karaoke (42:45).Finishing with a Rave on Maria Konnikova's 2020 nonfiction book The Biggest Bluff (01:27:00).Kevin von Kampen links:Kevin von Kampen's websiteKevin von Kampen's USF pagePart 1 with Kevin von Kampen from the previous weekPrevious podcast guests mentioned:Allen Otte's 2024 appearanceAlexandros Fragiskatos's 2019 appearanceOther links:Robert McCormick“Crown of Thorns” - David MaslankaStuart Saunders SmithNancy Zeltsman“Five Scenes from the Snow Country” - Hans Werner Henze“Reflections on the Nature of Water” - Jacob DruckmanWillie TaggartSkip Holtz“Smells Like Nirvana” - Weird Al“Pinball Wizard” - The Who“To Love Somebody” - Michael Bolton“O' Pretty Woman” - Roy Orbison (hologram)Circles - Luciano BerioJames CulleyRusty Burge“The Anvil Chorus” - David LangKevin HolzmanJoel Garza5 Days with Doug podcastBoston Conservatory Percussion DatabaseSam SolomonWet Hot American Summer trailerSchool of Rock trailerHunt for the Wilderpeople trailerCaptain Fantastic trailerMadame Web trailerSay Anything trailerBlack Widow/Before It Had a Name trailerSilence - John CageIt's Always Sunny in Philadelphia - opening song“What's Up” - 4 Non Blondes“Grace Kelly” - Mika“Take Your Mama” - Scissor SistersThe Wild Beaver Saloon in IndianapolisAaron Butler“Say It Ain't So” - Weezer“Roses” - Outkast“Don't Stop Til You Get Enough” - Michael JacksonSalvador Dalí Museum in Tampa BayModern Notebook podcastRaves:The Biggest Bluff - Maria Konnikova

Hello, friend, and welcome back to another episode of the Tales From The Lane Podcast. I'm your host, Kate Kayaian– a former cellist, and now a writer and coach for high-performing creatives–This is the show where we talk about how to create a life and career that you love– ones that bring both creative fulfillment and financial reward–ones that make you feel like you are Thriving, instead of merely Surviving.  Today, we have as our guest, oboist, coach, podcaster, and author of the upcoming book, Artists For Joy. Dr. Merideth Hite-Estevez. You'll hear about:  Some of the books that have most profoundly influenced Dr. Merideth's life and career, and why. Her creative process and how she approaches starting a new project or piece of work One piece of advice Dr. Merideth would give her younger self, just starting out in her career.  The 4 questions everyone must ask themselves when they complete a project.  About Dr. Merideth:  Dr. Merideth Hite Estevez is a creative catalyst, inviting all to the joy of creative expression through her writing, coaching, and performing. As an oboist, Merideth has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of NY. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. Her education has taken her all over the world—Cincinnati Conservatory of Music, Yale School of Music, Fulbright Scholar to Germany, and The Juilliard School, where she received her doctorate in oboe. She has been a featured speaker at Google, Longy School of Music, ShePodcasts LIVE, Hope*writers, Music Institute of Chicago, and more. As a coach, she has helped thousands of artists overcome creative block through her popular online creative recovery clusters and has served as an executive coach for all types of arts leaders, from major museum directors to deans of conservatories and art schools. Dr. Estevez's award-winning podcast, Artists for Joy, was in the top 250 podcasts in the US in the Self-Help category in January 2023 and is currently top 1.5% of podcasts worldwide. Her first book, “The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life,” debuts in Spring 2024 from Broadleaf Books. Originally from South Carolina, Merideth now resides in Metro Detroit, Michigan, with her husband, Rev. Edwin Estevez, daughter Eva, and son Eli. Here is the link to her Free Bonus Chapter with her Four Curtain Call Questions: https://artistsforjoy.myflodesk.com/s7mi3cvutm   Meredith's Website:  https://artistsforjoy.org/book   If you enjoyed today's episode, please don't forget to subscribe and share it with your friends!   Book a free 30-minute discovery call with Kate Want more Tales From The Lane content? Check out the TFTL Blog, with 6+ years of past articles and interviews!  Let's hang out on socials:  IG: https://www.instagram.com/kkayaian FB: https://www.facebook.com/groups/Talesfromthelane Twitter: https://twitter.com/kkayaianwright Website: KateKayaian.com

Allen Otte returns to talk about getting to Cincinnati Conservatory of Music, taking over the percussion program, establishing the Percussion Group Cincinnati at the school, and building a program (01:40), the changing personnel of PGC, commissioning composers, performing with students, being the “institutional memory”, and his decision to retire (17:15), and finishes with the Random Ass Questions, including segments on percussion literature choices, “Otte-speak”, diversity issues, The Met Opera Online, English novels, sports in the 1960s, and Renaissance Choral Music (38:10).Finishing with a Rave on Nick Tosches' 2005 book on Arnold Rothstein (01:12:05).Allen Otte Links:Part 1 with Allen OtteThe InnocentsPercussion Group CincinnatiOther Links:Ben TothJack BrennanBill YouhassHerbert Brün“Third Construction” - John CageMark SayaLou HarrisonTár trailerEugene Onegin - Piotr TchaikovskyMiddlemarch - George EliotJane AustenThomas HardyCharles DickensThe 1960s Green Bay PackersWarren SpahnHenry AaronLift-Off - Russell Peck“Ave Maria” - Josquin des Prez“Sick cervus” - Giovanni da Palestrina“Ave Maria” - Tomás Luis de VictoriaRaves:King of the Jews - Nick Tosches

Unveiling Gerald J. Leonard's journey from music to making a differenceBio:Gerald is the CEO and Founder of the Leonard Productivity Intelligence Institute and the CEO of Turnberry Premiere, a strategic project portfolio management and IT governance firm based in Washington, DC. He attended Central State University in Ohio, receiving a bachelor's in music and later earning a master's in music from the Cincinnati Conservatory of Music. Links: LinkedIn: https://www.linkedin.com/in/geraldjleonard/Website: https://productivityintelligenceinstitute.comQuotes:“Once you learn the complexities of things, I think you can implement it with very simple processes.”“Words shape our world.”Episode Highlights:This episode delves into the significance of personal development, reframing negative thoughts, and embracing cultural diversity. Gerald shares insights on overcoming constraints, the power of relationships and the importance of learning from diverse cultural groups.Gerald has authored three books: Culture is the Base, Workplace Jazz, and A Symphony of Choices."Childhood Incidents:From his father's example of building a construction business and his mother working as a seamstress, Gerald knew he had to be industrious. In middle school, Gerald was part of junior achievement where he learned more about business and the monetary value of hard work. Influential Groups: As a child, family shaped a lot of things for Gerald. He saw how hard his father worked to provide for them, how he was there for them and his business. The experience taught Gerald what it was like to be a family man.Gerald grew up Methodist, but after joining college, he learned about other religions. He got a chance to interact with people from different backgrounds and used the scriptures as point of reference to see if he was on the right track. Cultural Influences:Gerald never saw his parents meditate, but he integrated meditation into his life from Indian spiritual practices into his life. He credits a course with Judith Glaser on conversation intelligence for teaching him about the brain and nervous system which he has incorporated into his own behaviour. Personality and Temperament:Gerald believes that he values long term friendships. He has people whom he has known for years, and he goes out of his way to ensure they remain close.In 2018 he lost 86% of his right inner ear capacity and experienced constant vertigo. Although he was six weeks away from giving a TEDX talk, he did everything in his power to heal , incorporating music therapy as part of the process. His resilience and determination paid off and he delivered his TEDX talk on the appointed date and time. Cultural Dissonance:Gerald once worked for a big law firm where the work culture was different from what he was used to . In the Ivy League environment Gerald knew he had to find ways to belong but it felt uncomfortable. He looks at it now as a positive learning experience that taught him new skills.What brings the Best in Gerald Leonard?Gerald has a focus on spending quality time to make a difference in the lives of others. He isn't counting the money made or time spent, rather the impact of the exchange.Soapbox Moment:Gerald invites us to check out his books and podcast from his website. He also encourages us to check out KIVA provide microloans that support people in difficult circumstances to reach their dreams. Support the show

SynopsisT.J. Anderson was the first Black composer to hold the title of composer-in-residence with an American symphony orchestra. That was in Atlanta, when Robert Shaw was the music director of the Atlanta Symphony Orchestra. For Atlanta, Anderson orchestrated Scott Joplin's opera Treemonisha, resulting in the first full staging of that 1911 work, about 60 years after it was written, a performance that was broadcast on NPR in 1972. In addition to orchestrating Joplin's opera, Anderson wrote a few of his own, including Soldier Boy and Walker, which was based on the life of David Walker, an anti-slavery activist.One of Anderson's concert works, Squares, was premiered on today's date in 1966 by the Oklahoma Symphony and later recorded by the Baltimore Symphony for inclusion in a now-classic set of recordings issued by Columbia Records in 1970, The Black Composer Series.Squares is abstract and modernist, perhaps reflecting Anderson's academic background of composition studies at the esteemed Cincinnati Conservatory of Music and with French composer Darius Milhaud at the Aspen School of Music. Before his retirement in 1990, Anderson also taught composition at several universities from Massachusetts to California.Music Played in Today's ProgramT.J. Anderson (b. 1928): Squares (Baltimore Symphony, Paul Freeman, cond.) Sony 86215

Grand Valley State University (MI) Professor of Music Theory Olivia Kieffer stops by to talk about her job responsibilities at GVSU and some of her past experiences that led her to that particular place (04:10), her work on the PAS Diversity Alliance and the 2023 PASIC panel she moderated (21:20), growing up in Wisconsin, getting involved in percussion, her church background and her sports past (37:00), and talks about her time as an undergrad at Cincinnati Conservatory of Music (OH) (53:20).Finishing with a Rave on the 2023 film American Fiction (01:02:20).Olivia Kieffer links:Olivia's GVSU pageOlivia's homepagePrevious Podcast Guests Mentioned:Elizabeth DeLamater in 2019Reynaliz Herrera in 2023Joshua Simonds in 2017Alexandros Fragiskatos in 2019Other Links:Greg SecorBen TothPercussion Group CincinnatiKalani DasScott FarkasMichael BurrittFox Valley Symphony Orchestra“Ionisation” - Edgard VaréseJim Culley“Canticle No. 1” - Lou Harrison“First Construction” - John CageEmerson String QuartetRusty BurgeRaves:American Fiction trailer

Uncovering Your Brilliance with Lane Gardner  Author, Motivational Speaker, and Songwriter Lane Gardner is a testament to the transformative power of resilience and creativity.  Experiencing a tumultuous start marked by the fallout of her father's PTSD, her family's involvement in a religious cult, and the challenges of an abusive stepparent, Lane found solace and inspiration in her family's rich musical tradition.  Discovering her gifts at age 9, Lane would excel in singing and finding refuge in the local community theater.  Her formal education in classical voice and musical theater at Baldwin-Wallace College and Cincinnati Conservatory of Music, Lane, catapulted her into a successful professional singer/actor career.  Her leading roles in productions like My Fair Lady and the Glass Menagerie showcased her prowess on stage.  A pivotal moment came when Lane discovered her passion for teaching during her conservatory years.  In between performances, Lane began developing and facilitating arts programs, offering private lessons, and crafting workshops to empower others through creative expression.  As Lane facilitated programs for others, she concurrently unraveled her journey, gradually healing from early traumas.  Lane is devoted to guiding individuals to discover their authentic SELVES through creative expression.    She channels her passion and expertise into one-on-one coaching and nurturing THREAD, her therapeutic arts non-profit organization.  She credits her life experiences as what equipped her to guide others through a journey of self-discovery.  Listen in as Lane, and I sit down to discuss her tumultuous start, how she found inspiration and courage to survive, heal, and thrive, her devotion to helping others do the same, and what led her to her path of FEARLESS HAPPYNESS! 

Sam Houston State University (TX) Director of Percussion Studies John Lane stops by to talk about his job and the journey to get there (03:00), the social justice collaborative project The Innocents with Al Otte (22:30), his podcast Standing in the Stream (31:40), growing up in central Texas, music within his family, and his time in DCI (41:30), going to Stephen F. Austin State University (TX) for undergrad and becoming more serious about his physical fitness as an adult (50:20), his Masters at North Texas, teaching in Wyoming, and going to Cincinnati Conservatory of Music (OH) for his doctorate (01:01:25), and finishing with the Random Ass Questions, including segments on composers of percussion music, his love of cooking, Oppenheimer, and Susan Neiman (01:15:40).Finishing with a Rave on the 4K re-release of the 1984 concert film Stop Making Sense (01:46:50).John Lane Links:John Lane's SHSU pageThe InnocentsStanding in the Stream: Conversations with Creatives podcastPrevious Podcast Guests mentioned:Eric Willie in 2022Jason Baker in 2020Norm Weinberg in 2017Mark Ford in 2023Brian Zator in 2017Matt McClung in 2022Aiyun Huang in 2023David Levy in 2020Raves:Stop Making Sense 2023 trailer

A Symphony of Choices: Mastering Decision-Making Join me for an enlightening episode as we sit down with acclaimed author Gerald Leonard to discuss his latest book, "A Symphony of Choices: How Mentorship Taught a Manager Decision-Making, Project Management, and Workplace Engagement." In this captivating conversation, we explore productivity, decision-making, and invaluable practices to enhance workplace performance. Tune in to gain practical insights that can transform your approach to decision-making and foster a more engaged and harmonious work environment. Don't miss this opportunity to learn from a true expert in the field! Pick up a copy of A Symphony of Choices, here. Guest Bio. Gerald J. Leonard, PMP, PfMP, and a C-IQ Coach, is the Publishing Editor, CEO, and Founder of the Leonard Productivity Intelligence Institute and the CEO of Turnberry Premiere, a strategic project portfolio management and IT governance firm based in Washington, DC. He attended Central State University in Ohio, receiving a bachelor's in music and later earning a master's in music from the Cincinnati Conservatory of Music. During the last 25+ years, Gerald has worked as an IT Project Management consultant and earned his PfMP, PMP, MCSE, and a Certification in Conversational Intelligence (C-IQ) Coaching. He has acquired Project Management and Business Intelligence certifications from the University of California, Berkeley; Theory of Constraints Portfolio Management from the Goldratt Institute, Executive Leadership from Cornell University; and The Wharton School: Entrepreneurship Acceleration Program. In Gerald's leisure time, he loves to play golf and travel internationally.

Following a brief mention of #tenurejosh…Composer, Conductor, and Professor of Composition at Lehman College (NY) Jennifer Jolley stops by to talk about her Fulbright Scholarship in Egypt, her teaching schedule there, Ramadan, and names (04:25), her receiving the Opera America Grant, her previous attempts at writing opera, getting commissioned, and doing the “pre-work” to composition (23:30), teaching composition students, outdated techniques, and a history of music departments (45:20), growing up in southern California, learning piano, and her fandom of The Beach Boys and the Los Angeles Dodgers (54:30), studying composition at the University of Southern California for undergrad (01:09:00), taking time off of her studies to teach and work in Vermont (01:15:50), going to the Cincinnati Conservatory of Music (CCM) for her master's and doctorate (01:21:30), teaching at Ohio Wesleyan University and Texas Tech prior to teaching at Lehman (01:30:10), and finishing with the Random Ass Questions, including portions on resumé inflation, sexism in academia, Olivia Wilde, Ted Lasso, great foods, and the poet Maggie Smith (01:38:40).Finishing with a Rave on traveling, Toronto, and the Art Gallery of Ontario (02:00:00).Links to guests mentioned who appeared on past Pete's Percussion Podcast Shows:Josh Jones in 2020 (Part 1 and Part 2)Emily Salgado in 2021Joshua Simonds in 2022Other Links:Black Orchestral Network website“We Stand With Josh”Classically Black PodcastJennifer Jolley's websiteJennifer Jolley's Lehman College pageEsa-Pekka SalonenSibelius AcademyThe 26th of July - EgyptTransient CanvasFirst All-Women's Spacewalk - 2019Jessica MeirEinstein on the Beach - Philip GlassPussy Riot: A Punk Prayer trailerThe Shape of Water trailerTower documentary trailerJerry JunkinAsh - Jennifer JolleyQuestions to Heaven - Jennifer Jolley2001: A Space Odyssey trailerGyörgy Ligeti and 2001Olivia SlettelandDame Evelyn Glennie“Tiger Rag” - Art TatumStewart Gordon“Imperial March” - John WilliamsMilton BabbittNed RoremStephen SondheimAnton WebernJoel HoffmanPiano Concerto in G Major - Maurice RavelPiano Sonata No. 1 - Alberto GinasteraExcursions - Samuel BarberKind of Blue - Miles DavisGiant Steps - John ColtraneThe Complete Songbooks - Ella FitzgeraldAppalachian Spring/The Tender Land - Aaron CoplandThe Rite of Spring - Igor StravinskyShort Ride in a Fast Machine - John AdamsIn the White Silence - John Luther AdamsSwitched on Bach - Wendy Carlos“Surfer Girl” - The Beach Boys“Wouldn't It Be Nice” - The Beach Boys“Sweet Little Sixteen” - Chuck Berry“Surfin' U.S.A.” - The Beach Boys“It's A Blue World” - The Four FreshmenShenandoah - Frank Ticheli“The Serpent's Kiss” - William BolcomDavid St. JohnGodzilla: King of the Monsters - Bear McCrearySymphony No. 1 - John Corigliano“Scorefollower” on InstagramOlivia Wilde on InstagramCome Sunday - Omar ThomasTed Lasso Season 1 trailerGet Shorty trailerWonder Woman 1984 trailerHoney & Spice - Bolu BabalolaChristopher Kimball's Milk StreetFood That Tastes Like Home: Korean American - Eric Kim“Good Bones” - Maggie SmithYou Could Make This Place Beautiful - Maggie SmithRaves:Art Gallery of Ontario

Betsy Wolfe and Stark Sands are currently co-starring as the husband and wife duo Anne Hathaway and William Shakespeare in the hit Broadway show, “& Juliet”. The two speak about their relationship with Max Martin and his songs, the broad appeal of the show, and how they got involved with it. Betsy reflects on what makes the show special. Being the only parents in the show, Betsy and Stark share fondly what it's like to have their kids watch the show and recognize the songs they sing outside of the play. From waiting at the stage door and dreaming of performing on stage to seeing kids, famous actors, and artists like Will Ferrell, Katy Perry, and Chris Martin watch their show is a full circle moment for both Betsy and Stark. The two recall their humble beginnings, what got them into theatre and performing, and what it's like to act alongside people they just used to admire. Both grateful for all these full circle moments in their lives, Betsy and Stark reflect on the fame that comes with being on Broadway and why it's different from being TV and movie famous but in a good way, and the importance of making bold choices and stepping out of the box. Betsy Wolfe - Broadway: Waitress (Jenna); Falsettos (Cordelia); Bullets Over Broadway (Ellen); The Mystery of Edwin Drood (Rosa Bud); 110 in the Shade; Everyday Rapture. Other credits include The Last 5 Years (Second Stage); Merrily We Roll Along (NY City Center Encores!); How to Succeed... (Kennedy Center). Soloist for over 60 symphonies across the world. Film/TV: Estella Scrooge, First One In, “Instinct.” BFA, Cincinnati Conservatory of Music. Co-founded BroadwayEvolved, a training program for students. For Poppy, always. Instagram: @bwolfepack. TikTok: @betsywolfe. broadwayevolved.combetsywolfe.com Stark Sands - Broadway: To Kill a Mockingbird, Kinky Boots (Tony Award nomination, Grammy Award winner); American Idiot, Journey's End (Tony Award nomination, Theatre World Award winner). Off-Broadway includes Twelfth Night (The Public Theater); The Tempest (Classic Stage Company, AEA Bayfield Award). Film includes The Post; Inside Llewyn Davis; Flags of Our Fathers; Die, Mommie, Die; Shall We Dance; 11:14. Television includes “Minority Report,” “Generation Kill,” “Nip/Tuck,” “Six Feet Under.” BFA: USC. Connect with Betsy and Stark: Instagram: @bwolfepack, @starkweather Website: www.betsywolfe.com BroadwayEvolved: http://betsywolfe.com/broadwayevolved Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Rejection is probably our least favorite part of the writing life - but in this episode, we're reframing rejections to talk about what we can learn, how to take care of ourselves, and how to stay motivated and focused on your goals. We invited creative coach and professional oboist Merideth Hite Estevez to share her publishing journey and how she helps other creatives reframe rejection and grow resilience in their writing life.An active freelancer and sought-after recitalist, oboist Dr. Merideth Hite Estevez has performed and taught throughout North and South America, Asia, and Europe. Her education has taken her all over the world—Cincinnati Conservatory of Music, Yale School of Music, Fulbright Scholar to Germany, and to The Juilliard School where she received for her doctorate in oboe.As founder and director of Artists for Joy in 2017, Merideth invites artists into community to debunk the stereotype of the tortured artist, to unleash joy in the creation of art in all disciplines, and to consider creativity as a spiritual practice. Her podcast of the same name was a 2022 winner of the Award of Excellence in 2022 Communicator Awards and is in the top 2% of podcasts worldwide according to listennotes.com. Merideth has led thousands of artists in creative recovery and discovery through her popular support groups around Julia Cameron's book “The Artist's Way” and is a Start with Heart Facilitator through Graydin. She runs a thriving one-to-one coaching business help artists thrive.When she's not playing oboe or making reeds, Merideth enjoys traveling the world and attempting to speak foreign languages with a southern accent. She hails from Abbeville, SC, but now lives in Bloomfield Hills, MI, where she resides with her husband, Rev. Edwin Estevez, daughter Eva, and son Eli.Merideth's website: https://artistsforjoy.org/Merideth's IG: https://www.instagram.com/artistsforjoy/Merideth's freebie: 3 Ways to Love Your Inner ArtistDheepa Maturi's Ritual for Rejection: https://www.dheeparmaturi.com/post/moment-by-moment

Dr. Sixto F. Montesinos Jr. is assistant professor of music and head of instrumental studies at Saint Mary's College of California in the San Francisco Bay Area. He is an active Mexican-American conductor, flutist, music educator, and scholar researching new and effective ways to strengthen Mexican-American relations through the study and performance of music. These include overcoming stereotypes as well as Mexican, LGBTQ+, and LatinX representation in the field of music education, repertoire, and performance He is the artistic director of the Saint Mary's College Jazz Band as well as its Chamber Musicians program. He also oversees the instrumental private lessons faculty at The College.  Dr. Montesinos is a regular guest conductor with the Awesöme Orchestra, a Bay-Area organization that amplifies voices of marginalized folk, forms deeper partnerships with communities and organizations as well as creates more equity and representation at every level. The mission of the Awesome Orchestra is also to make awesome orchestral adventures accessible to musicians and the public. He has also been a guest conductor with the Youth Musical Theater Company, most recently for their spring 2022 production of Stephen Sodnheim's Sweeney Todd.  He presented a clinic in December  2021 at the 75th Annual Midwest Clinic entitled "Surpassing La Cucaracha dn the Mexican Hat Dance" and spoke to the importance of diversifying Mexican-themed repertoire for instrumental ensembles and debunking common musical stereotypes,   Dr. Montesinos earned a Doctorate of Musical Arts in Wind Conducting from the Mason Gross School of the Arts at Rutgers University in New Brunswick, New Jersey where he studied with Professors William Berz, Kraig Alan Williams, and Darryl J. Bott. His terminal research project focused on the evolution and socio-political influence of wind bands in Mexico from the War of Independence to the Mexican Revolution. During his time at Rutgers, Dr. Montesinos also served as a teaching assistant with the Rutgers University Marching Scarlet Knights participating in performances for President Barack Obama and Vice President Joe Biden. During the fall and spring, he worked as a Graduate Assistant Conductor of the Rutgers Wind Ensemble and Symphonic Winds. In 2016, he programmed and conducted with the Rutgers University Concert Band, the United States premiere of two wind pieces by Colombian composer Victoriano Valencia: Chande and Tango from his larger series Ritmos de la Tierra. He also presented and conducted Valencia's music in March of 2018 at the new music reading session during the College Band Directors National Association (CBDNA) Eastern Division Conference at Yale University. Before moving to California, Dr. Montesinos served as Assistant Professor of Music and Director of Bands at Ferrum College in southwest Virginia where he established The Ferrum College Panther Marching Band, Ferrum College Mountain Winds, and Ferrum College Iron Mountain Brass. Enrollment in the band program doubled under his tenure. He also served as music department coordinator and developed the curriculum to create a Bachelor of Arts in Music degree. Dr. Montesinos led an initiative to establish an Appalachian Folk Music Program and started a guest artist recital series designed to bring live music to the Ferrum College community throughout the year. Before his doctoral studies at Rutgers University, he was a public school high school band director at Jersey Village High School, a high school within the Cypress-Fairbanks Independent School District in Northwest Houston. In this capacity, he assisted with the instruction of a 300-member marching band, four concert bands, and conducted the all-school musical. He also taught beginning instrumental classes at the middle school feeder. At Jersey Village, He was the primary conductor of the Symphonic II band. Symphonic II earned division one ratings at the University Interscholastic League (UIL) Concert and Sightreading Contest. Dr. Montesinos completed a Master's Degree in Orchestral Conducting at the University of Texas at Arlington under the tutelage of his long-time mentor and former high school orchestra director, Dr. Clifton Evans. Montesinos also completed additional studies in wind and orchestral conducting at the following programs: The Frederick Fennell Memorial Conducting Masterclass at the Eastman School of Music and the Cincinnati Conservatory, The University of North Texas Conductors Collegium, The Art of Band Conducting at the University of Texas at Austin, The International Conductors Workshop and Competition at Mercer University, and The International Institute for Conductors in Bacau, Romania. Additionally, he worked closely and shared the podium with H. Robert Reynolds as a doctoral conducting student during a week-long residency at Rutgers University. As a flutist, Dr. Montesinos was a featured soloist at the 70th Annual Midwest Clinic International Band and Orchestra Conference performing Gabe Mussella's Cumbia de Xavier with the Ridgeview Middle School Percussion Ensemble. He has also been on the faculty at FlootFire Houston. He completed a Bachelor's Degree in Instrumental Music Education at the University of Houston Moores School of Music where he performed two graduate-level flute recitals and was principal flute of the University of Houston Wind Ensemble and Symphony Orchestra. Upon graduation from the High School for the Performing and Visual Arts in Houston, he was awarded a full-tuition scholarship to study flute performance at Arizona State University in Tempe where he completed two years of flute studies before attending the University of Houston. In high school, he studied flute at the American Festival for the Arts Summer Music Conservatory with Kirsten “Kiki” Larsen and at the Brevard Music Center in North Ca rolina as a pupil of Thomas Robertello. He was a flute student of Judy Dines, second flutist of the Houston Symphony, for two years and performed with the Houston Symphony twice at Jones Hall. He has played for Carol Wincenc at The Juilliard School and Leone Buyse, Christina Jennings, and Robert Langevin in various masterclasses. He is also a proud alumnus and supporter of the Virtuosi of Houston Youth Chamber Orchestra and the Greater Houston Youth Orchestra. In 2004 he toured China extensively as an orchestral flutist with the Northwest Houston Symphony. Dr. Montesinos enjoys working outside of the United States and has established strong ties with high school and middle school band directors in Peru. In March of 2017, he gave a week-long seminar to local high school and middle school band directors in Lima, Peru as part of their required professional development. Most recently he was a featured speaker on marching and concert band techniques in January of 2018 at the PERUBANDAS National Congress in Lima, Peru. Additionally, he held interim teaching positions at Lafayette College in Easton, Pennsylvania as conductor of the concert band and at Lewisville High School in Lewisville, Texas as director of the orchestra program. He has also served as the Associate Dean of Students at the Eastern Music Festival in Greensboro, North Carolina. His writing has been published by the Instrumentalist Magazine and internationally by the WASBE Journal. Montesinos is a native of the town of Coyoacan in Mexico City where he began his musical career at the early age of four studying piano at the prestigious Yamaha Institute.

Matty (@teaguemiller) and Kikau (@kikautown) check in with Jacob Brent (@jacobbrentstagram) and David Coolidge (@david.coolidge.3) who are now both at different institutions since we last spoke on the podcast. Some of their recommendations include taking a trip to NYC, asking students for New Musical recommendations, embedding Spotify lists on Canvas, meditation, the importance of being surrounded plants and flowers! Read Bios Below: Jacob Brent is a veteran Broadway performer with a MFA in Musical Theatre. With extensive experience performing, directing, choreographing and teaching, Mr. Brent has been recognized by The New York Times as knowing how to inspire actors. As a performer, Jacob is probably best known for his portrayal of Mr. Mistoffelees in the Broadway, London and DVD productions of Cats. Now on the other side of the table, he brings the same commitment and passion for performing to directing, choreographing and teaching.  When not working as a Director and Choreographer around the United States, Jacob is an Assistant Professor at Shenandoah Conservatory and frequently teaches at Broadway Dance Center and Steps on Broadway in NYC.  Mr. Brent is actively involved in the international Junior Theatre Festival and pilot productions of new Broadway Jr. musicals... always looking to inspire the next generation of artists and audiences. David Coolidge joins ONU as an Associate Professor and Head of Musical Theatre. He is a certified Master Teacher in Archetypes for Singers and Actors with specializations in New Works and Acting Through Song. David was a member of the Broadway National Tour of Parade, Jeff Calhoun's highly acclaimed pre-Broadway production of Big River at Deaf West Theatre, and he has appeared in numerous roles in regional theatres across the country. David is the former Assistant Artistic Director of TheatreworksUSA in New York City where he directed six national tours and oversaw thirty national touring productions reaching an annual audience of over three million. David received his BFA in Musical Theatre from the Cincinnati Conservatory of Music (CCM) and his MFA in Acting from the University of North Carolina at Greensboro.

The third and final installment of a 3-part episode with the lovely Lane Gardner - Arts Educator, Singer/Songwriter, and President and Founder of THREAD Lane's work is an emerging voice in a world where innovative solutions to our rising mental health crisis are desperately needed. An award-winning arts educator, singer/songwriter, and non-profit entrepreneur, Lane uses the power of music and creativity to facilitate healing and growth in individuals and communities suffering from trauma. For nearly three decades, Lane has devoted her life's work to helping herself and others learn how to transform their personal experiences of trauma into powerful works of art. Her passion for the human journey and cultivating connection through our shared experiences led her to develop a therapeutic and collaborative songwriting program that merges creativity, self-expression, healing, and community. She went on to study classical voice and musical theater at both Baldwin-Wallace College and Cincinnati Conservatory of Music (CCM). As a professional singer/actor, she starred in leading roles, including Eliza in My Fair Lady at Lyric Opera Cleveland, Laura in The Glass Menagerie at Seaside Music Theater, and the title role in Antigone at The WestEnd Theater in NYC. Between her performances, she taught after-school arts programs, offered private voice and piano lessons, and started developing programming and workshops to help others feel better about themselves and their journeys through their experiences in the arts. Now, instead of finding solace on the stage and in other people's stories, she began to delve into her own stories, taking up songwriting with a fury. Transforming her past into powerful works of art was a catalyst for healing and the marriage of her many gifts and talents. She released her debut album entitled Fertile Ground in 2015 on her own record label, Third Road Records. Lane now devotes her passion and work to helping those who suffer from trauma through her therapeutic arts non-profit organization, THREAD. THREAD is a 501(c)(3) therapeutic arts non-profit organization that serves the needs of survivors of abuse, those struggling with addiction and mental health, cancer survivors, incarcerated men and women, veterans, and those impacted by inequality and discrimination surrounding gender, race, sexuality, and religion. It also implements programs to address the urgent needs of communities affected by gun violence, natural disasters, and other crisis scenarios.   Don't forget to follow CB, comment, rate, review, and subscribe to the show on your preferred platform! Rating/reviews: Rating/reviews: https://lovethepodcast.com/courage Apple Podcast: https://apple.co/34Q2dcI iHeart Radio: https://ihr.fm/3sKaUgM Amazon: https://amzn.to/36j2DZz Spotify: https://spoti.fi/3I6jXzc   WEBSITES: Courage Consulting: https://courage-consultant.com/ KeynoteSpeaking: https://www.cbbowman.com/ Coaching Association: https://www.acec-association.org/ Master Corporate Executive Coach Certification: https://www.meeco-institute.org/ SOCIAL MEDIA: LinkedIn: https://www.linkedin.com/in/cbbowman/ Twitter: https://twitter.com/CbOttomanelli Facebook: https://www.facebook.com/CB.BowmanMBA/ YouTube: https://www.youtube.com/channel/UCjZU3KqucXRXDsrHLvj8UIw Newsletter: https://www.linkedin.com/newsletters/courage-c-suite-challenges-6874133122783469568 #CBBowmanLive #courage #courageleadership #cbbowman #courageous #courageconsultant #leadership

This is part two of a 3-part episode; tune in next week for the conclusion Lane Gardner - Arts Educator, Singer/Songwriter, and President and Founder of THREAD Lane's work is an emerging voice in a world where innovative solutions to our rising mental health crisis are desperately needed. An award-winning arts educator, singer/songwriter, and non-profit entrepreneur, Lane uses the power of music and creativity to facilitate healing and growth in individuals and communities suffering from trauma. For nearly three decades, Lane has devoted her life's work to helping herself and others learn how to transform their personal experiences of trauma into powerful works of art. Her passion for the human journey and cultivating connection through our shared experiences led her to develop a therapeutic and collaborative songwriting program that merges creativity, self-expression, healing, and community. She went on to study classical voice and musical theater at both Baldwin-Wallace College and Cincinnati Conservatory of Music (CCM). As a professional singer/actor, she starred in leading roles, including Eliza in My Fair Lady at Lyric Opera Cleveland, Laura in The Glass Menagerie at Seaside Music Theater, and the title role in Antigone at The WestEnd Theater in NYC. Between her performances, she taught after-school arts programs, offered private voice and piano lessons, and started developing programming and workshops to help others feel better about themselves and their journeys through their experiences in the arts. Now, instead of finding solace on the stage and in other people's stories, she began to delve into her own stories, taking up songwriting with a fury. Transforming her past into powerful works of art was a catalyst for healing and the marriage of her many gifts and talents. She released her debut album entitled Fertile Ground in 2015 on her own record label, Third Road Records. Lane now devotes her passion and work to helping those who suffer from trauma through her therapeutic arts non-profit organization, THREAD. THREAD is a 501(c)(3) therapeutic arts non-profit organization that serves the needs of survivors of abuse, those struggling with addiction and mental health, cancer survivors, incarcerated men and women, veterans, and those impacted by inequality and discrimination surrounding gender, race, sexuality, and religion. It also implements programs to address the urgent needs of communities affected by gun violence, natural disasters, and other crisis scenarios.   Don't forget to follow CB, comment, rate, review, and subscribe to the show on your preferred platform! Rating/reviews: Rating/reviews: https://lovethepodcast.com/courage Apple Podcast: https://apple.co/34Q2dcI iHeart Radio: https://ihr.fm/3sKaUgM Amazon: https://amzn.to/36j2DZz Spotify: https://spoti.fi/3I6jXzc   WEBSITES: Courage Consulting: https://courage-consultant.com/ KeynoteSpeaking: https://www.cbbowman.com/ Coaching Association: https://www.acec-association.org/ Master Corporate Executive Coach Certification: https://www.meeco-institute.org/ SOCIAL MEDIA: LinkedIn: https://www.linkedin.com/in/cbbowman/ Twitter: https://twitter.com/CbOttomanelli Facebook: https://www.facebook.com/CB.BowmanMBA/ YouTube: https://www.youtube.com/channel/UCjZU3KqucXRXDsrHLvj8UIw Newsletter: https://www.linkedin.com/newsletters/courage-c-suite-challenges-6874133122783469568 #CBBowmanLive #courage #courageleadership #cbbowman #courageous #courageconsultant #leadership

St. Olaf College (MN) Percussion Professor Matt McClung returns to talk about transitioning into full-time percussion before and during his master's at Cincinnati Conservatory of Music (02:45), going to Rice University (TX) for the doctorate (17:40), working for 3 years in the Honolulu Symphony (HI) (35:00), his job at Texas A&M-Corpus Christi and leaving it to move to Minneapolis/St. Paul (49:00), and finishes with the Random Ass Questions, including segments on student impressions, “bad” Tom Hanks movies, great authors, and Michelangelo's “David” (58:20).Finishing with a Rave on musical acts from the 2022 Roots N Blues Music Festival (01:28:30).Links:Part 1 with Matt McClungMatt McClung's St. Olaf page“Music for Pieces of Wood” - Steve Reich“George Washington Bridge” - William SchumanTI-35 Calculator“Five Scenes from the Snow Country” - Hans Werner Henze“Mirage” - Yasuo Sueyoshi“Time for Marimba” - Minoru MikiPercussion Group CincinnatiRichard BrownAnn-MargretDoug PerkinsMusser M31 4.0 Octave Windsor II Kelon MarimbaRobert Van SiceEduardo LeandroTodd Meehan's 2017 appearance on the podcastEurhythmics at Cleveland Institute of MusicPresser Foundation ScholarshipValerie NaranjoDane RichesonMaureen NelsonGlimmerlass FestivalAlexis C. Lamb on the podcast in 2021Joe vs. The Volcano trailerTurner and Hooch trailerLove Actually trailerJohn IrvingTom RobbinsDavid Foster WallaceJoseph HellerRichard PowersSo PercussionGraeter's Ice CreamAmbar India RestaurantGoode Company BBQKentucky Symphony OrchestraUffizi Gallery - Florence (Italy)Raves:Roots N Blues Festival

Maggie Bergeron is a teacher, choreographer, dancer, and writer whose life has moved from a Northwestern MN farm to boarding school in Michigan to Minneapolis, MN, where she currently resides. She is currently a Senior Lecturer in the U of MN Dance Program, dances on occasion, makes collaborative work for all sorts of performance occasions, and produced and curated a music/movement festival called Hear Here! along with her composer husband Nicholas Gaudette in 2015 and 2017. Maggie is committed to engaging the process of collaboration in her work, and is most interested in a holistic imagining of a performance experience for audience members. Her work has been seen locally at Studio Z with Zeitgeist, the Southern Theater, Red Eye Theater, Walker Art Center and Bryant Lake Bowl and nationally at Interlochen Arts Academy, Cincinnati Conservatory of Music, and Keshet Dance Company. Maggie co-authored Approaching College with Purpose, a textbook for first year experience courses, and is committed to supporting students making the transition into and out of college. Maggie graduated from Interlochen Arts Academy and holds a BFA in Dance from the University of Minnesota. She is a Licensed K-12 Dance Instructor and holds a Masters of Arts in Teaching.

"I listen to classical music very specifically because I need to be able to feel at the end of what I'm listening to like I'm able confront the darkest sides of what I'm experiencing as well. I feel comforted by Beethoven. I feel comforted by his ability to say something to me that cannot be said any other way. A sense of hopelessness that is not without giving us some worth." This is a rebroadcast of Ep. 80, aired originally in February 2021. The conversation was recorded in October 2020. Jorja Fleezanis died on September 9th, 2022. To read Daniel Lelchuk's written appreciation of Jorja Fleezanis, click here. Violinist Jorja Fleezanis is here to talk music and the staying power of music, the spell it casts, over children and adults alike. From the first time she heard a violin record as a young child to right now, after a career of more than five decades-- what does music say to her today that it didn't then? How do the names she thinks of as the 'Mt. Rushmore' -- Beethoven, Schubert, Schumann -- sustain her and grow with her? And why is she currently listening to every song The Beatles ever recorded? Jorja and Daniel explore what it is to be in an orchestra, and how the will of the ensemble must rise above political and personal fractures. Please consider supporting Talking Beats via a one-time or recurring donation. You will contribute to us presenting the highest quality interviews with the world's most compelling people. Jorja Fleezanis is adjunct professor emerita of music in orchestral studies at the Indiana University Jacobs School of Music. Fleezanis was concertmaster of the Minnesota Orchestra from 1989 to 2009—the longest-tenured concertmaster in the orchestra's history and only the second woman in the U.S. to hold the title of concertmaster in a major orchestra when appointed. Prior to Minnesota, she was associate concertmaster with the San Francisco Symphony for eight years and a member of the Chicago Symphony. A devoted teacher, Fleezanis became an adjunct faculty member at the University of Minnesota's School of Music in 1990. She has also enjoyed teaching roles with other organizations: as teacher and artist at the Round Top International Festival Institute in Texas (1990-2007); artist-in-residence at the University of California, Davis; guest artist and teacher at the San Francisco Conservatory, where she served on the faculty from 1981 to 1989; artist and mentor at the Music@Menlo Festival (2003-2008); teacher and coach at the New World Symphony (1988-present); and faculty of the Music Academy of the West since 2016. She has been a visiting teacher at the Boston Conservatory, The Juilliard School, The Shepherd School of Music, and Interlochen Academy and Summer Camp. She is also a frequent guest mentor at Britten Pears Center at Snape Maltings, England, in programs for both young musicians and professional orchestral violinists. Fleezanis has had a number of works commissioned for her, including by the Minnesota Orchestra with the John Adams Violin Concerto and Ikon of Eros by John Tavener, the latter recorded on Reference Records. Her recording of the complete violin sonatas of Beethoven with the French fortepianist Cyril Huvé was released in 2003 on the Cyprés label. Other recordings include Aaron Jay Kernis' Brilliant Sky, Infinite Sky on CRI, commissioned for Fleezanis by the Schubert Club, and, with Garrick Ohlsson, Stefan Wolpe's Violin Sonata for Koch International. Fleezanis studied at the Cincinnati Conservatory of Music and the Cleveland Institute of Music.

This is part 1 of a 3-part episode; tune in next week for part 2 Lane Gardner - Arts Educator, Singer/Songwriter, and President and Founder of THREAD Lane's work is an emerging voice in a world where innovative solutions to our rising mental health crisis are desperately needed. An award-winning arts educator, singer/songwriter, and non-profit entrepreneur, Lane uses the power of music and creativity to facilitate healing and growth in individuals and communities suffering from trauma. For nearly three decades, Lane has devoted her life's work to helping herself and others learn how to transform their personal experiences of trauma into powerful works of art. Her passion for the human journey and cultivating connection through our shared experiences led her to develop a therapeutic and collaborative songwriting program that merges creativity, self-expression, healing, and community. She went on to study classical voice and musical theater at both Baldwin-Wallace College and Cincinnati Conservatory of Music (CCM). As a professional singer/actor, she starred in leading roles, including Eliza in My Fair Lady at Lyric Opera Cleveland, Laura in The Glass Menagerie at Seaside Music Theater, and the title role in Antigone at The WestEnd Theater in NYC. Between her performances, she taught after-school arts programs, offered private voice and piano lessons, and started developing programming and workshops to help others feel better about themselves and their journeys through their experiences in the arts. Now, instead of finding solace on the stage and in other people's stories, she began to delve into her own stories, taking up songwriting with a fury. Transforming her past into powerful works of art was a catalyst for healing and the marriage of her many gifts and talents. She released her debut album entitled Fertile Ground in 2015 on her own record label, Third Road Records. Lane now devotes her passion and work to helping those who suffer from trauma through her therapeutic arts non-profit organization, THREAD. THREAD is a 501(c)(3) therapeutic arts non-profit organization that serves the needs of survivors of abuse, those struggling with addiction and mental health, cancer survivors, incarcerated men and women, veterans, and those impacted by inequality and discrimination surrounding gender, race, sexuality, and religion. It also implements programs to address the urgent needs of communities affected by gun violence, natural disasters, and other crisis scenarios.   Don't forget to follow CB, comment, rate, review, and subscribe to the show on your preferred platform! Rating/reviews: Rating/reviews: https://lovethepodcast.com/courage Apple Podcast: https://apple.co/34Q2dcI iHeart Radio: https://ihr.fm/3sKaUgM Amazon: https://amzn.to/36j2DZz Spotify: https://spoti.fi/3I6jXzc   WEBSITES: Courage Consulting: https://courage-consultant.com/ KeynoteSpeaking: https://www.cbbowman.com/ Coaching Association: https://www.acec-association.org/ Master Corporate Executive Coach Certification: https://www.meeco-institute.org/ SOCIAL MEDIA: LinkedIn: https://www.linkedin.com/in/cbbowman/ Twitter: https://twitter.com/CbOttomanelli Facebook: https://www.facebook.com/CB.BowmanMBA/ YouTube: https://www.youtube.com/channel/UCjZU3KqucXRXDsrHLvj8UIw Newsletter: https://www.linkedin.com/newsletters/courage-c-suite-challenges-6874133122783469568 #CBBowmanLive #courage #courageleadership #cbbowman #courageous #courageconsultant #leadership

Northern Michigan University's Percussion Professor Jim Strain returns to talk about the links between his degree programs at Cincinnati Conservatory of Music and Eastman, some of his early gigs, and writing a full dissertation on xylophone (01:45), his years teaching at Kansas State University prior to heading to Indiana University (21:20), and the Random Ass Questions, including sections on equipment management, impressions of him during Band Day, old marching uniforms, Ben Franklin, Joe Montana, and his daughter's artwork (29:45).Finishing with a Rave on the 2020 novel Deacon King Kong (01:09:50).Links:Part 1 with Jim StrainJim Strain's Northern Michigan pagePercussion Group CincinnatiJohn H. BeckJack Brennan“Knocking Piece” - Ben Johnston“Getaway” - Earth, Wind and Fire“25 or 6 to 4” - Chicago“Go Down Gamblin'” - Blood, Sweat, & TearsJim TillerTim MolloyRobert PatersonSteve HoughtonBenjamin FranklinJoe Montana as a KC ChiefRichard Wagner's PoetryJ.R.R. TolkienDune (series) - Frank HerbertWayne NewtonHit Like a GirlRaves:Deacon King Kong - James McBride

University of Northern Michigan Percussion Professor Jim Strain stops by to talk about his current job, working with local performing groups, the challenges of recruiting to his university, and his time as the Historian for the Percussive Arts Society (03:15), his first PAS Experiences, the National Conference on Percussion Pedagogy, and “when someone opens a door for you, walk through it” (25:00), growing up throughout the southern U.S., the impact of the Boy Scouts on his life, his musical beginnings, and the Texas band experience (36:00), and his undergrad and grad career at Arkansas State and the Cincinnati Conservatory of Music, along with his high school teaching job in Arkansas (01:00:30).Finishing with a Rave on the 2022 film The Batman (01:22:45).Links:Jim Strain's Northern Michigan pageNational Conference on Percussion PedagogyMarquette SymphonyPercussive Arts Society historyJohn H. BeckKathy Kastner on the podcast in 2017Lisa Rogers on the podcast in 2017Frank's Drum ShopJoe ShivelyCort McClaren on the podcast in 2022Michael BumpMike BalterJared SpearsChal Ragsdale on the podcast in 2017Frank ShafferVic FirthHaskell HarrExploring Posts through the Boy ScoutsBlackearth Percussion GroupPercussion Group CincinnatiLeigh Howard StevensKeith LeeRobert SchietromaRaves:The Batman trailer

About CarlaCarla Stickler is a professional multi-hyphenate advocating for the inclusion of artists in STEM. Currently, she works as a software engineer at G2 in Chicago. She loves chatting with folks interested in shifting gears from the arts to programming and especially hopes to get more women into the field. Carla spent over 10 years performing in Broadway musicals, most notably, “Wicked,” “Mamma Mia!” and “The Sound of Music.” She recently made headlines for stepping back into the role of Elphaba on Broadway for a limited time to help out during the covid surge after not having performed the role for 7 years. Carla is passionate about reframing the narrative of the “starving artist” and states, “When we choose to walk away from a full-time pursuit of the arts, it does not make us failed artists. The possibilities for what we can do and who we can be are unlimited.”Links Referenced: G2: https://www.g2.com/ Personal website: https://carlastickler.com Instagram: https://www.instagram.com/sticklercarla/ TranscriptAnnouncer: Hello, and welcome to Screaming in the Cloud with your host, Chief Cloud Economist at The Duckbill Group, Corey Quinn. This weekly show features conversations with people doing interesting work in the world of cloud, thoughtful commentary on the state of the technical world, and ridiculous titles for which Corey refuses to apologize. This is Screaming in the Cloud.Corey: This episode is sponsored in part by Honeycomb. When production is running slow, it's hard to know where problems originate. Is it your application code, users, or the underlying systems? I've got five bucks on DNS, personally. Why scroll through endless dashboards while dealing with alert floods, going from tool to tool to tool that you employ, guessing at which puzzle pieces matter? Context switching and tool sprawl are slowly killing both your team and your business. You should care more about one of those than the other; which one is up to you. Drop the separate pillars and enter a world of getting one unified understanding of the one thing driving your business: production. With Honeycomb, you guess less and know more. Try it for free at honeycomb.io/screaminginthecloud. Observability: it's more than just hipster monitoring.Corey: What if there were a single place to get an inventory of what you're running in the cloud that wasn't "the monthly bill?" Further, what if there were a way to compare that inventory to what you were already managing via Terraform, Pulumi, or CloudFormation, but then automatically add the missing unmanaged or drifted parts to it? And what if there were a policy engine to immediately flag and remediate a wide variety of misconfigurations? Well, stop dreaming and start doing; visit snark.cloud/firefly to learn more.Corey: Welcome to Screaming in the Cloud. I'm Corey Quinn, there seems to be a trope in our industry that the real engineers all follow what more or less looks like the exact same pattern, where it's you wind up playing around with computers as a small child and then you wind up going to any college you want—as long as it's Stanford—and getting a degree in anything under the sun—as long as it's computer science—and then all of your next jobs are based upon how well you can re-implement algorithms on the whiteboard. A lot of us didn't go through that path. We wound up finding our own ways to tech. My guest today has one of the more remarkable stories that I've come across. Carla Stickler is a software engineer at G2. Carla, thank you for agreeing to suffer my slings and arrows today. It's appreciated.Carla: Thanks so much for having me, Corey.Corey: So, before you entered tech—I believe this is your first job as an engineer and as of the time we're recording this, it's been just shy of a year that you've done in the role. What were you doing before now?Carla: Oh, boy, Corey. What was I doing? I definitely was not doing software engineering. I was a Broadway actress. So, I spent about 15 years in New York doing musical theater, touring around the country and Asia in big Broadway shows. And that was pretty much all I did.I guess, I also was a teacher. I was a voice teacher and I taught voice lessons, and I had a studio and I taught it a couple of faculties in New York. But I was one hundred percent ride-or-die, like, all the way to the end musical theater or bust, from a very, very early age. So, it's been kind of a crazy time changing careers. [laugh].Corey: What inspired that? I mean, it doesn't seem like it's a common pattern of someone who had an established career as a Broadway actress to wake up one day and say, “You know what I don't like anymore. That's right being on stage, doing the thing that I spent 15 years doing. You know what I want to do instead? That's right, be mad at computers all the time and angry because some of the stuff is freaking maddening.” What was the catalyst that—Carla: Yeah, sounds crazy. [laugh].Corey: —inspired you to move?Carla: It sounds crazy. It was kind of a long time coming. I love performing; I do, and it's like, my heart and soul is with performing. Nothing else in my life really can kind of replace that feeling I get when I'm on stage. But the one thing they don't really talk about when you are growing up and dreaming of being a performer is how physically and emotionally taxing it is.I think there's, like, this narrative around, like, “Being an actor is really hard, and you should only do it if you can't see yourself doing anything else,” but they don't actually ever explain to you what hard means. You know, you expect that, oh, there's going to be a lot of other people doing it in, I'm going to be auditioning all the time, and I'm going to have a lot of competition, but you never quite grasp the physical and emotional toll that it takes on your body and your—you know, just ongoing in auditions and getting rejections all the time. And then when you're working in a show eight times a week and you're wearing four-inch heels on a stage that is on a giant angle, and you're wearing wigs that are, like, really, really massive, you don't really—no one ever tells you how hard that is on your body. So, for me, I just hit a point where I was performing nonstop and I was so tired. I was, like, living at my physical therapist's office, I was living at, like, my head therapist's office.I was just trying to, like, figure out why I was so miserable. And so, I actually left in 2015, performing full time. So, I went to get my Master's in Education at NYU thinking that teaching was my way out of performing full-time.Corey: It does seem that there's some congruities—there's some congruities there between your—instead of performing in front of a giant audience, you're performing in front of a bunch of students. And whether it's performing slash educating, well that comes down to almost stylistic differences. But I have a hard time imagining you just reading from your slides.Carla: Yeah, no, I loved it because it allowed me to create connections with my students, and I found I like to help inspire them on their journeys, and I really like to help influence them in a positive way. And so yeah, it came really natural to me. And my family—or I have a bunch of teachers in my family so, you know, teaching was kind of a thing I just assumed I would be good at, and I think I fell naturally into. But the thing that was really hard for me was while I was teaching, I was still… kind of—I had, like, one foot in performing. I was still, like, going in and out of the show that I've been working on, which I didn't mention.So, I was in Wicked for, like, ten years, that's kind of like my claim to fame. And I had been with that show for a really long time, and that was why—when I left to go teach, that was kind of my way out of that big show because it was hard for me to explain to people why it was leaving such a giant show. And teaching was just, like, a natural thing to go into. I felt like it was like a justifiable action, [laugh] you know, that I could explain to, like, my parents for why I was quitting Broadway.So, you know, I love teaching and—but I—and so I kept that one foot kind of in Broadway, and I was still going in and out of the show. It's like a vacation cover, filling in whenever they needed me, and I was still auditioning. But I was like, I was still so burned out, you know? Like, I still had those feelings of, like—and I wasn't booking work; I think my heart just wasn't really in it. Like, every time I'd go into audition, I would just feel awful about myself every time I left.And I was starting to really reject that feeling in my life because I was also starting to find there were other things in my life that made me really happy. Like, just having a life. Like, I had—for the first time in a very long time, I had friends that I could hang out with on the weekends because I wasn't working on the weekend. And I was able to, like, go to, you know, birthdays and weddings and I was having, like, this social life. And then every time I would go on an audition—Corey: And they did other things with their lives, and it wasn't—Carla: Yeah.Corey: All shop talk all the time—Carla: Right.Corey: Which speaking as someone who lives in San Francisco and worked in normal companies before starting this ridiculous one, it seems that your entire social circle can come out of your workplace. And congratulations, it's now all shop talk, all the time. And anyone you know or might be married to who's not deeply in tech just gets this long-suffering attitude on all of it. It's nice to be able to have varied conversations about different things.Carla: Yes. And so, I was like having all these, like—I was, like, having these life moments that felt really good, and then I would go to an audition and I would leave being, like, “Why do I do that to myself? Why do I need to feel like that?” Because I just feel awful every time I go. And so, then I was having trouble teaching my students because I was feeling really negative about it, and I was like, “I don't know how to encourage you to go into a business that's just going to, like, tear you down and make you feel awful about yourself all the time.”Corey: And then you got into tech?Carla: [laugh]. And then I was just, like, “Tech. That's great.” No, I—do you know what—Corey: Like, “I'm sad all the time and I feel like less than constantly. You know what I'm going to use to fix that? I'm going to learn JavaScript.” Oh, my God.Carla: Yeah. I'm going to just challenge myself and do the hardest thing I can think of because that's fun. But ki—I mean, sort of I [laugh] I, I was not ever—like, being an engineer was never, like, on my radar. My dad was an engineer for a long time, and he kind of always would be, like, “You're good at math. You should do engineering.”And I was like, “No, I'm an actor. [laugh]. I don't want to do that.” And so, I kind of always just, like, shooed it away. And when a friend of mine came to my birthday party in the summer of 2018, who had been a songwriter and I had done some readings of a musical of his, and he was like, “I'm an engineer now at Forbes. Isn't that great?”And I was like, “What? How does that happen? I need you to back up, explain to me what's going on.” And I just, like—but I went home and I could not stop thinking about it. I don't know if it was like my dad's voice in the back of my head, or there was like the stars aligned.My misery that I was feeling in my life, and, like, this new thing that just got thrown in my face was just such an exciting, interesting idea. I was like, “That sounds—I don't know what—I don't even know what that looks like or I don't even know what's involved in that, but I need to figure out how to do it.” And I went home when I first started teaching myself how to do it. And I would just sit on my couch and I would do, like, little coding challenges, and before I knew it, like, hours would have passed by, I forgot to eat, I forget to go to the bathroom. Like, I would just be, like, groove on the couch from where I was sitting for too long.And I was like, oh, I guess I really liked this. [laugh]. It's interesting, it's creative. Maybe I should do something with it.Corey: And then from there, did you decide at some point to pursue—like, a lot of paths into tech these days. There's a whole sea of boot camps, for example, that depending on how you look at them are either inspirational stories of how people can transform their lives, slash money-grabbing scams. And it really depends on the boot camp in particular, is that the path you took? Did you—Carla: Yes.Corey: Remain self-taught? How did you proceed from—there's a whole Couch-to-5k running program; what is about—I guess we'll call getting to tech—but what was your Couch-to-100k path?Carla: Yeah, I was just going to say, Couch-to-100k tech gig.Corey: Yeah.Carla: So, my friend to had gone to Flatiron School, which is a boot camp. I think they have a few locations around the country, and so I initially started looking at their program just because he had gone there, and it sounded great. And I was like, “Cool, great.” And they had a lot of free resources online. They have, like, this whole free, like, boot camp prep program that you can do that teaches Rails and JavaScript.And so, I started doing that online. And then I—at the time, they had, like, a part-time class. I like learning in person, which is funny because now I just work remote and I do everything on Google… it's like, Google and Stack Overflow. So—but I knew at the time—Corey: I have bad news about the people who are senior. It doesn't exactly change that much.Carla: Yeah, that's what I've heard, so I don't feel bad about telling people that I do it. [laugh].Corey: We're all Full Stack Overflow developers. It happens.Carla: Exactly. So yeah, I just. They had, like, a part-time front-end class that was, like, in person two nights a week for a couple months. And I was like, “Okay, that'll be a really good way to kind of get my feet wet with, like, a different kind of learning environment.”And I loved it. I fell in love with it. I loved being in a room of people trying to figure out how to do something hard. I liked talking about it with other people. I liked talking about it with my teachers.So, I was like, “Okay, I guess I'm going to invest in a boot camp.” And I did their, like, immersive, in-person boot camps. This was 2019 before everything shut down, so I was able to actually do it in person. And it was great. It was like, nine to six, five days a week, and it was really intense.Did I remember everything I learned when it was over? No. And did I have to, like, spend a lot of time relearning a lot of things just so I could have, like, a deeper understanding of it. Yes. But, like, I also knew that was part of it, you know? It's like, you throw a lot of information out you, hope some of it sticks, and then it's your job to make sure that you actually remember it and then know how to use it when you have to.Corey: One of the challenges that I've always found is that when I have a hobby that I'm into, similar to the way that you were doing this just for fun on your couch, and then it becomes your full-time focus, first as a boot camp and later as a job, that it has a tendency in some cases to turn a thing that you love into a thing that you view is this obligation or burden. Do you still love it? Is it still something that you find that's fun and challenging and exciting? Or is it more a means to an end for you? And there is no wrong answer there.Carla: Yeah, I think it's a little bit of both, right? Like, I found it was a creative thing I could do that I enjoy doing. Am I the most passionate software engineer that ever lived? No. Do I have aspirations to be, like, an architect one day? Absolutely not. I really, like, the small tickets that I do that are just, like, refactoring a button or, you know, like, I find that stuff creative and I think it's fun. Do I necessarily want to—Corey: You can see—Carla: —no.Corey: The results immediately as [crosstalk 00:15:15]—Carla: Yeah.Corey: More abstract stuff. It's like, “Well, when this 18 months migration finishes, and everything is 10% faster, oh, then I'll be vindicated.”Carla: Yeah. No.Corey: It's a little more attenuated from the immediate feedback.Carla: Yeah. I'm not that kind of developer, I'm learning. But I'm totally fine with that. I have no issue. Like, I am a very humble person about it. I don't have aspirations to be amazing.Don't ask me to do algorithm challenges. I'm terrible at them. I know that I'm terrible at them. But I also know that you can be a good developer and be terrible algorithm, like, challenges. So, I don't feel bad about it.Corey: The algorithm challenge is inherently biased for people who not only have a formal computer science education but have one relatively recently. I look back at some of the technical challenges I used to give candidates and take myself for jobs ten years ago, and I don't remember half of it because it's not my day-to-day anymore. It turns out that most of us don't have a job implementing quicksort. We just use the one built into the library and we move on with our lives to do something interesting and much more valuable, like, moving that button three pixels left, but because of CSS, that's now a two-week project.Carla: Yeah. Add a little border-radius, changes the su—you know. There are some database things I like. You know, I'm trying to get better at SQL. Rails is really nice because we use Active Record, and I don't really have to know SQL.But I find there are some things that you can do in Rails that are really cool, and I enjoyed working in their console. And that's exciting. You know when you write, like, a whole controller and then you make something but you can only see it in the console? That's cool. I think to me, that's fun. Being able to, like, generate things is fun. I don't have to always see them, like, on the page in a visual, pretty way, even though I tend to be more visual.Corey: This episode is sponsored in parts by our friend EnterpriseDB. EnterpriseDB has been powering enterprise applications with PostgreSQL for 15 years. And now EnterpriseDB has you covered wherever you deploy PostgreSQL on premises, private cloud, and they just announced a fully managed service on AWS and Azure called BigAnimal, all one word.Don't leave managing your database to your cloud vendor because they're too busy launching another half dozen manage databases to focus on any one of them that they didn't build themselves. Instead, work with the experts over at EnterpriseDB. They can save you time and money, they can even help you migrate legacy applications, including Oracle, to the cloud.To learn more, try BigAnimal for free. Go to biganimal.com/snark, and tell them Corey sent you.Corey: One of the big fictions that we tend to have as an industry is when people sit down and say, “Oh, so why did you get into tech?” And everyone expects it to be this aspirational story of the challenge, and I've been interested in this stuff since I was a kid. And we're all supposed to just completely ignore the very present reality of well, looking at all of my different opportunities, this is the one that pays three times what the others do. Like, we're supposed to pretend that money doesn't matter and we're all following our passion. That is actively ridiculous from where I sit.Carla: Mm-hm.Corey: Do you find that effectively going from the Broadway actress side of the world to—where, let's be clear, in the world of entertaining and arts—to my understanding—90% of people in that space are not able to do that as their only gig without side projects to basically afford to eat, whereas in tech, the median developer makes an extremely comfortable living that significantly outpaces the average median income for a family of four in the United States. Do you find that it has changed your philosophy on life in any meaningful way?Carla: Oh, my God, yeah. I love talking about on all of my social platforms the idea that you can learn tech skills and you can—like, there are so many different jobs that exist for an engineer, right? There are full-time jobs. There are full-time job that are flexible and they're remote, and nobody cares what time you're working as long as you get the work done. And because of that and because of the nature of how performing and being an artist works, where you also have a lot of downtime in between jobs or even when you are working, that I feel like the two go very, very well together, and that it allows—if an artist can spend a little bit of time learning the skill, they now have the ability to feel stable in their lives, also be creative how they want to, and decide what the art looks like for them without struggling and freaking out all the time about where's my next meal going to come from, or can I pay my rent?And, like, I sometimes think back to when I was on tour—I was on tour for three years with Wicked—and I had so much free time, Corey. Like, if I had known that I could have spent some time when I was just like hanging out in my hotel room watching TV all day, like, learning how to code. I would have been—I would have done this years ago. If I had known it was even, I don't even know actually if it was an option back then in, like, the early-2010s. I feel like boot camps kind of started around then, but they were mostly in person.But if I was—today, if I was right now starting my career as an artist, I would absolutely learn how to code as a side hustle. Because why wait tables? [laugh]. Why make, like, minimum wage in a terrible job that you hate when you can I have a skillset that you can do from home now because everything is remote for the most part? Why not?It doesn't make sense to me that anybody would go back to those kind of awful side gigs, side hustle jobs. Because at the end of the day, side hustle jobs end up actually being the things that you spend more time doing, just because theater jobs and art jobs and music jobs are so, you know, far apart when you have them. That might as well pick something that's lucrative and makes you feel less stressed out, you know, in the interim, between gigs. I see it as kind of a way to give artists a little more freedom in what they can choose to do with their art. Which I think is… it's kind of magical, right?Like, it takes away that narrative of if you can't see yourself—if you can see yourself doing anything else, you should do it, right? That's what we tell kids when they go into the arts. If you can see yourself doing any other thing, you know, you have to struggle to be an artist; that is part of the gig. That's what you sign up for. And I just call bullshit on it, Corey. I don't know if I can swear on this, but I call bullshit on [crosstalk 00:21:06]—[laugh].Corey: Oh, you absolutely can.Carla: I just think it's so unfair to young people, to how they get to view themselves and their creativity, right? Like, you literally stunt them when you tell them that. You say, “You can only do this one thing.” That's like the opposite of creative, right? That's like telling somebody that they can only do one thing without imagining that they can do all these other things. The most interesting artists that I know do, like, 400 things, they are creative people and they can't stop, right? They're like multi-hyphenates [crosstalk 00:21:39].Corey: It feels like it's setting people up for failure, on some level, in a big way where when you're building your entire life toward this make-or-break thing and then you don't get it, it's, well, what happens then?Carla: Yeah.Corey: I've always liked the idea of failure as a step forward. And well, that thing didn't work out; let's see if we can roll into it and see what comes out next. It's similar to the idea of a lot of folks who are career-changing, where they were working somewhere else in a white-collar environment, well time to go back to square one for an entry-level world. Hell with that. Pivot; take a half step toward what you want to be doing in your next role, and then a year or so later, take the other half step, and now you're doing it full time without having to start back at square one.I think that there are very few things in this world that are that binary as far as you either succeed or you're done and your whole life was a waste. It is easy get stuck in this idea that if your childhood dream doesn't come true, well give up and prepare for a life of misery. I just don't accept that.Carla: Yeah, I—Corey: But maybe it's because I have no choice because getting fired is my stock-in-trade. So, it wasn't until I built a company where I can't get fired from it that I really started to feel a little bit secure in that. But it does definitely leave its marks and its damages. I spent 12 years waiting for the surprise meeting with my boss and someone I didn't recognize from HR where they don't offer you coffee—that's always the tell when they don't offer coffee—and to realize it while I'm back on the job market again; time to find something new. It left me feeling more mercenary that I probably should have, which wasn't great for the career.What about you? Do you think that—did it take, on some level, a sense of letting go of old dreams? Was it—and did it feel like a creeping awareness that this was, like—that you felt almost cornered into it? Or how did you approach it?Carla: Yeah, I think I was the same way. I think I especially when you were younger because of that narrative, right, we tell people that if they decide to go into the arts, they have to be one hundred percent committed to it, and if they aren't one hundred percent and then they don't succeed, it is their fault, right? Like, if you give it everything that you have, and then it doesn't work out, you have clearly done something wrong, therefore you are a failure. You failed at your dream because you gave it everything that you have, so you kind of set yourself up for failure because you don't allow yourself to, you know, be more of who you are in other ways.For me, I just spent so many I had so many moments in my life where I thought that the world was over, right? Like, when I was—right out of college, I went to school to study opera. And I was studying at Cincinnati Conservatory of Music, it was, like, the great, great conservatory, and halfway through my freshman year, I got diagnosed with a cyst on my vocal cords. So, basically what this meant was that I had to have surgery to have it removed, and the doctor told me that I probably would never sing opera. And I was devastated.Like, I was—this was the thing I wanted to do with my life; I had committed myself one hundred percent, and now all of a sudden this thing happened, and I panicked. I thought it was my fault—because there was nobody to help me understand that it wasn't—and I was like, “I have failed this thing. I have failed my dream. What am I going to do with my life?” And I said, “Okay I'll be an actor because acting is a noble thing.” And that's sort of like act—that's sort of like performing; it's performing in a different way, it's just not singing.And I was terrified to sing again because I had this narrative in my head that I was a failed singer if I co,uldn't be an opera singer. And so, it took me, like, years, three years before I finally started singing again I got a voice teacher, and he—I would cry through all of my lessons. He was like, “Carly, you really have a—should be singing. Like, this is something that you're good at.” And I was like, no because if I can't sing, like, the way I want to sing, why would I sing?And he really kind of pushed me and helped me, like, figure out what my voice could do in a new way. And it was really magical for me. It made me realize that this narrative that I've been telling myself of what I thought that I was supposed to be didn't have to be true. It didn't have to be the only one that existed; there could be other possibilities for what I could do and they could look different. But I closed myself off to that idea because I had basically been told no, you can't do this thing that you want to do.So, I didn't even consider the possibilities of the other things that I could do. And when I relearned how to sing, it just blew my mind because I was like, “Oh, my God, I didn't know this was possible. I didn't know in my body it was possible of this. I didn't know if I could do this.” And, like, overcoming that and making me realize that I could do other things, that there were other versions of what I wanted, kind of blew my mind a little bit.And so, when I would hit road bumps and I'd hit these walls, I was like, “Okay, well, maybe I just need to pivot. Maybe the direction I'm going in isn't quite the right one, but maybe if I just, like, open my eyes a little bit, there's another—there's something else over here that is interesting and will be creative and will take me in a different way, an unexpected way that I wasn't expecting.” And so, I've kind of from that point on sort of living my life like that, in this way that, well, this might be a roadblock, and many people might view this thing as a failure, but for me, it allowed me to open up all these other new things that I didn't even know I could do, right? Like, what I'm doing now is something I never would have imagined I'd be doing five years ago. And now I'm also in a place where not only am I doing something completely different as a software engineer, but I have this incredible opportunity to also start incorporating art back into my life in a way that I can own and I can do for myself instead of having to do for other people.Which is also something I never thought because I thought it was all or nothing. I thought if I was an artist, I was an artist; I'm a software engineer, I'm a software engineer. And so, now I have the ability to kind of live in this weird gray area of getting to make those decisions for myself, and recognize that those little failures were, you know—like, I like to call them, like, the lowercase failures instead of the uppercase failure, right? Like, I am not a failure because I experienced failure. Those little failures are kind of what led me to grow my strength and my resilience and my ability to recognize it more free—like, more quickly when I see it so that I can bounce back faster, right?Like, when I hit a wall, instead of living in that feeling of, like, “Ugh, God, this is the worst thing that ever happened,” I allow myself to move faster through it and recognize that there will be light on the other side. I will get there. And I know that it's going to be okay, and I can trust that because it's always been okay. I always figure it out. And so, that's something—taken me a long time to, like, realize, you know? To, like, really learn, you have to fail a lot to learn that you're going to be okay every time it happens. [laugh].Corey: Yeah, what's the phrase? “Sucking at something is the first step to being kind of good at it?”Carla: Yeah. You got to let yourself suck at it. When I used to teach voice, I would make my students make just, like, the ugliest sounds because I was like, if we can just get past the fact that no matter what, when you sing you're going to sound awful at some point. We're going to try something, you're going to crack, it's not going to come out right, and if we can't own that it's going to suck a little bit on the journey to being good, like, you're going to have a really hard time getting there because you're just going to beat yourself up every time it sucks. Like, it's going to suck a lot [laugh] before you get good. And that's just part of it. That's, like, it is just a part of the process, and you have to kind of own it.Corey: I think that as people we are rarely as one-dimensional as we imagine we are when. And for example, I like working with cloud services, let's not kid ourselves on this. But I have a deep and abiding love affair with the sound of my own voice, so I'm always going to find ways to work that into it. I have a hard time seeing a future career for you that does not in some way, shape or form, tie back to your performing background because even now, talking about singing, you lit up when talking about that in a way that no one does—or at least should—light up when they're talking about React. So, do you think that there's a place between the performing side of the world and the technical side of the world, or those phases of your life, that's going to provide interesting paths for you down the road?Carla: That is a good question, Corey. And I don't know if I have the answer. You know, I think one thing—if there's anything I learned from all the crazy things that happened to me, is that I just kind of have to be open. You know, I like to say yes to things. And also learning to say no, which has been really a big deal for me.Corey: Oh, yes.“, no,” is a complete sentence and people know that sometimes at their own peril.Carla: Yes, I have said no to some things lately, and it's felt very good. But I like to be open, you know? I like to feel like if I'm putting out good things into the world, good things will come back to me, and so I'm just trying to keep that open. You know, I'm trying to be the best engineer that I can be. And I'm trying to also, you know—if I can use my voice and my platform to help inspire other people to see that there are other ways of being an artist, there are, you know, there are other paths in this world to take.I hope that, you know, I can, other things will come up to me, there'll be opportunities. And I don't know what those look like, but I'm open. So, if anybody out there hears this and you want to collaborate, hit me up. [laugh].Corey: Careful what you offer. People don't know—people have a disturbing tendency of saying, “Well, all right, I have an idea.” That's where a lot of my ridiculous parody music videos came from. It's like, “So, what's the business case for doing?” It's like, “Mmm, I think it'll be funny.”It's like, “Well, how are you going to justify the expense?” “Oh, there's a line item and the company budget labeled ‘Spite.' That's how.” And it's this weird combination of things that lead to a path that on some level makes perfect sense, but at the time you're building this stuff out, it feels like you're directionless and doing all these weird things. Like, one of the, I guess, strange parts of looking back at a path you take in the course of your career is, in retrospect, it feels like every step for the next was obvious and made intuitive sense, but going through it it's, “I have no idea what I'm doing. I'm like the dog that caught the car, and they need to desperately figure out how to drive the thing before it hits the wall.”It's just a—I don't pretend to understand how the tapestry of careers tie together, but I do know that I'm very glad to see people in this space, who do not all have the same ridiculous story for how they got in here. That's the thing that I find continually obnoxious, this belief that there's only one way to do it, or you're somehow less than because you didn't grow up programming in the '90s. Great. There's a lot of people like that. And yes, it is okay to just view computers as a job that pays the bills; there is nothing inherently wrong with that.Carla: Yeah. And I mean, and I—Corey: I just wish people were told that early on.Carla: Yeah, why not? Right? Why didn't anybody tell us that? Like, you don't—the thing that I did not—it took me a long time to realize is that you do not have to be passionate about your job. And that's like, that's okay, right? All you have to do is enjoy it enough to do it, but it does not have to be, like—Corey: You have to like it, on some level [crosstalk 00:33:10]—Carla: Yeah, you just do have to like it. [laugh].Corey: —dreading the 40 hours a week, that's a miserable life on some level.Carla: Like, I sit in front of a computer now all day, and I enjoy it. Like, I enjoy what I'm doing. But again, like, I don't need to be the greatest software engineer that ever lived; I have other things that I like to do, and it allows me to also do those things. And that is what I love about it. It allows me that ability to just enjoy my weekends and have a stable career and have a stable life and have health insurance. And then when I want—Corey: Oh, the luxuries of modern life.Carla: [laugh]. Yeah, the luxuries of modern life. Health insurance, who knew? Yeah, you know, so it's great. And then when creative projects come up, I can choose to say yes or no to them, and that's really exciting for me.Corey: I have a sneaking suspicion—I'll just place my bet now—that the world of performing is not quite done with you yet.Carla: Probably not. I would be lying if I said it was. I—so before all this stuff, I don't know if your listeners know this, but in January, the thing that kind of happened to me that went a little viral where I went back to Broadway after not being on Broadway for a little while, and the news media and everybody picked up on it, and there were like these headlines of, “Software engineer plays Elphaba on Broadway after seven years.” It surprised me, but it also didn't surprise me, you know? Like, when I left, I left thinking I was done.And I think it was easy to leave when I left because of the pandemic, right? There was nothing going on when I—like, I started my journey before the pandemic, but I fully shifted into software engineering during the pandemic. So, I never had feelings of, like, “I'm missing out on performing,” because performing didn't exist. There was no Broadway for a while. And so, once it kind of started to come back last year in the fall, I was like, “Oh, maybe I miss it a little bit.”And maybe I accidentally manifested it, but, you know, when Wicked called and I flew back to New York for those shows, and I was like, “Oh, this is really wonderful.” Also, I'm really glad I don't have to do this eight times a week. I'm so excited to go home. And I was like, having a little taste of it made me realize, “Oh, I can do this if I want to do this. I also don't have to do this if I don't want to do this.” And that was pretty—it was very empowering. I was like, “That feels nice.”Corey: I really appreciate your taking so much time to talk about how you've gone through what at the time has got to have felt like a very strange set of career steps, but it's starting to form into something that appears to have an arc to it. If people want to learn more and follow along as you continue to figure out what you're going to do next, where's the best place to find you?Carla: Oh, good question, Corey. I do a website, carlastickler.com. Because I've had a lot of people—artists, in particular—reaching out and asking how I did this, I'm starting to build some resources, and so you can sign up for my mailing list.I also am pretty big on Instagram if we're going to choose social media. So, my Instagram is stiglercarla. And there's links to all that stuff on my website. But—Corey: And they will soon be in the [show notes 00:36:26] as well.Carla: Ah yes, add them to the show notes. [laugh]. Yeah, and I want to make sure that I… I want—a lot of people who've seen my story and felt very inspired by it. A lot of artists who have felt that they, too, were failures because they chose not to go into art and get a regular nine to five. And so, I'm trying to, like, kind of put a little bit more of that out there so that people see that they're not alone.And so, on my social media, I do post a lot of stories that people send to me, just telling me their story about how they made the transition and how they keep art in their life in different ways. And so, that's something that also really inspires me. So, I tried to put their voices up, too. So, if anybody is interested in feeling not alone, feeling like there are other people out there, all of us, quote-unquote, “Failed artists,” and there's a lot of us. And so, I'm just trying to create a little space for all of us.Corey: I look forward to seeing it continue to evolve.Carla: Thank you.Corey: Thank you so much for your time. I appreciate it.Carla: Thanks, Corey.Corey: Carla Stickler, software engineer at G2 and also very much more. I'm Cloud Economist Corey Quinn, and this is Screaming in the Cloud. If you've enjoyed this podcast, please leave a five-star review on your podcast platform of choice, and if it's on the YouTubes, smash the like and subscribe buttons, as the kids of today are saying, whereas if you've hated this podcast, same thing: Five-star review, smash the buttons, but also leave an angry comment telling me exactly what you didn't like about this, and I will reply with the time and date for your audition.Corey: If your AWS bill keeps rising and your blood pressure is doing the same, then you need The Duckbill Group. We help companies fix their AWS bill by making it smaller and less horrifying. The Duckbill Group works for you, not AWS. We tailor recommendations to your business and we get to the point. Visit duckbillgroup.com to get started.Announcer: This has been a HumblePod production. Stay humble.

MY FAIR LADY COMPOSER: Frederick Loewe LYRICIST: Alan Jay Lerner BOOK: Alan Jay Lerner SOURCE: Pygmalion by George Bernard Shaw (1913) DIRECTOR: Moss Hart CHOREOGRAPHER: Hanya Holm PRINCIPLE CAST: Julie Andrews (Eliza), Rex Harrison (Higgins), Stanley Holloway (Doolittle) OPENING DATE: March 15th, 1956 CLOSING DATE: September 29th, 1962 PERFORMANCES: 2717 SYNOPSIS: Celebrated phonetician Henry Higgins makes a bet that he can pass lowly flowerseller Eliza Doolittle off as a Duchess through the simple means of teaching her how to speak correctly. Based on George Bernard Shaw's politically sharp drama, Pygmalion, My Fair Lady was a major musical success which helped cement Lerner and Loewe, as well as performers Julie Andrews and Rex Harrison, in American pop culture history. This chapter explores how character composition evolved with the casting of classically trained Rex Harrison, an actor who was not a singer. Filichia examines the importance of strong vocal technique in the Golden Age and how those with limited voices were often not successful in carrying a musical, as well as how the cementing of “speak-sing” trained audiences to forgive the singer to focus on their acting and how that opened the doors to non-musical artists such as Zero Mostel, Sid Cesar, Vivian Leigh and Shirley Booth. Peter Filichia has written about theater for The Star-Ledger, TheaterWeek; Playbill, Theatermania, Broadway Select, Encore and MasterworksBroadway. He's written six books on theater, including three editions of Let's Put on a Musical.  This four-term president of the Drama Desk Awards serves on its current nominating committee as well as those for the Lucille Lortel Awards and Theatre World Awards, whose ceremony he writes and emcees. He's a National Endowment for the Arts assessor, Cincinnati Conservatory of Music critic-in-residence, musical theater judge for ASCAP's awards, Broadway Radio commentator, and creator of his one-man show A Personal History of the American Theater.  FURTHER READING/VIEWING/LISTENING RESOURCES Dominic, McHugh. Loverly: the life and times of My fair lady. Oxford University Press. Keith Garebian. Making of My Fair Lady. ECW Press. Alan Jay Lerner. The Street Where I Live. W. W. Norton & Co. Learn more about your ad choices. Visit megaphone.fm/adchoices

Columbia (MO) based Percussion Performer, Educator, Adjudicator and Arranger Alexandros Fragiskatos returns to talk about his performance for solo voice and percussion at PASIC 2021 (06:40), job transitions in Missouri after Covid issues, and new opportunities availing themselves at Central Methodist University (MO) and elsewhere (24:40), going back to Cincinnati Conservatory of Music to present his music and research as an alum (40:50), substitute teaching in Columbia (a position Pete also once held) (48:00), and he does some extra Random Ass Questions to add onto the ones he did in 2019 (54:25).Finishing with a Rave on the 2021 film The French Dispatch (01:05:20).Links:Alexandros Fragiskatos' website Alexandros Fragiskatos' PASIC pageAlexandros Fragiskatos' 2019 appearance on the podcast“Unspoken Dialogue” - Alexandros FragiskatosPercussion Group Cincinnati“Oh Darling!” - Beatles“Yesterday” - Beatles“My Friend's Over You” - New Found GloryPulp Fiction trailerThe OfficeGilmore GirlsBob ThalhuberBougatsaRaves:The French Dispatch trailer

We are excited to welcome David Coolidge on part one of the 2-part Best Friends series. David Coolidge is the director of the musical theatre program at Anderson University. He received his MFA in acting from The University of North Carolina at Greensboro, and his BFA in musical theatre from the Cincinnati Conservatory of Music. As a professional theatre artist, David toured with Jason Robert Brown in the Broadway National Tour of “Parade” directed by Hal Prince; served as the director of six national tours; and as the assistant artistic director of TheatreworksUSA, he oversaw 30 national touring productions. As a coach, David works one-on-one with young professionals to develop a plan to successfully navigate the “business of the business.” Past clients have been successful on Broadway, national tours, TV, and film, including: MTV's The Search for Elle Woods, The Good Wife, Army Wives, and Law & Order. Music for Carefully Taught is provided by JoshuaHeggmusic.com

This week, David and Joey chat with the wonderful Karen Olivo about the origins of AFECT, the importance of self discovery, and setting up future generations for success in an industry that continues to demand accountability and transparency.   Karen Olivo (she/they) is a multi-hyphenate living/working on the ancestral lands of the Ho-Chunk Nation in Madison, WI. She is most widely known for their acting work that spans the last 25 years on Broadway and TV. In the Spring of 2020, Olivo  co-founded the non-for-profit organization, Artists for Economic Transparency (AFECT), in the efforts to educate the industry and promote discussion regarding entertainment industry structures and how they can be altered to better support underserved communities. www.Afectchange.org    Olivo's most recent theatrical work is for playing “Satine” in Moulin Rouge, The Musical for which they received their 2nd Tony Award nomination. Olivo is also recognized for their Tony Award winning performance as “Anita” in the acclaimed 2009 Broadway revival of West Side Story, a role for which she also earned Drama Desk, Drama League, Outer Critics Circle, and Astaire Award nominations.    Some of their Broadway theater credits include originating the role of “Vanessa” in the Tony Award-winning musical, In the Heights (2008 Astaire Award), starring as “Faith” in the Broadway production of Brooklyn the Musical, and in Jonathan Larson's Pulitzer- and Tony Award-winning musical, Rent. Additional world premiere theatre credits include Murder Ballad at the Manhattan Theater Club, By the Way, Meet Vera Stark by Lynn Nottage at 2nd Stage, and The Miracle Brothers directed by Tina Landau at the Vineyard Theatre.   Olivo is also recognized for her many television appearances including a series regular, recurring & guest-starring roles on “Harry's Law”, “The Good Wife,” “Criminal Minds: Suspect Behavior,” “Chase,” “Law & Order: Special Victims Unit,” “Conviction,” and “Law & Order.”   As an educator Olivo has worked at Northwestern University, NYU-Tisch, Cincinnati Conservatory of Music, University of Wisconsin-Madison, as well as working as a visual artist, writer, and vocalist. Their 1st solo album LEAVE was released in 2018.   Connect with Karen (she/they) https://www.instagram.com/karenolivo76/   https://twitter.com/karenolivo?lang=en     Connect with David (he/they) http://www.davidmendizabal.com/  https://www.instagram.com/its_daveed/    Connect with Joey (they/them) https://www.instagram.com/mxjoeyreyes/  https://twitter.com/mxjoeyreyes    Follow The Sol Project http://www.solproject.org/about-us.html   https://www.facebook.com/solprojectnyc/  https://www.instagram.com/solprojectnyc/  https://twitter.com/solprojectnyc    This episode was mixed and edited by Iris Zacarías (she/they) https://www.iriszdesigns.com/  https://www.instagram.com/irismarcelina/ 

Peggy DeMers is a professor of Horn at Sam Houston State University in Huntsville, Texas. She studied music and horn at the Cincinnati Conservatory, earning her M.M, and at the University of Wisconsin earning both her B.M and D.M.A. In this episode we learn about her journey of becoming an acclaimed teacher of the Alphorn and her vision of education for the art form.

Our second guest on the podcast is the incredible Stephanie Jae Park! Stephanie is a Korean American actor, singer and songwriter who currently plays Eliza Hamilton on the national tour of Hamilton and has a long list of Broadway credits that include the King and I, Cinderella and more. During the pandemic, she and her partner Voltaire Wade-Greene, who was the dance captain of the original Hamilton cast, started a band called Saffron Lips, for which they co-write and co-produce all of the music. We get into that, her upbringing on Guam, her time at Cincinnati Conservatory of Music (CCM), and the crazy story of how we met. --- Send in a voice message: https://anchor.fm/goldenhourwithkaye/message Support this podcast: https://anchor.fm/goldenhourwithkaye/support

KAREN OLIVO (she/they) is a television, film, and stage actor who most recently played “Satine” in Moulin Rouge, The Musical on Broadway. Olivo is also recognized for her Tony Award winning performance as “Anita” in the acclaimed 2009 Broadway revival of West Side Story, a role for which she also earned Drama Desk, Drama League, Outer Critics Circle, and Astaire Award nominations. Some of her Broadway theater credits include originating the role of “Vanessa” in the Tony Award-winning musical, In the Heights (2008 Astaire Award); starring as “Faith” in the Broadway production of Brooklyn The Musical, and in Jonathan Larson’s Pulitzer- and Tony Award-winning musical, Rent. Additional theatre credits include Murder Ballad at the Manhattan Theater Club; By the Way, Meet Vera Stark by Lynn Nottage at Second Stage; and The Miracle Brothers directed by Tina Landau at the Vineyard Theatre. Olivo is also recognized for her many television appearances including a series regular, recurring & guest-starring roles on “ Harry’s Law”, “The Good Wife,” “Criminal Minds: Suspect Behavior,” “Chase,” “Law & Order: Special Victims Unit,” “Conviction,” and “Law & Order.” Olivo is also an educator teaching at Northwestern University, NYU-Tisch, Cincinnati Conservatory of Music, University of Wisconsin-Madison, as well as working as a visual artist and writer. In the Spring of 2020, Olivo co-founded the non-for-profit organization, AFECT, Artists for Economic Transparency, in the efforts to educate the industry and promote discussion regarding entertainment industry structures and how they can be altered to better serve marginalized communities. www.AFECTchange.orgWeekly Round-Up:Listen to this podcast episode of The Ezra Klein Show with Tressie McMillan Cottom and then buy Tressie’s book Thick and lastly, listen to her Hear To Slay podcast, co-hosted with Roxanne Gay.Review Deepa Iyer’s guide and framework, “Mapping Our Roles in Social Change Ecosystems”, originally introduced to Celia through The Broadway Advocacy Coalition. Attribution: Deepa Iyer, SolidarityIs and Building Movement Project.Read  this New York Magazine article, “Art Doesn’t Need Tyrants” by Tavi Gevinson

Rattlecast #90 features Janée J. Baugher and her new book on the creative process, The Ekphrastic Writer. In addition to The Ekphrastic Writer, Baugher is the author of two ekphrastic poetry collections, Coördinates of Yes (Ahadada Books, 2010) and The Body’s Physics (Tebot Bach, 2010). Her writing has been published in journals such as Tin House, The Southern Review, The American Journal of Poetry, Nimrod International Journal of Prose and Poetry, Nano Fiction, and The Writer’s Chronicle, and she’s read from her books at the Library of Congress. She regularly collaborates with choreographers, dancers, composers, and visual artists, and her work has been adapted for the stage and set to music at University of Cincinnati–Conservatory of Music, Contemporary Dance Theatre in Ohio, Interlochen Center for the Arts, Dance Now! Ensemble in Florida, The Salon at Justice Snow’s in Colorado, and University of North Carolina-Pembroke. Baugher teaches Creative Writing in Seattle, is the columnist at The Ekphrastic Review, and an assistant editor for the literary journal, Boulevard. For more info on Janée, visit: https://www.janeebaugher.com/ Buy the book here: https://mcfarlandbooks.com/product/the-ekphrastic-writer/ As always, we'll also include live open lines for responses to our weekly prompt or any other poems you'd like to share. For details on how to participate, either via Skype or by phone, go to: https://www.rattle.com/rattlecast/ This Week's Prompt: Write a poem that starts and ends with the same line. Next Week's Prompt: Write an ekphrastic poem after one of the ten cards from Hermann Rorschach’s original 1921 inkblot test. https://en.wikipedia.org/wiki/Rorschach_test The Rattlecast livestreams on YouTube, Facebook, Twitter, and Periscope, then becomes an audio podcast.

Composer Happy Hour - Episode 2: Joshua Shank You came back for Episode 2! Welcome back and thanks for listening. If you missed episode one, don't worry - they aren't sequential - but you should definitely go back and check it out when you are done here. It was a good one. If you are a first time listener: this show features conversations with composers, and yes, it is about their music - but mostly it is an opportunity to get to know them as people. We will be sharing a drink and just talking about things that interest us. I hope that this feels a little bit less like an interview, and more like a casual conversation at a bar during happy hour. Consider this an invitation to pour yourself a drink, sit down, relax, and join us. Episode 2 features a conversation with Joshua Shank. I've always admired Josh's work, so I was very excited to have an extended conversation with him. Josh is a great guy, and somehow I always suspected we might have a lot in common. In this episode we discuss our mutual admiration for Ben Folds, growing up in the Midwest, and the "darker" side of choral music. As always, if you like what you hear - you can buy us a beer! Visit us at www.buymeacoffee.com/whateverchoir and click "Support." Your contribution goes to supporting future projects by whateverandeveramen. The music of Boston-based composer, Joshua Shank (b. 1980), has been called “jubilant…ethereal” (Santa Barbara News-Press), “evocative and atmospheric” (Gramophone), and “emotionally charged” (Boston Classical Review). He has been commissioned by organizations such as the Lorelei Ensemble, the Cincinnati Conservatory of Music, the Choral Project, the American Choral Directors Association, and the Association for Music in International Schools. From 2004 to 2014, he served alongside fellow Composers-In-Residence Jocelyn Hagen and Abbie Betinis for the Minneapolis-based professional choir, The Singers, where he collaborated annually to expand and invigorate the repertoire for professional-caliber ensembles through innovative programming as well as new works written specifically for the ensemble. In 2002, he became the youngest recipient ever of the Raymond W. Brock Composition Award from the American Choral Directors Association. The winning piece, Musica animam tangens, was premiered in Avery Fisher Hall at the Lincoln Center, and has since been performed and recorded from Los Angeles to South Africa. A native of Minnesota, his music was recently featured in a documentary about the extensive choral tradition in the upper Midwest, Never Stop Singing, and his published works have sold over 150,000 copies worldwide. Joshua received his undergraduate degree in Music Education from Luther College where he studied conducting with Weston Noble. He has also earned master's and doctoral degrees in Musicology and Composition, respectively, from the University of Texas at Austin where he studied with Charles Carson, Yevgeniy Sharlat, Donald Grantham, and the late opera composer Daniel Catán. A fierce advocate for students' access to music education, he was a public-school teacher in Minneapolis/St. Paul for many years before going on to teach at Gonzaga University, Valley City State University, and Eastern Washington University. When he's not writing music, you can probably find him biking, studying vegetarian cooking, or watching hilariously bad movies with his husband, sociologist Robert Ressler. Learn more at www.joshuashank.com All Recordings Used by Permission of the Composer.

Donald Lawrence is equally at home in both the inspirational and contemporary arenas, the multiple Grammy and Stellar Award winner has collaborated with a diverse roster, including such marquee names as Karen Clark Sheard, Donnie McClurkin, Kirk Franklin, En Vogue and Mary J. Blige. Donald Lawrence is an American gospel music songwriter, record producer and artist. He studied at Cincinnati Conservatory, where he earned a Bachelor of Fine Arts Degree in music. While in Cincinnati, he was also the Minister of Music at the Southern Baptist Church on Reading Road.

"I listen to classical music very specifically because I need to be able to feel at the end of what I'm listening to like I'm able confront the darkest sides of what I'm experiencing as well. I feel comforted by Beethoven. I feel comforted by his ability to say something to me that cannot be said any other way. A sense of hopelessness that is not without giving us some worth." Violinist Jorja Fleezanis is here to talk music and the staying power of music, the spell it casts, over children and adults alike. From the first time she heard a violin record as a young child to right now, after a career of more than five decades-- what does music say to her today that it didn't then? How do the names she thinks of as the 'Mt. Rushmore' -- Beethoven, Schubert, Schumann -- sustain her and grow with her? And why is she currently listening to every song The Beatles ever recorded? Jorja and Daniel explore what it is to be in an orchestra, and how the will of the ensemble must rise above political and personal fractures. A longtime mentor, friend, and teacher of Daniel, the conversation goes in many directions-- and the emotions run high. Support Talking Beats with Daniel Lelchuk on Patreon. You will contribute to continued presentation of substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever. For more information, visit talkingbeats.com Jorja Fleezanis is adjunct professor emerita of music in orchestral studies at the Indiana University Jacobs School of Music. Fleezanis was concertmaster of the Minnesota Orchestra from 1989 to 2009—the longest-tenured concertmaster in the orchestra's history and only the second woman in the U.S. to hold the title of concertmaster in a major orchestra when appointed. Prior to Minnesota, she was associate concertmaster with the San Francisco Symphony for eight years and a member of the Chicago Symphony. A devoted teacher, Fleezanis became an adjunct faculty member at the University of Minnesota's School of Music in 1990. She has also enjoyed teaching roles with other organizations: as teacher and artist at the Round Top International Festival Institute in Texas (1990-2007); artist-in-residence at the University of California, Davis; guest artist and teacher at the San Francisco Conservatory, where she served on the faculty from 1981 to 1989; artist and mentor at the Music@Menlo Festival (2003-2008); teacher and coach at the New World Symphony (1988-present); and faculty of the Music Academy of the West since 2016. She has been a visiting teacher at the Boston Conservatory, The Juilliard School, The Shepherd School of Music, and Interlochen Academy and Summer Camp. She is also a frequent guest mentor at Britten Pears Center at Snape Maltings, England, in programs for both young musicians and professional orchestral violinists. Fleezanis has had a number of works commissioned for her, including by the Minnesota Orchestra with the John Adams Violin Concerto and Ikon of Eros by John Tavener, the latter recorded on Reference Records. Her recording of the complete violin sonatas of Beethoven with the French fortepianist Cyril Huvé was released in 2003 on the Cyprés label. Other recordings include Aaron Jay Kernis' Brilliant Sky, Infinite Sky on CRI, commissioned for Fleezanis by the Schubert Club, and, with Garrick Ohlsson, Stefan Wolpe's Violin Sonata for Koch International. Fleezanis studied at the Cincinnati Conservatory of Music and the Cleveland Institute of Music.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Singer Songwriter Patrick Cornell is featured on this podcast through a link up on Instagram but so glad we were able to connect because we got to talk about his musical life, influences and how he got to where he is today. During this Covid Pandemic that we are all experiences Patrick talks about music being the healing thing that will get us all through everything we are facing. With 15 years of classical and jazz training and inspiration from rock n' roll greats, the Dayton, OH native left the Cincinnati Conservatory of Music as a jazz/studio music major and moved to Los Angeles, California to start his professional music career as a studio/touring bass guitarist for hire. He performed various gigs on bass guitar with such notable artists as Dave Navarro (Red Hot Chilli Peppers), Matt Sorum (Guns N' Roses) and Mark McGrath (Sugar Ray). Cornell eventually migrated to Nashville and has gone through a transformation from a session bass player into a full-time songwriter, producer and solo artist. Taking direction from the Nashville's songwriting community and culture, Cornell's lyrics focus on telling a complete story. He writes from a reflective perspective with the intention of his story relating to a broad audience. If you ask him why and how he's accomplished all he has, his response is simple: “It's God-given.” He argues that none of what he's accomplished has happened because of anything that he's done on his own. Still, he's done a lot. So what is he most proud of so far? “My hair,” he jokes. As Patrick focuses on the future, his goals are simple: release music and play shows. Join his email list and follow him on social media to stay updated on upcoming projects and shows. Connect with Patrick: Spotify Facebook Instagram YouTube

I'm Greyce, an actor, aerialist, movement teacher, and creative consultant with over 20 years of focused performing arts experience. My primary passion is storytelling. As soon as I could walk and talk, I was moving and imagining. Over time, my childhood dress up and living room shows evolved into theatre summer camps, school plays, and eventually a career in live events and film production. In the last decade, I've developed my craft at The School at Steppenwolf, Cincinnati Conservatory of Music, University of Colorado College of Arts and Media, Denver School of the Arts, and the Denver Center of Performing Arts. In 2012, I began my aerial journey. While living in Los Angeles I had the great pleasure of training, teaching, and performing at The Choreography House under the instruction of Kelly Yvonne. More recently, I began training and teaching low-dance trapeze at Aerial Works Castle Rock under the guidance of Rebekah Leach. I'm also thrilled to be apart of #teamtease- teaching pole and creative movement at Tease Studio Denver. In addition to my work in creative movement, (pre-CoVid) I worked professionally as an associate producer and breakout room producer for corporate events and conventions. I have also worked on a variety of independent film projects in the last decade, including several music videos and web series. My weekends are spent camping, hiking, dressing up, and dancing in my living room. www.greyceskinner.com @Greyce.Skinner

This fall, we're starting a new collaboration with our friends at Built for the Stage. They've launched a new community for specifically for college students, called Built for the Stage University. One of the benefits of membership is access to personal Q&As with theatre professionals. Today, we are sharing excerpts from our first BFTSU Q&A with Christine Cornish Smith, a grad of Cincinnati Conservatory of Music and veteran of three Broadway shows: Cats, Kiss Me, Kate and My Fair Lady. Learn more about your ad choices. Visit megaphone.fm/adchoices

What do you get when you cross an insightful teacher with a deep thinker and then throw in a liberal dose of sarcasm? You get my guest for this episode, the Lord of the Lip Slur, Scott Belk. Scott is the director of Jazz Studies at the University of Cincinnati Conservatory of Music. Scott is a versatile player who is as comfortable in his role with the trumpet ensemble Tromba Mundi as he is playing lead with Bootsy Collins. Scott is also the slightly twisted mind behind Lip Slur World Headquarters and his two books Modern Lip Flexibilities for Brass and Progressive Lip Flexibilities for Brass which have frustrated brass players around the world. Join Scott as he talks about the creation of Lip Slur World Headquarters, the power of social media, publishing his first book, the creative process for writing lip slurs, the importance of practicing technical studies musically, why being in "flow" doesn't make you get better, maintaining balance, the importance of routine and problem-solving skills, what he learned at North Texas State, and so much more. So pour yourself a big glass, pull up a chair and let the hang begin! ----------------------------------------------------------------------- Find out more about Scott here: https://scottbelck.com/ Find out more about your host here: https://josejohnson.com/ --- Support this podcast: https://anchor.fm/thetrumpetgurus/support

Martin's website/extended bio - https://martinmccain.com/homeMartin is an Artist/Teacher of Trombone and the youngest faculty member to hold the rank of full professor at Texas State University. He held similar positions at Henderson State University and Huston-Tillotson University. Dr. McCain’s students have also been extremely successful in solo and ensemble competitions including those hosted by the International Trombone Association, the American Trombone Workshop, and the Big 12 Trombone Conference and are regular winners of the Texas State University concerto competition. In recognition of his teaching, Martin received the College Achievement Award in Teaching and the Presidential Distinction Award for Excellence in Teaching. His students have been accepted into some of the nation's most prestigious graduate programs such as the Juilliard School, Eastman School of Music, Yale University, Northwestern University, Manhattan School of Music and the Cincinnati Conservatory of Music. In addition to his duties at Texas State, Martin has spent summers on the faculty of the Austin Chamber Music Festival, the Interharmony International Music Festival (Italy), the PRIZM International Chamber Music Festival, the SliderAsia Music Festival (Hong Kong) and the English Brass Academy (Croatia).Support the show (https://thatsnotspit.com/support/)

In this episode, Adam chats with Denise Tryon, horn professor at the Cincinnati Conservatory of Music. They discuss her career up to winning major auditions, Audition Mode, teaching, commissioning low horn works, life, and more.

In this episode, Adam chats with Denise Tryon, horn professor at the Cincinnati Conservatory of Music. They discuss her career up to winning major auditions, Audition Mode, teaching, commissioning low horn works, life, and more.

University of Washington Chair of Percussion Studies Bonnie Whiting stops by to talk about her percussion activities right now (02:45), teaching all up and down the West Coast and her school’s reaction to the coronavirus (15:30), growing up in Michigan and bringing her music to the underrepresented (27:40), getting her undergrad at Oberlin (OH) (43:15), starting her master’s, Tales and Scales, “selling out”, and catering to support herself (50:00), finishing up her master’s at Cincinnati Conservatory of Music (OH) before heading to UC-San Diego for her DMA (01:03:00), and finishing up with the Random Ass Questions (01:17:00).Finishing with a Rave on Becoming Bond (01:34:30).Links:Bonnie Whiting’s Washington homepageBonnie Whiting’s homepageSeattle Modern OrchestraSpeaking PercussionistTed PoorChristina SunardiSeattle Symphony OrchestraSteve SchickKeith ClaeysScratch OrchestraMichael RosenAllen OttePercussion Group CincinnatiParty DownNarratologyCecil TaylorJi Hye JungAiyun HuangGwen DeaseMegan ArnsJulia GainesWaterworldRanThrone of BloodThe Dead ZoneJohn Luther AdamsKrik? Krak! - Edwidge DanticatAll the Things I Lost in the Flood - Laurie AndersonRaves:Becoming Bond

This question was sent by Rebecca. And she writes: Thank you for your email. When I ordered the "Toccata and Fugue in d minor", by J.S.Bach, it would be nice to have a tutorial with you talking about certain sections of the piece. I studied with Roberta Gary at Cincinnati Conservatory of Music, and she introduced playing with a more 'detached' style or more suitable early organ music style of playing. With the Bach piece I am now working on, I don't know exactly how to play the opening section. I played the piece a long time ago, but it was before I studied with Dr. Gary. When listening to others play the piece, I wonder if I am making too much distinction between the notes by trying to accent the correct beats. Could you do a short tutorial on the piece to help me understand the correct articulation? V: So that was her first problem. And the second one is sticking with a schedule of practicing and time management. And the third one was pieces to play for an organ recital. ​Suggestions as to what would make a good program. I think somewhat limited in what I can play. I played piano during my early years, and I am semi retired at this point. However, I LOVE to play and I want to challenge myself to do a recital. I am thinking of the Bach piece, which has not been done in our recital programs in the last year and the "Westminster Carillon". Thank you for any input. Also, I didn't quite understand if I joined for 1 month of your study, would I have to continue if perhaps it didn't work out for me?

Austin (TX) based Steelband artist, educator and composer CJ Menge stops by to talk about Inside Out Steelband and his work with area high schools (01:50), making Inside Out a non-profit and starting Boxfish Music Publishing (27:40), growing up all over the U.S. before settling in Houston (36:40), spending a couple of years at Cincinnati Conservatory of Music (OH) before moving to Austin and finishing up his degree at St. Edwards University (TX) (55:00), his travels in Trinidad and Tobago (01:19:00), and settles in for the Random Ass Questions (01:25:00). Finishing with a Rave on the 2020 Oscars (01:47:15). Links:CJ Menge’s homepageBoxfish Music PublishingInside Out SteelbandAustin, TX Cultural FundingDarren DykeEllie MannetteBen TothLiam TeagueDave LongfellowMia GormandyCarolyn TrowbridgeEmily LemmermanLouis Raymond-KolkerDave HallMatt EhlersHeath Bar HistoryPercussion Group CincinnatiCliff AlexisFeldenkrais MethodTony EdwardsAndy NarellRay HolmanCollege World SeriesJoe vs. The Volcano trailerIshtar trailerSchitt’s CreekThe Rothko ChapelRaves:2020 Oscars

TBJ129: Martin McCain on travel, creating new repertoire and BBQ. Trombone player and educator Martin McCain gives us a peek at his diverse and prolific career.  From his bio: Global Music Award Gold Medal Winner and Grammy Award-nominated trombonist Martin McCain enjoys a career that spans an impressive scope of genres. A third-generation musician, he maintains a versatile performance schedule as a soloist, recording artist, chamber, orchestral and commercial musician. According to the International Trombone Association Journal, his playing has been described as "solid and masterful". McCain is in high demand as a performer and clinician throughout North America, South America, Europe and Asia. His performances and arrangements have been broadcast on Austin, Knoxville, Tucson, Chicago, Toronto and Hong Kong's radio stations in addition to NPR's "Performance Today". Martin has appeared as a guest artist at the International Trombone Festival, Great American Brass Band Festival, Zagreb Brass Festival, Brazilian Trombone Festival and American Trombone Workshop. He is the leader of the award-winning jazz trombone ensemble, JazzBonez, a member of the highly-acclaimed Minor 4th Trombone Quartet and an Associate Artist with the Rodney Marsalis Philadelphia Big Brass. Martin regularly performs in recital programs both as a soloist and as the McCain Duo with his wife, pianist Artina McCain. As an orchestral musician, Martin holds the position of Principal Bass Trombone for the Brazos Valley Symphony Orchestra. McCain regularly performs with the IRIS Orchestra, San Antonio Symphony, Austin Symphony and Memphis Symphony Orchestra in addition to several summer festival orchestras. He has performed with the Malaysian Philharmonic Orchestra, Houston Symphony Orchestra, Amarillo Symphony, Charleston Symphony Orchestra and many regional orchestras. As a commercial musician, he performs with the NOW Jazz Orchestra, Memphis Jazz Orchestra and several national touring ensembles in addition to performances with the Frank Sinatra Jr. Orchestra.  McCain was a prize - winner twice in both the International Trombone Association's Donald Yaxley Solo Bass Trombone Competition and Kai Winding Jazz Trombone Ensemble Competition and twice in both of the American Trombone Workshop's National Bass Trombone Solo Competition and Jazz Trombone Ensemble Competition. He has been a featured soloist with the Croatian Army Wind Band, United States Army Concert Band "Pershing's Own" and the United States Army Brass Quintet. In addition to being heard on various recordings on the Summit Records, Naxos and Equilibrium labels, Martin has released three solo CDs Trombone Czar: Russian Treasures Recorded Live! (2012), Shades (2014) and Trombone Czar: The Extended Version(2015). Other recording credits include numerous movie and video game soundtracks in addition to commercial jingles. He is a four-time winner of the Global Music Awards and was featured as their “Emerging Artist” in an edition of Billboard magazine. Martin is an Artist/Teacher of Trombone and the youngest faculty member to hold the rank of full professor at Texas State University. Under his leadership, the Trombone Choir and Jazz Trombone Ensembles have been invited to perform at the International Trombone Festival, American Trombone Workshop, Big 12 Trombone Conference and Texas Music Educators Association Convention on numerous occasions and have released two commercial recordings. Dr. McCain’s students have also been extremely successful in solo and ensemble competitions including the International Trombone Association competitions, the American Trombone Workshop competitions and the Big 12 Trombone Solo Competitions. In recognition of his teaching, he has received several citations including the 2019 College Achievement Award in Teaching, 2016 Presidential Distinction Award for Excellence in Teaching and the 2013 Dean Nominee for the Presidential Award for Excellence in Teaching. His students have been accepted into some of the nation's most prestigious graduate programs such as the Juilliard School, Eastman School of Music, Yale University, Northwestern University, Manhattan School of Music and the Cincinnati Conservatory of Music. He is also the founder/director of the Texas State Trombone Symposium. In addition to his duties at Texas State, Martin spends the summer on the faculty for the Austin Chamber Music Festival, Interharmony International Music Festival (Italy), Blue Lake Fine Arts Camp, PRIZM International Chamber Music Festival, SliderAsia Music Festival (Hong Kong) and the English Brass Academy (Croatia). Martin McCain is a performing artist for S.E. Shires, Reunion Blues Gig Bags and plays on the "McCain" signature mouthpiece series manufactured by Pickett Brass. In this fun and lively discussion, we cover: His two homes Illustrious bass trombone players He and his wife both have cool gigs Phish Memphis BBQ Smoking meat Growing up in the Midwest More Smokers Than Trombone The 16-hour-10-hour smoke Fred Powell Dial-a-BBQ Being a third-generation musician Playing with the Memphis Symphony Last of the Mississippi Juke Joints Food His Dad's advice, "If you want to eat..." Starting on piano, switching to baritone Mo' Better Blues McCain Duo Piano prenup Creating new repertoire for the duo Sacred music (with a twist) project Mahidol University Bangkok and Asian travel Musical forest What, why and how he records album projects How projects get funded Jazz Bones Southern Miss Hub Bones The value of concentrated rehearsal time Playing with Boston Brass Recording the Kenton Christmas album LINKS: Martin's site Texas State Trombone Studio page McCain Duo Last of the Mississippi Jukes movie Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. 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.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Betsy Wolfe has established herself as one of the most versatile and keenly intelligent Broadway performers of her generation. She recently starred as Jenna Hunterson, the title role in the Tony nominated musical Waitress. Prior to that, she played Cordelia, one of the one of the lovable “lesbians from next door,” in the Broadway revival of Falsettos directed by James Lapine, which recently aired on PBS. She is perhaps best known for her critically acclaimed performance as Cathy in the off-Broadway revival of The Last Five Years.  In TV, she was most recently seen in a guest star role on season 2 of the CBS series INSTINCT. She also just wrapped the indie feature FIRST ONE IN with Georgia King.   Originally from California, Betsy received her BFA in musical theatre from the Cincinnati Conservatory of Music. At age twenty—prior to graduation and prior being able to legally drink or get a British pilot’s license—she made her Carnegie Hall debut with the Cincinnati Pops Orchestra under Maestro Erich Kunzel. After receiving her BFA, Betsy quickly starred in the San Francisco and Boston companies of The 25th Annual Putnam County Spelling Bee. Soon after, she made her Broadway debut in the revival of 110 in the Shade. Betsy started to gain attention for her next role in both the off-Broadway and Broadway productions of Sherie Rene Scott’s Everyday Rapture, where she played one of the two Mennonettes.   Only a few years later, Betsy would be Scott’s successor in one of contemporary musical theatre’s most challenging and well-known roles: Cathy in Second Stage Theatre’s revival of Jason Robert Brown’s The Last Five Years.  Her complex performance as Cathy was lauded by critics and audiences alike.   Betsy’s other Broadway credits include Ellen in the 2014 production of Bullets Over Broadwaydirected by Susan Stroman and Rosa Bud in The Mystery of Edwin Drood. She also appeared as Beth in the Encores! production of Merrily We Roll Along. She starred in the La Jolla Playhouse world premiere production of Bobby Lopez and Kristen Anderson-Lopez’s new musical Up Here, and created the role of Mary Ann Singleton in ACT's world premiere of Tales of the City, a musical based on the Armistead Maupin novels.  Betsy made her Metropolitan Opera debut in Douglas Carter Beane’s adaptation of Die Fledermaus. She has been a guest artist for over 50 symphony, pops, and philharmonic orchestras across the U.S. and internationally including the New York Philharmonic and Chicago Symphony Orchestra. She collaborated with The New York Pops and played to sold-out crowds at Carnegie Hall and the Kennedy Center with their Broadway Today and Women of Notesconcerts. Her recent collaboration with the BBC Orchestra and Jason Robert Brown ended up being recorded for Friday Music Nights for the BBC and can be heard on their channel.   She can be heard on the recordings of Falsettos, Bullets over Broadway, The Last Five Years,The Mystery of Edwin Drood, Everyday Rapture, Stage Door Canteen, 35MM, and Merrily We Roll Along. She can also be seen in the film adaptation of The Last Five Years. Betsy is currently mini- touring with her one woman show ALL BETS ARE OFF and primarily lives in New York with her husband.  She is so very proud to have created and co-founded the program Broadway Evolved, which has revolutionized the summer camp for both theatre students and educators alike.

University of Tennessee-Martin Percussion Director Shane Jones stops by to talk about his percussion responsibilities there (02:00), his work with Khemia Ensemble and other assorted percussion activities (26:30), growing up in Las Vegas, buying a drumset through the classifieds, and the performing arts magnet high school he attended (38:45), attending the Hartt School of Music (CT) for undergrad (01:04:30), Cincinnati Conservatory of Music (OH) for his master’s (01:18:45), freelancing in Cincinnati after his master’s before doing the doctorate at the University of Michigan (01:29:30), and finishing with the Random Ass Questions (01:46:20).Finishing with a Rave on an Odyssey Series Concert in Columbia, MO (02:09:15).Links:Shane Jones’ UTM pageShane Jones’ homepageKhemia EnsembleChelsea Tinsley JonesJulie HillStefan FreundPhillip SinkConstellation ChicagoCOMP FestivalMizzou International Composers FestivalSteelworksNed Ray McWherter InstituteBill WatermanCarolina HerediaBret BohmanEmma O’HalloranJoanna GoldsteinOnce On This IslandThe Elegant Universe - Brian GreeneNeil deGrasse TysonCarl SaganBen TothDavid MacBrideGene KoshinskiTim BrosciousBill SolomonShane Shanahan“Marimba Spiritual” - Minoru Miki“Dances of Earth and Fire” - Peter Klatzow“She is Asleep” - John CageCCM PercussionCamp Washington’s ChiliNext to Normal“Mirage” - Yasuo Sueyoshi“Percussionist Songs” - Christian Wolff“Knockin’ On Wood” - Red NorvoDan PiccoloJonathan OvalleJoseph Gramley“Six Japanese Gardens” - Kaija SaariahoLiam TeagueDumb and Dumber trailerKill Bill Vol. 1 trailerThe Subtle Art of Not Giving a F*ck - Mark MansonHomegoing - Yaa GyasiRaves:Odyssey Chamber Music Series

Missouri Valley College Percussion Professor, Instrumental Educator and Theory Professor Alexandros Fragiskatos stops by to talk about his current gig (02:00), growing up near Akron, Ohio and his love of Progressive Rock (17:15), going to Cincinnati Conservatory of Music (OH) for undergrad (26:45), getting his Master’s at the University of Akron (42:15), taking a year off of school before moving to Arizona State for his DMA (01:01:45), and taking on the Random Ass Questions (01:22:45).Finishing with a Rave on the NPR Podcast Code Switch (01:46:00).Links:Alex Fragiskatos’s websiteAlex Fragiskatos’s Missouri Valley pageLake Erie“A Change of Seasons” - Dream Theater“2112” - Rush“Two Mexican Dances” - Gordon StoutPercussion Group CincinnatiMusic For Prague 1968 - Karel Husa“The Source” - Toshi Ichiyanagi“Rebonds A/B” - Iannis Xenakis“Marimba Phase” - Steve Reich“Octopus’s Garden” - The Beatles“Eleanor Rigby” - The BeatlesLarry SniderBernard WomaLiam TeagueBlossom Music CenterCleveland Symphony Orchestra“The Planets” - Gustav Holst“Also Sprach Zarathusa” - Richard WagnerCliff Alexis“A Day in the Life” - The Beatles“Short and Sweet” - Lennox “Boogsie” Sharp“Rogosanti” - James Wood“Cloud Polyphonies” - James Wood“Once Removed” - John Fitz RogersJ.B. SmithJulie Hill“Ripple” - Akira Miyoshi“She Who Sleeps with a Small Blanket” - Kevin Asanga“In Common” - Stuart Saunders SmithBook of Keyboards - Philippe Manourey“Monodrame I” - Yoshihisa Taira“To The Earth” - Frederick Rzewski“Mundus Canis” - George Crumb“Idyll for the Misbegotten” - George Crumb“Peeping Tom” - Dan Senn“Six Elegies Dancing” - Jennifer StasackMoby-Dick - Herman MelvilleWuthering Heights - Emily BronteHarry Potter - J. K. RowlingThe God Delusion - Richard DawkinsDavid Foster WallacePulp Fiction trailerGrand Piano trailerThe Watts ProphetsGil Scott-HeronThe Last Poets“Alright” - Kendrick Lamar“Middle Child” - J. Cole“C. R. E. A. M.” - Wu-Tang Clan“Hot Shower” - Chance the RapperRaves:Code Switch podcast

Alan Siebert – a Yamaha Performing Artist, recorded at the Cincinnati Conservatory of Music June 17, 2019 Alan received the Award of Merit at the 2018 ITG conference, rightly so. Alan has contributed to the trumpet world in so many ways over the years, building a fantastic studio at CCM.

Matt Anklan – a Powell Trumpets Performing Artist - recorded at the Cincinnati Conservatory of Music June 17, 2019 Matt is not only a terrific young musician he is also the creator and developer of The Silencer. www.trumpetsilencer.com Matt is making waves as both a soloist and section musician. If you get a chance to work with him or hear him live you'll have a great time!

Scott Belck – a Yamaha Performing Artist, recorded at the Cincinnati Conservatory of Music June 17, 2019 Scott may be one of the most thoughtful musicians I've met. He thinks deeply about performing and teaching. And, yes, is the creator of two of the best flexibility books out there. He is the Supreme Commander of Lip Slur World Headquarters and you can find his books at www.scottbelck.com

Tenemos el placer de conversar con el barítono Luis Alejandro Orozco, un Méxicano-americano de El Paso, Texas / Ciudad Juarez, México que ha sido invitado por la Cincinnati Ópera a debutar en el papel de "Harlequin" en la ópera de Richard Strauss "Ariadne our Naxos" a presentarse el 6, 11, 13 y 14 de julio del 2019. Luis conversa con Lorena sobre su infancia, su pasión por el Jazz y por la ópera, de sus estudios en la University of Texas, El Paso y en el Cincinnati Conservatory of Music. Al final de la entrevista Luis comparte un mensaje para la comunidad hispana virtual que visita a MujerLatihna Today.com. Acerca de la ópera Ariadne our Naxos: En la exuberante comedia de Strauss, un caballero adinerado encarga una ópera como un regalo después de la cena para sus invitados, pero no todo va según lo planeado. Presentado en la Ópera de Cincinnati por primera vez en casi 60 años en una nueva producción.

I'm really happy to continue this series on the pedagogues that shaped me as a violinist with a discussion about another giant in musical journey, Zvi Zeitlin. Unfortunately, Professor Zeitlin passed away in 2012, but I had a wonderful time talking about him with Michael Klotz, violist with the Amernet Quartet and Senior Instructor at Florida International University in Miami. Michael and I were colleagues in the Zeitlin studio at both Eastman and at the Music Academy of the West and, in this episode. we discuss our experience studying with Mr. Zeitlin and his lasting influence on our lives. It was a true pleasure for me to talk with Michael and I think you'll enjoy our chat!   More about Michael Klotz   Website: http://michaelklotzmusic.com/ Amernet String Quartet: http://amernetquartet.com/ Florida International University: http://carta.fiu.edu/music/ Heifetz International Music Institute: https://www.heifetzinstitute.org/   Biography Born in 1978 in Rochester, NY, Michael Klotz made his solo debut with the Rochester Philharmonic at the age of 17 and has since then appeared as soloist with orchestra, recitalist, and chamber musician, and orchestra principal worldwide. After a performance of the Brandenburg Concerto No. 6 with violist Roberto Diaz, the Portland Press-Herald proclaimed, “this concert squelched all viola jokes, now and forever, due to the talents of Diaz and Klotz”. The Fort Worth Star-Telegram recently proclaimed Michael Klotz to be “a superb violist, impressive, with an exceptionally attractive sound,” and the Miami Herald has consistently lauded his “burnished, glowing tone and nuanced presence.”   Michael Klotz joined the Amernet String Quartet in 2002 and has toured and recorded commercially with the ensemble throughout the U.S., Canada, Mexico, Israel, Japan, South Korea, Romania, Colombia, Belgium, and Spain. Klotz has performed at some of New York's most important venues, such as Carnegie Hall, Alice Tully Hall, Weill Hall, Merkin Concert Hall, MoMA, Bargemusic, and the Kosciuzsko Foundation. His festival appearances have included Seattle, Newport, Caramoor, ChamberFest Cleveland, Festival Mozaic, Great Lakes, Cervantino, Festival Baltimore, Piccolo Spoleto, Sunflower, Martha's Vineyard, Skaneateles, Virginia Tech Vocal Arts and Music Festival, San Miguel de Allende, Beverly Hills, Music Mountain, Bowdoin, Madeline Island, Sarasota, Music Academy of the West, and Miami Mainly Mozart. Passionately dedicated to chamber music, Klotz regularly performs with many of today's most esteemed artists, having appeared as guest violist with the Shanghai, Ying, and Borromeo String Quartets, the Manhattan Piano Trio, and collaborated with artists such as Shmuel Ashkenasi, Arnold Steinhardt, James Ehnes, Augustin Hadelich, Vadim Gluzman, Gary Hoffman, Carter Brey, Michael Tree, Robert DeMaine, Andres Diaz, Roberto Diaz, Joseph Kalichstein, Franklin Cohen, and Alexander Fiterstein, as well as with many principal players from major U.S. and European orchestras. In 2015 he was named a Charter Member of the Ensemble with the Chamber Music Society of Fort Worth and regularly appears on this series. In 2002 and 2009, he was was invited by Maestro Jaime Laredo to perform with distinguished alumni at anniversary concerts of the New York String Orchestra Seminar in Carnegie Hall. Michael Klotz is a graduate of the Eastman School of Music, where he was awarded the Performer's Certificate. In 2002 he became one of the few individuals to be awarded a double Master's Degree in violin and viola from the Juilliard School. At Juilliard, he was the recipient of the Tokyo Foundation and Gluck Fellowships. His principle teachers and influences include Zvi Zeitlin, Lynn Blakeslee, Lewis Kaplan, Toby Appel, Peter Kamnitzer, and Shmuel Ashkenasi. Michael Klotz is a dedicated teacher and serves as Senior Instructor and Artist-in-Residence at Florida International University in Miami, where he teaches viola and chamber music. Klotz has recently presented highly acclaimed master classes at the New World Symphony, Cincinnati Conservatory, Cleveland Institute of Music, University of Michigan, Penn State University, University of Nevada – Las Vegas, Ithaca College, Texas Christian University, and West Virginia University. He is currently a member of the faculty of The Heifetz Institute and a viola coach at the New World Symphony. His former students currently attend and are graduates of prestigious conservatories, including the Curtis Institute of Music, the Juilliard School, Indiana University, and the Cleveland Institute of Music and are already achieving leading roles in the music world. Michael was featured in the November 2013 issue of the “Alumni Spotlight” in the Juilliard Journal and as the subject of Strad Magazine's “Ask the Teacher” column in the November 2013 issue. Michael Klotz resides in Hallandale Beach, FL with his wife Kelly and sons Jacob and Natan, as well as two dogs and a cat.     ZVI ZEITLIN (1922-2012) A faculty member at Eastman from 1967 to 2012, Zvi Zeitlin (1922-2012) was revered for decades as a violinist, pedagogue, chamber musician, and champion of contemporary music. Born in Dubrovna, Belarus, Zvi Zeitlin was raised and educated in Israel. At age 11, he became the youngest scholarship student in the history of the Juilliard School, studying with Sascha Jacobsen, Louis Persinger, and Ivan Galamian. He served in the RAF (1943-46) and concertized for troops throughout the Middle East and Greece. He made concerto appearances with such great conductors as Leonard Bernstein, Pierre Boulez, Zubin Mehta, Antal Dorati, Jascha Horenstein, and Christoph von Dohnanyi, and gave frequent tours of Europe, Australia, New Zealand, and Central and South America. One of Zeitlin's signature pieces was Arnold Schoenberg's fiendishly difficult, seldom performed Violin Concerto; his 1971 Deutsche Grammophon recording of this work with conductor Rafael Kubelik set the standard, and is still available. Zeitlin also premiered concertos by Gunther Schuller, Carlos Surinach, and Paul Ben-Haim, besides performing and recording a wealth of other repertoire in his long career; the Toronto Star called him “one of the violin world's grand old men, a true musical Methuselah.” Along with his solo appearances, he was a founding member of the Eastman Trio (1976-1982). Zeitlin taught annual master classes at the Royal Academy of Music, Guildhall School of Music and Drama, and Yehudi Menuhin School. He was a faculty member at the Music Academy of the West since 1973, and a visiting professor at Chetham's School of Music and the Royal Northern College of Music (Manchester, England) since 1992. Zeitlin was named Eastman's first Kilbourn Professor in 1976 and Distinguished Professor in 1998. In 2004, he received the University of Rochester's Edward Curtis Peck Award for Excellence in Teaching Undergraduates. Zeitlin's students occupy leading positions in major orchestras in the United States and throughout the world; hold important positions in universities and music schools worldwide; and are major prizewinners in international and regional competitions. Zvi Zeitlin died on May 2, 2012 in Rochester, at the age of 90.   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme! Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   If you enjoyed the show, please leave a review on iTunes! I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here! https://www.facebook.com/groups/mindoverfingertribe/

American soprano, Melody Moore, has performed in roles with opera companies from San Francisco, New York City, Atlanta, England, Los Angeles, and New Orleans. Soon with Houston Grand Opera and Minnesota Opera. A graduate of the Cincinnati Conservatory of Music, a former Adler Fellow of San Francisco Opera and a participant of the Merola program of San Francisco. A new mommy to a 2 year old puppy, and Melody and her wife live in the San Fernando Valley.

Listen to the guys this week as they talk about timely tips for your lawn and garden beds! Also we are very excited to welcome in our guest from the Cincinnati Conservatory as she talks about the new Butterflies of Ecuador!

Donald Nally believes in the power of counseling. Donald and Kai discuss how important transferring to the Cincinnati Conservatory of Music was for him (11:50), the mistakes he made as a young conductor (19:30), and how counseling has played a pivotal role in his evolution as an artist (22:30). They also discuss his hilarious Grammy winning moment (46) and making an impact on the world as an artist (53).  

In this episode host Adam Wolf sits down on two separate occasions with living legend, Randy Gardner. They discuss is career in the Philadelphia Orchestra, and at Cincinnati Conservatory of Music, as well as his philosophies and of course, the Cubs and Eagles.

In this episode host Adam Wolf sits down on two separate occasions with living legend, Randy Gardner. They discuss is career in the Philadelphia Orchestra, and at Cincinnati Conservatory of Music, as well as his philosophies and of course, the Cubs and Eagles.

This Valentine's Day episode of "One More Time" focuses on the relationships developed through and influenced by bands. The episode explores Sousa falling in love (told by Scott Schwartz, Director of the Sousa Archive and Center for American Music), recounts the Drs. Peterson history together from Northwest to the University of Illinois, Dr. John Lynch of the Sydney Conservatorium discusses how sexual orientation has played into his career, and we look at a recent engagement of two Iowa band members. Jon Noworyta (Doctoral Candidate, Cincinnati Conservatory of Music) provides a two-minute rehearsal technique, and Frank Ticheli provides some information on "Blue Shades."

It was a pleasure to chat with Leigh Mesh for the podcast!  Leigh is the MET Orchestra Associate Principal Bass and teaches bass at Bard College.  This is a fun and wide-ranging conversation with a ton of great advice throughout. About Leigh Mesh: Leigh Mesh, Associate Principal Bass, joined the Metropolitan Opera Orchestra in 1993. A graduate of the Curtis Institute of Music, he has taught master classes at the New World Symphony in Miami, the Cincinnati Conservatory, the Juilliard School and the Manhattan School of Music. Mr. Mesh has performed regularly at the Verbier Music Festival, and with the MET Chamber Ensemble, the Caramoor Virtuosi, and the Brentano and Tokyo String Quartets. He lives with his wife and two children in New York, and pursues cycling and skiing whenever he can. Mr. Mesh is an exclusive artist for Thomastik-Infeld Strings. Links to Check Out: Leigh Mesh teaching and performing Brahms Symphony No. 2 on the New World Symphony's MUSAIC site Leigh's MET Orchestra page more about the Bard College bass program Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Robertson & Sons Violins For more than four decades, Robertson & Sons has specialized in providing the highest quality stringed instruments and bows to collectors, professional musicians, music educators, and students of all ages. Their modern facility is equipped with three instrument showrooms as well as a beautiful Recital Hall available to our clients to in their search for the perfect instrument and/or bow. D'Addario Strings This episode is brought to you by D'Addario Strings! Check out their Kaplan strings, which have versatility and control throughout the dynamic spectrum, rich tonal color palette, superb bow response, and beautiful balance. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Subscribe to the podcast to get these interviews delivered to you automatically!

Conrad Weber is a white, middle class man who has spent his entire music education career in a black, high-poverty school. Conrad talks to Ryan about how to build bridges across the cultural chasm, in a situation where none of the usual standards apply. This interview is raw and heartfelt, and is one everyone should hear, but will especially resonate with those who have ever felt out of step with the choral majority. Listen [Subscribe on iTunes] [Subscribe on Android] Highlight to Tweet:         “We have to understand the culture of our students. We have to become a student of their culture” - Conrad Weber Show Notes: Begin where your students are...and where they are isn’t good or bad--it just is. Become a student of your student’s culture. This is their normal. They don’t care about what you think they should become until you connect with who they are right now. Create your own definition of success. Success in your program may be defined as progress, rather than a contest win or festival invitation. If there is resistance to moving beyond their comfort zone, find ways to build bridges and/or give them a “lifeline” to hang onto while they follow you. “Convince a man against his will, and he’s of the same opinion still.” --my Dad, from someone else. Embrace the music of your student’s culture, but also lead them into new territory as you have the leadership capital to spend and as you can build bridges. Understand your community and local culture, then remember that you’re performing for them and not your university professors or colleagues. Define success as growth and progress in your local context, not as a comparison to other programs. Pick your battles with music. If a song isn’t working, sometimes it’s better to try a different avenue to connect than to die on that hill. Other times it’s time to die on a hill because it’s what they need. Time will give you the wisdom to know the difference. Value student engagement and your sanity more than proper choral anything. No matter how hard it is or slow the progress, teach theory and sight singing. Period. Every student who enters a music class deserves to learn to feed themselves and not just be spoon fed. If you’re dealing with students who are academically and/or socially challenged, learn the difference between compassion and pity (my own definitions). Compassion takes into account the reality of the situation, but doesn’t change the goal. Pity lowers the standard and deprives the student of the option to rise to their potential. Bio: Conrad lives in northwest Florida, and teaches choir at a high-poverty middle and high school across the state line in south Alabama. He graduated with a master’s in Piano Performance from Cincinnati Conservatory, and vowed throughout college that he would never end up in music education. After college, he meandered through church staff, healthcare marketing, and low income real estate. This is his 10th year in music education, and he started the choir program a in the 2nd or 3rd year of teaching. There had been no vocal program for 7 years prior. He has been married for 24 years, has three children, and loves outdoor adventures with his family. Resources/links Mentioned: Dr. Rosephanye Powell Dr. Ruby Payne Contact Conrad! NEW Choir Emoji Posters! Get them for free!!! Choir Nation group on Facebook Email Patreon - Support the podcast! Sponsored by: Sight Reading Factory (Use promo code “NINJA” at checkout for 10 free student accounts!) My Music Folders (Use promo code “NINJA” at checkout for “last column” or best pricing - usually reserved for bulk purchases only!)

I had the good fortune to meet Yung-chiao Wei back in 2000 at the Pacific Music Festival in Japan.  She was wrapping up her time with the New World Symphony and was just about to start new new position at Louisiana State University. The rich double bass culture she has created the past decade-and-a-half is remarkable.   In addition to creating the Louisiana Bass Fest, Yung-chio has propelled her students into all sorts of "next steps" like: winning auditions such as tenured Principal Bassist and Assistant Principal Bassist in the Baton Rouge Symphony and the Acadiana Symphony Assistant Principal Bassist of the Taipei Symphony Orchestra going to prestigious music schools with full scholarships at the Juilliard School, Yale University, Eastman School of Music and Cincinnati Conservatory teaching at at the Cincinnati Conservatory and Southeastern Louisiana University founding the Brava Orchestra, an youth orchestra in Brazil, with a mission to bring music to the poor becoming the Executive Director at New York Baroque Incorporated Talk about having an impact on future generations of musicians! Yung-chiao and I dig into all kinds of topics, like: how playing Brahms makes her feel alive the Tai-chi horse stance and how it applies to bass playing overcoming some of her physical limitations over-practicing and how to avoid it her solo recordings the value of creating a bass festival ...and much more! Be sure to subscribe to Contrabass Conversations to get these episodes delivered automatically to your mobile device! Links to check out: D'Addario strings giveaway! Yung-chiao's website Yung-chio's YouTube channel Yung-chiao's faculty page at LSU Yung-chiao Wei Plays Brahms, Elgar, Yen and Tommasini (her latest CD) Yung-chiao’s first CD Yung-chiao on Facebook Tai Chi horse stance (YouTube) Links from news and listener feedback: winningtheaudition.net (my new book!) my appearance on TEM podcast notablevalues.com (Susan Weger's site on musical entrepreneurship) video featuring Normand Guilbeault from Montreal Dan Pink and why you should write a failure resume (from Jerry Fuller) Celebrate the 10th anniversary of Contrabass Conversations! The 10th anniversary of Contrabass Conversations will happen on January 1, 2017!  Call into our special voicemail line at (415) 952-5643 and leave a message telling me a thing or two about yourself like: your name where you live how long you’ve played bass where you play when you discovered the podcast your favorite episode(s) Thanks to our sponsor! This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. Enter the D’Addario strings giveaway for Contrabass Conversations listeners at contrabassconversations.com/strings!