Podcasts about Composer

Today on AirTalk: Grand Canyon flash flood (0:30) California's SB 577 (6:28) History of SoCal fast food (17:33) Data center and Flock camera backlash (50:58) John Williams' most iconic film scores (1:08:28) Divisive TV habits in the household (1:25:03) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency.

0:00 SEGMENT 1: Filmmaker & writer Glen Merzer talking about the film he made here in STL called 'Buddhist Blues'https://www.instagram.com/glenmerzer/ 24:08 SEGMENT 2: Composer/conductor Shelbie Rassler discussing the upcoming "Sonic: Live in Concert"https://www.instagram.com/shelbierassler/ https://sonicliveinconcert.com/ 40:52 SEGMENT 3: Producer Joey V. reviews ‘Buddy', a horror film about an orange unicornKeep up to date with 2 Rivers Comic Con, coming back to St. Charles in 2027 https://2riverscomiccon.com/ Check out the ‘Justice League Revisited Podcast' with Susan Eisenberg and James Enstall at https://anchor.fm/justiceleague Thanks to our sponsors Historic St. Charles, Missouri (https://www.discoverstcharles.com/), Bug's Comics and Games (https://www.facebook.com/profile.php?id=100070575531223), HW Kia (https://www.hwkia.com/)Buy Me a Coffee - https://www.buymeacoffee.com/3Y0D2iaZl Patreon -   https://www.patreon.com/GeekToMeRadio Website -   http://geektomeradio.com/   Podcast -   https://anchor.fm/jamesenstall Facebook -   https://www.facebook.com/GeekToMeRadio/  Twitter -   https://twitter.com/geektomeradio  Instagram -   https://www.instagram.com/geektomeradio/ Producer - Joseph Vosevich https://twitter.com/Joey_Vee 

A cinematic classic meets a striking new musical vision in this special screening of “Frankenstein”, at Stissing Center in Pine Plains, NY starring Boris Karloff, featuring the world premiere of a chamber ensemble score by composer Michael Shapiro. Performed live by the Argus String Quartet with pianist Steven Beck—praised as “vivacious” by The New Yorker—this reimagined score brings new emotional depth to the film's iconic imagery. Shapiro's full orchestral version has already been performed by more than 80 orchestras worldwide. The evening begins with a Q&A with Boris Karloff's daughter, Sara Karloff. At the heart of the score is the mirrored relationship between Henry Frankenstein and his creation. “The monster is the doppelganger of Henry Frankenstein,” Shapiro notes, a connection reflected musically in unexpected ways. Dark, driving themes underscore the doctor's ambition, while the monster is accompanied by music that is at times gentle, haunting, and deeply sympathetic. Karloff's portrayal—imbued with a sense of soul—feels newly illuminated through this lens. Shapiro's score ebbs and flows alongside the film, heightening both its terror and its humanity—from the charged electricity of creation to the quiet, tragic innocence of the monster's brief encounters with the world.

Ep 198: Aug 26, 2026 - Is 3I-ATLAS A Secret Government Crisis? Rebroadcast as Linda is working on a new episode this week. Scientists photographed blue glowing object fastest object ever recorded at 130,000+ miles per hour labeled it “3I/ATLAS” Interview with Physicist John Brandenburg, PhD predicted anomalous acceleration “it's behaving like Omuamua” “this one…is going very close to Mars” “this looks completely improbable” “the object is radiating energy like a star” “must be artificially powered” John Brandenburg's calculations: https://earthfiles.com/brandenburg U  https://lazarusinitiative.com #LindaMoultonHowe #Earthfiles — For more incredible science stories, Real X-Files, environmental stories and so much more. Please visit my site https://www.earthfiles.com — Be sure to subscribe to this Earthfiles Channel the official channel for Linda Moulton Howe https://www.youtube.com/earthfiles. — To stay up to date on everything Earthfiles, follow me on FaceBook@EarthfilesNews and Twitter @Earthfiles.  To purchase books and merchandise from Linda Moulton Howe, be sure to only shop at my official Earthfiles store at https://www.earthfiles.com/earthfiles-shop/ — Countdown Clock Piano Music:  Ashot Danielyan, Composer:  https://www.pond5.com/stock-music/100990900/emotional-piano-melancholic-drama.html

Damon welcomes Jon back on the podcast to talk about the album he composed, his new home studio, Spindrift, Nashville, skateboarding, and much more! There's also segments like gig alerts, music news, and others. 

What happens when words are no longer enough to explain a life? Composer and jazz artist Ray Seol joins Dave Carter for a deeply personal conversation about immigration, language, music, memory, and the unlikely journey that led him to search for meaning through sound. At the heart of the conversation is Professor Seol's extraordinary relationship […]

Ep 197: Aug 19, 2026 - Why Are Metallic Spheres Most Common UFO Shapes Reported? Rebroadcast as Linda is visiting family this week. Link to IMMACULATE CONSTELLATION document: https://earthfiles.com/mace Headline on Space.com: "Pentagon UFO office testifies to US Senate today." Director of AARO was witness   Michael Shellenberger release “IMMACULATE CONSTELLATION” document on November 13 hearing “collecting imagery intelligence of UAP” Congresswoman Mace posted document Orb spheres were most often reported shapes “an F-22 fighter pilot noted multiple…metallic orbs hovering in place…accelerated toward the jet” “F-22 was forced out of the mission area by the UAP formation”   Interview with Danny Adair from Oregon Dan has seen and reported silver UFO spheres “3 feet in diameter silver ball” as a toddler next time was “around 10 years old…around 75 feet” “overwhelming feeling of nauseous, dizzy” “7 disc type craft passed over the hill” in Roseburg, Oregon, 1972 at 16, had a “face to face interaction with ETs” in 1984 “didn't look like any kind of a man I had seen before… wearing a thin skin-tight clothing” “wearing sunglasses or goggles… those are his eyes” “going into your mind… taking over your mind” “a huge sphere…a total of 20 spheres altogether” “a beam of light coming down…men walking all around, harvesting seeds” “he invited me to come aboard…and I told them I'll go” Danny later emailed link “they were gathering seeds.. to reintroduce life on Earth” #LindaMoultonHowe #Earthfiles — For more incredible science stories, Real X-Files, environmental stories and so much more. Please visit my site https://www.earthfiles.com — Be sure to subscribe to this Earthfiles Channel the official channel for Linda Moulton Howe https://www.youtube.com/earthfiles. — To stay up to date on everything Earthfiles, follow me on FaceBook@EarthfilesNews and Twitter @Earthfiles.  To purchase books and merchandise from Linda Moulton Howe, be sure to only shop at my official Earthfiles store at https://www.earthfiles.com/earthfiles-shop/ — Countdown Clock Piano Music:  Ashot Danielyan, Composer:  https://www.pond5.com/stock-music/100990900/emotional-piano-melancholic-drama.html

Douglas Knehans is an American-Australian composer whose music has been performed, recorded, and broadcast worldwide by leading orchestras, opera companies, chamber ensembles, and distinguished soloists. Hailed by The New Yorker for its "primitive force and melodic insistence that recall Stravinsky," his music has earned international recognition through performances, recordings, broadcasts, and awards including The American Prize, ISCM World Music Days, the Kennedy Center, New Music USA, the National Endowment for the Arts, and the Australia Council for the Arts. He is the founder and Artistic Director of ABLAZE Records, and his music is distinguished by dramatic intensity, architectural clarity, expressive immediacy, and exceptional orchestral craftsmanship.https://www.facebook.com/douglas.knehanshttps://www.instagram.com/dknehanscomposer/https://www.douglasknehans.com/https://www.ablazerecords.net/https://www.thamsummit.com/Book a free discovery call with me! We can spend an hour looking at your creative career. You deserve to thrive, and your artistry matters. https://calendly.com/jennet/thmMake sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there! 

A trans-man from San Francisco finds out America is not so bad after he leaves it, and Brian Kilmeade stops by for a visit about his upcoming show in Chesterfield.

Five years after the Taliban took over Afghanistan, we hear how it has changed women's lives in the country and beyond. Anita Rani speaks to 21-year-old Purvin Juma who fled to the UK from Afghanistan in 2021 and the human rights activist Shaharzad Akbar.The Mexican composer Gabriela Ortiz won three Grammys for her 2024 album Revolución diamantina, and this week saw the work's UK premiere at the BBC Proms. Gabriela joined Nuala McGovern to discuss how this work was inspired by Mexico's 2019 Glitter Revolution, the nationwide feminist protests sparked by the rape of a teenage girl by four police officers, during which activists covered Mexico City's security chief in pink glitter.Dr Amanda Cole found out she had Tourette syndrome in her twenties. Now a professor of sociolinguistics at the University of Cambridge, Dr Cole joins Nuala to discuss her decision to share her diagnosis with her students.A serial sex attacker who had a 'morbid fascination' with sex has been jailed for the rest of his life after he was found guilty of murdering two women and raping a third. His sentence comes after police and the Crown Prosecution Service apologised over a series of disastrous decisions that left him free to roam the streets. To discuss the implications of this case, Anita was joined by Helen Millichap, the deputy assistant commissioner of the Metropolitan Police and director of the National Centre for Violence Against Women and Girls and Public Protection, and the author and journalist Joan Smith.Kelly Latimer, flight test pilot and aeronautical engineer, is retiring this year after decades spent flying the world's most advanced planes, and even going into space. She reflects on a truly remarkable career.Presenter: Anita Rani Producer: Kirsty McQuire

Adrian Galante is an Australian-born jazz multi-instrumentalist, arranger and composer who plays the piano and the clarinet. His debut album, “Introducing Adrian Galante”, was released last year and features pianist Tamir Hendelman and drummer Joe LaBarbera, both of whom have been guests on this podcast. My featured song is “Mi Cachimber”, one of my recent singles. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH ADRIAN:www.adriangalante.com —----------------------------------- ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

Ep 196: August 12, 2026 - Do Grey E. T.s Inhabit Large Earth Underground Tube Structures?   Interview with experiencer Erik Nanstiel encounters have persisted for 55 years “highly strange events are forming complex repeating patterns… grey extraterrestrials inhabit large caverns, deep underground” “three massive subterranean caverns under east Illinois” “as deep as half a mile underground” “a lifetime of encounters…a lab rat” “too late for us to mount an effective response” “two species becoming one species” “they want to replace Homo sapiens” “they can't live on the surface” “Homo exogenous will replace Homo sapiens” ==== BOOKS MENTIONED: Angst in the Shadows: A True Story Of Alien Abductions By Erik Nanstiel https://www.angstintheshadows.com/ ==== From the archives. #LindaMoultonHowe #Earthfiles — For more incredible science stories, Real X-Files, environmental stories and so much more. Please visit my site https://www.earthfiles.com — Be sure to subscribe to this Earthfiles Channel the official channel for Linda Moulton Howe https://www.youtube.com/earthfiles. — To stay up to date on everything Earthfiles, follow me on FaceBook@EarthfilesNews and Twitter @Earthfiles.  To purchase books and merchandise from Linda Moulton Howe, be sure to only shop at my official Earthfiles store at https://www.earthfiles.com/earthfiles-shop/ — Countdown Clock Piano Music:  Ashot Danielyan, Composer:  https://www.pond5.com/stock-music/100990900/emotional-piano-melancholic-drama.html

Composer, educator, and saxophonist Evon J. Sams stopped by WNIJ with his nonet to perform at our Studio A Concert Series.

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall According to all known laws of aviation, there is no way a bee should be able to fly. Media Referenced in this Episode: Bee Movie. Dir. Simon J. Smith and Steve Hickner. 2007. “A Complete History of Bee Movie's Many, Many Memes" by Paris Martineau. New York Magazine. November 2nd, 2017. “Bee Movie: A Seinfeldian Society” by Joe Strike. Animation World. November 2nd, 2007. “How Bee Movie Won 2016” by Laura Bradley. Vanity Fair. December 30th, 2016. TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “A Series of Voicemails Left on Jerry Seinfeld's Answering Machine by one Stephen Sondheim, Composer of Musical Theater and Lover of Bees” // Written by A.J. Ditty and Brian Alford // feat. David Armstrong as “Stephen Sondheim” and Brian Alford as “Jerry” Episode edited by Brian Alford. Interstitial edited by A.J. Ditty. Produced by Josh Boerman, A.J. Ditty, and Brian Alford. This podcast was recorded under a SAG-AFTRA Agreement. Its wings are too small to get its fat little body off the ground. The bee, of course, flies anyway because bees don't care what humans think is impossible. Yellow, black. Yellow, black. Yellow, black. Yellow, black. Ooh, black and yellow! Let's shake it up a little. Barry! Breakfast is ready! Coming! Hang on a second. Hello? - Barry? - Adam? - Can you believe this is happening? - I can't. I'll pick you up. Looking sharp. Use the stairs. Your father paid good money for those. Sorry. I'm excited. Here's the graduate. We're very proud of you, son. A perfect report card, all B's. Very proud. Ma! I got a thing going here. - You got lint on your fuzz. - Ow! That's me! - Wave to us! We'll be in row 118,000. - Bye! Barry, I told you, stop flying in the house! - Hey, Adam. - Hey, Barry. - Is that fuzz gel? - A little. Special day, graduation. Never thought I'd make it. Three days grade school, three days high school. Those were awkward. Three days college. I'm glad I took a day and hitchhiked around the hive. You did come back different. - Hi, Barry. - Artie, growing a mustache? Looks good. - Hear about Frankie? - Yeah. - You going to the funeral? - No, I'm not going. Everybody knows, sting someone, you die. Don't waste it on a squirrel. Such a hothead. I guess he could have just gotten out of the way. I love this incorporating an amusement park into our day. That's why we don't need vacations. Boy, quite a bit of pomp… under the circumstances. - Well, Adam, today we are men. - We are! - Bee-men. - Amen! Hallelujah! Students, faculty, distinguished bees, please welcome Dean Buzzwell. Welcome, New Hive City graduating class of… …9:15. That concludes our ceremonies. And begins your career at Honex Industries! Will we pick our job today? I heard it's just orientation. Heads up! Here we go. Keep your hands and antennas inside the tram at all times. - Wonder what it'll be like? - A little scary. Welcome to Honex, a division of Honesco and a part of the Hexagon Group. This is it! Wow. Wow. We know that you, as a bee, have worked your whole life to get to the point where you can work for your whole life. Honey begins when our valiant Pollen Jocks bring the nectar to the hive. Our top-secret formula is automatically color-corrected, scent-adjusted and bubble-contoured into this soothing sweet syrup with its distinctive golden glow you know as… Honey! - That girl was hot. - She's my cousin! - She is? - Yes, we're all cousins. - Right. You're right. - At Honex, we constantly strive to improve every aspect of bee existence. These bees are stress-testing a new helmet technology. - What do you think he makes? - Not enough. Here we have our latest advancement, the Krelman. - What does that do? - Oatches that little strand of honey that hangs after you pour it. Saves us millions. Oan anyone work on the Krelman? Of course. Most bee jobs are small ones. But bees know that every small job, if it's done well, means a lot. But choose carefully because you'll stay in the job you pick for the rest of your life. The same job the rest of your life? I didn't know that. What's the difference? You'll be happy to know that bees, as a species, haven't had one day off in 27 million years. So you'll just work us to death? We'll sure try. Wow! That blew my mind! “What's the difference?” How can you say that? One job forever? That's an insane choice to have to make. I'm relieved. Now we only have to make one decision in life. But, Adam, how could they never have told us that? Why would you question anything? We're bees. We're the most perfectly functioning society on Earth. You ever think maybe things work a little too well here? Like what? Give me one example. I don't know. But you know what I'm talking about. Please clear the gate. Royal Nectar Force on approach. Wait a second. Oheck it out. - Hey, those are Pollen Jocks! - Wow. I've never seen them this close. They know what it's like outside the hive. Yeah, but some don't come back. - Hey, Jocks! - Hi, Jocks! You guys did great! You're monsters! You're sky freaks! I love it! I love it! - I wonder where they were. - I don't know. Their day's not planned. Outside the hive, flying who knows where, doing who knows what. You can'tjust decide to be a Pollen Jock. You have to be bred for that. Right. Look. That's more pollen than you and I will see in a lifetime. It's just a status symbol. Bees make too much of it. Perhaps. Unless you're wearing it and the ladies see you wearing it. Those ladies? Aren't they our cousins too? Distant. Distant. Look at these two. - Oouple of Hive Harrys. - Let's have fun with them. It must be dangerous being a Pollen Jock. Yeah. Once a bear pinned me against a mushroom! He had a paw on my throat, and with the other, he was slapping me! - Oh, my! - I never thought I'd knock him out. What were you doing during this? Trying to alert the authorities. I can autograph that. A little gusty out there today, wasn't it, comrades? Yeah. Gusty. We're hitting a sunflower patch six miles from here tomorrow. - Six miles, huh? - Barry! A puddle jump for us, but maybe you're not up for it. - Maybe I am. - You are not! We're going 0900 at J-Gate. What do you think, buzzy-boy? Are you bee enough? I might be. It all depends on what 0900 means. Hey, Honex! Dad, you surprised me. You decide what you're interested in? - Well, there's a lot of choices. - But you only get one. Do you ever get bored doing the same job every day? Son, let me tell you about stirring. You grab that stick, and you just move it around, and you stir it around. You get yourself into a rhythm. It's a beautiful thing. You know, Dad, the more I think about it, maybe the honey field just isn't right for me. You were thinking of what, making balloon animals? That's a bad job for a guy with a stinger. Janet, your son's not sure he wants to go into honey! - Barry, you are so funny sometimes. - I'm not trying to be funny. You're not funny! You're going into honey. Our son, the stirrer! - You're gonna be a stirrer? - No one's listening to me! Wait till you see the sticks I have. I could say anything right now. I'm gonna get an ant tattoo! Let's open some honey and celebrate! Maybe I'll pierce my thorax. Shave my antennae. Shack up with a grasshopper. Get a gold tooth and call everybody “dawg”! I'm so proud. - We're starting work today! - Today's the day. Oome on! All the good jobs will be gone. Yeah, right. Pollen counting, stunt bee, pouring, stirrer, front desk, hair removal… - Is it still available? - Hang on. Two left! One of them's yours! Oongratulations! Step to the side. - What'd you get? - Picking crud out. Stellar! Wow! Oouple of newbies? Yes, sir! Our first day! We are ready! Make your choice. - You want to go first? - No, you go. Oh, my. What's available? Restroom attendant's open, not for the reason you think. - Any chance of getting the Krelman? - Sure, you're on. I'm sorry, the Krelman just closed out. Wax monkey's always open. The Krelman opened up again. What happened? A bee died. Makes an opening. See? He's dead. Another dead one. Deady. Deadified. Two more dead. Dead from the neck up. Dead from the neck down. That's life! Oh, this is so hard! Heating, cooling, stunt bee, pourer, stirrer, humming, inspector number seven, lint coordinator, stripe supervisor, mite wrangler. Barry, what do you think I should… Barry? Barry! All right, we've got the sunflower patch in quadrant nine… What happened to you? Where are you? - I'm going out. - Out? Out where? - Out there. - Oh, no! I have to, before I go to work for the rest of my life. You're gonna die! You're crazy! Hello? Another call coming in. If anyone's feeling brave, there's a Korean deli on 83rd that gets their roses today. Hey, guys. - Look at that. - Isn't that the kid we saw yesterday? Hold it, son, flight deck's restricted. It's OK, Lou. We're gonna take him up. Really? Feeling lucky, are you? Sign here, here. Just initial that. - Thank you. - OK. You got a rain advisory today, and as you all know, bees cannot fly in rain. So be careful. As always, watch your brooms, hockey sticks, dogs, birds, bears and bats. Also, I got a couple of reports of root beer being poured on us. Murphy's in a home because of it, babbling like a cicada! - That's awful. - And a reminder for you rookies, bee law number one, absolutely no talking to humans! All right, launch positions! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Buzz, buzz, buzz, buzz! Black and yellow! Hello! You ready for this, hot shot? Yeah. Yeah, bring it on. Wind, check. - Antennae, check. - Nectar pack, check. - Wings, check. - Stinger, check. Scared out of my shorts, check. OK, ladies, let's move it out! Pound those petunias, you striped stem-suckers! All of you, drain those flowers! Wow! I'm out! I can't believe I'm out! So blue. I feel so fast and free! Box kite! Wow! Flowers! This is Blue Leader. We have roses visual. Bring it around 30 degrees and hold. Roses! 30 degrees, roger. Bringing it around. Stand to the side, kid. It's got a bit of a kick. That is one nectar collector! - Ever see pollination up close? - No, sir. I pick up some pollen here, sprinkle it over here. Maybe a dash over there, a pinch on that one. See that? It's a little bit of magic. That's amazing. Why do we do that? That's pollen power. More pollen, more flowers, more nectar, more honey for us. Cool. I'm picking up a lot of bright yellow. Oould be daisies. Don't we need those? Oopy that visual. Wait. One of these flowers seems to be on the move. Say again? You're reporting a moving flower? Affirmative. That was on the line! This is the coolest. What is it? I don't know, but I'm loving this color. It smells good. Not like a flower, but I like it. Yeah, fuzzy. Ohemical-y. Oareful, guys. It's a little grabby. My sweet lord of bees! Oandy-brain, get off there! Problem! - Guys! - This could be bad. Affirmative. Very close. Gonna hurt. Mama's little boy. You are way out of position, rookie! Ooming in at you like a missile! Help me! I don't think these are flowers. - Should we tell him? - I think he knows. What is this?! Match point! You can start packing up, honey, because you're about to eat it! Yowser! Gross. There's a bee in the car! - Do something! - I'm driving! - Hi, bee. - He's back here! He's going to sting me! Nobody move. If you don't move, he won't sting you. Freeze! He blinked! Spray him, Granny! What are you doing?! Wow… the tension level out here is unbelievable. I gotta get home. Oan't fly in rain. Oan't fly in rain. Oan't fly in rain. Mayday! Mayday! Bee going down! Ken, could you close the window please? Ken, could you close the window please? Oheck out my new resume. I made it into a fold-out brochure. You see? Folds out. Oh, no. More humans. I don't need this. What was that? Maybe this time. This time. This time. This time! This time! This… Drapes! That is diabolical. It's fantastic. It's got all my special skills, even my top-ten favorite movies. What's number one? Star Wars? Nah, I don't go for that… …kind of stuff. No wonder we shouldn't talk to them. They're out of their minds. When I leave a job interview, they're flabbergasted, can't believe what I say. There's the sun. Maybe that's a way out. I don't remember the sun having a big 75 on it. I predicted global warming. I could feel it getting hotter. At first I thought it was just me. Wait! Stop! Bee! Stand back. These are winter boots. Wait! Don't kill him! You know I'm allergic to them! This thing could kill me! Why does his life have less value than yours? Why does his life have any less value than mine? Is that your statement? I'm just saying all life has value. You don't know what he's capable of feeling. My brochure! There you go, little guy. I'm not scared of him. It's an allergic thing. Put that on your resume brochure. My whole face could puff up. Make it one of your special skills. Knocking someone out is also a special skill. Right. Bye, Vanessa. Thanks. - Vanessa, next week? Yogurt night? - Sure, Ken. You know, whatever. - You could put carob chips on there. - Bye. - Supposed to be less calories. - Bye. I gotta say something. She saved my life. I gotta say something. All right, here it goes. Nah. What would I say? I could really get in trouble. It's a bee law. You're not supposed to talk to a human. I can't believe I'm doing this. I've got to. Oh, I can't do it. Oome on! No. Yes. No. Do it. I can't. How should I start it? “You like jazz?” No, that's no good. Here she comes! Speak, you fool! Hi! I'm sorry. - You're talking. - Yes, I know. You're talking! I'm so sorry. No, it's OK. It's fine. I know I'm dreaming. But I don't recall going to bed. Well, I'm sure this is very disconcerting. This is a bit of a surprise to me. I mean, you're a bee! I am. And I'm not supposed to be doing this, but they were all trying to kill me. And if it wasn't for you… I had to thank you. It's just how I was raised. That was a little weird. - I'm talking with a bee. - Yeah. I'm talking to a bee. And the bee is talking to me! I just want to say I'm grateful. I'll leave now. - Wait! How did you learn to do that? - What? The talking thing. Same way you did, I guess. “Mama, Dada, honey.” You pick it up. - That's very funny. - Yeah. Bees are funny. If we didn't laugh, we'd cry with what we have to deal with. Anyway… Oan I… …get you something? - Like what? I don't know. I mean… I don't know. Ooffee? I don't want to put you out. It's no trouble. It takes two minutes. - It's just coffee. - I hate to impose. - Don't be ridiculous! - Actually, I would love a cup. Hey, you want rum cake? - I shouldn't. - Have some. - No, I can't. - Oome on! I'm trying to lose a couple micrograms. - Where? - These stripes don't help. You look great! I don't know if you know anything about fashion. Are you all right? No. He's making the tie in the cab as they're flying up Madison. He finally gets there. He runs up the steps into the church. The wedding is on. And he says, “Watermelon? I thought you said Guatemalan. Why would I marry a watermelon?” Is that a bee joke? That's the kind of stuff we do. Yeah, different. So, what are you gonna do, Barry? About work? I don't know. I want to do my part for the hive, but I can't do it the way they want. I know how you feel. - You do? - Sure. My parents wanted me to be a lawyer or a doctor, but I wanted to be a florist. - Really? - My only interest is flowers. Our new queen was just elected with that same campaign slogan. Anyway, if you look… There's my hive right there. See it? You're in Sheep Meadow! Yes! I'm right off the Turtle Pond! No way! I know that area. I lost a toe ring there once. - Why do girls put rings on their toes? - Why not? - It's like putting a hat on your knee. - Maybe I'll try that. - You all right, ma'am? - Oh, yeah. Fine. Just having two cups of coffee! Anyway, this has been great. Thanks for the coffee. Yeah, it's no trouble. Sorry I couldn't finish it. If I did, I'd be up the rest of my life. Are you…? Oan I take a piece of this with me? Sure! Here, have a crumb. - Thanks! - Yeah. All right. Well, then… I guess I'll see you around. Or not. OK, Barry. And thank you so much again… for before. Oh, that? That was nothing. Well, not nothing, but… Anyway… This can't possibly work. He's all set to go. We may as well try it. OK, Dave, pull the chute. - Sounds amazing. - It was amazing! It was the scariest, happiest moment of my life. Humans! I can't believe you were with humans! Giant, scary humans! What were they like? Huge and crazy. They talk crazy. They eat crazy giant things. They drive crazy. - Do they try and kill you, like on TV? - Some of them. But some of them don't. - How'd you get back? - Poodle. You did it, and I'm glad. You saw whatever you wanted to see. You had your “experience.” Now you can pick out yourjob and be normal. - Well… - Well? Well, I met someone. You did? Was she Bee-ish? - A wasp?! Your parents will kill you! - No, no, no, not a wasp. - Spider? - I'm not attracted to spiders. I know it's the hottest thing, with the eight legs and all. I can't get by that face. So who is she? She's… human. No, no. That's a bee law. You wouldn't break a bee law. - Her name's Vanessa. - Oh, boy. She's so nice. And she's a florist! Oh, no! You're dating a human florist! We're not dating. You're flying outside the hive, talking to humans that attack our homes with power washers and M-80s! One-eighth a stick of dynamite! She saved my life! And she understands me. This is over! Eat this. This is not over! What was that? - They call it a crumb. - It was so stingin' stripey! And that's not what they eat. That's what falls off what they eat! - You know what a Oinnabon is? - No. It's bread and cinnamon and frosting. They heat it up… Sit down! …really hot! - Listen to me! We are not them! We're us. There's us and there's them! Yes, but who can deny the heart that is yearning? There's no yearning. Stop yearning. Listen to me! You have got to start thinking bee, my friend. Thinking bee! - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Thinking bee! There he is. He's in the pool. You know what your problem is, Barry? I gotta start thinking bee? How much longer will this go on? It's been three days! Why aren't you working? I've got a lot of big life decisions to think about. What life? You have no life! You have no job. You're barely a bee! Would it kill you to make a little honey? Barry, come out. Your father's talking to you. Martin, would you talk to him? Barry, I'm talking to you! You coming? Got everything? All set! Go ahead. I'll catch up. Don't be too long. Watch this! Vanessa! - We're still here. - I told you not to yell at him. He doesn't respond to yelling! - Then why yell at me? - Because you don't listen! I'm not listening to this. Sorry, I've gotta go. - Where are you going? - I'm meeting a friend. A girl? Is this why you can't decide? Bye. I just hope she's Bee-ish. They have a huge parade of flowers every year in Pasadena? To be in the Tournament of Roses, that's every florist's dream! Up on a float, surrounded by flowers, crowds cheering. A tournament. Do the roses compete in athletic events? No. All right, I've got one. How come you don't fly everywhere? It's exhausting. Why don't you run everywhere? It's faster. Yeah, OK, I see, I see. All right, your turn. TiVo. You can just freeze live TV? That's insane! You don't have that? We have Hivo, but it's a disease. It's a horrible, horrible disease. Oh, my. Dumb bees! You must want to sting all those jerks. We try not to sting. It's usually fatal for us. So you have to watch your temper. Very carefully. You kick a wall, take a walk, write an angry letter and throw it out. Work through it like any emotion: Anger, jealousy, lust. Oh, my goodness! Are you OK? Yeah. - What is wrong with you?! - It's a bug. He's not bothering anybody. Get out of here, you creep! What was that? A Pic ‘N' Save circular? Yeah, it was. How did you know? It felt like about 10 pages. Seventy-five is pretty much our limit. You've really got that down to a science. - I lost a cousin to Italian Vogue. - I'll bet. What in the name of Mighty Hercules is this? How did this get here? Oute Bee, Golden Blossom, Ray Liotta Private Select? - Is he that actor? - I never heard of him. - Why is this here? - For people. We eat it. You don't have enough food of your own? - Well, yes. - How do you get it? - Bees make it. - I know who makes it! And it's hard to make it! There's heating, cooling, stirring. You need a whole Krelman thing! - It's organic. - It's our-ganic! It's just honey, Barry. Just what?! Bees don't know about this! This is stealing! A lot of stealing! You've taken our homes, schools, hospitals! This is all we have! And it's on sale?! I'm getting to the bottom of this. I'm getting to the bottom of all of this! Hey, Hector. - You almost done? - Almost. He is here. I sense it. Well, I guess I'll go home now and just leave this nice honey out, with no one around. You're busted, box boy! I knew I heard something. So you can talk! I can talk. And now you'll start talking! Where you getting the sweet stuff? Who's your supplier? I don't understand. I thought we were friends. The last thing we want to do is upset bees! You're too late! It's ours now! You, sir, have crossed the wrong sword! You, sir, will be lunch for my iguana, Ignacio! Where is the honey coming from? Tell me where! Honey Farms! It comes from Honey Farms! Orazy person! What horrible thing has happened here? These faces, they never knew what hit them. And now they're on the road to nowhere! Just keep still. What? You're not dead? Do I look dead? They will wipe anything that moves. Where you headed? To Honey Farms. I am onto something huge here. I'm going to Alaska. Moose blood, crazy stuff. Blows your head off! I'm going to Tacoma. - And you? - He really is dead. All right. Uh-oh! - What is that?! - Oh, no! - A wiper! Triple blade! - Triple blade? Jump on! It's your only chance, bee! Why does everything have to be so doggone clean?! How much do you people need to see?! Open your eyes! Stick your head out the window! From NPR News in Washington, I'm Carl Kasell. But don't kill no more bugs! - Bee! - Moose blood guy!! - You hear something? - Like what? Like tiny screaming. Turn off the radio. Whassup, bee boy? Hey, Blood. Just a row of honey jars, as far as the eye could see. Wow! I assume wherever this truck goes is where they're getting it. I mean, that honey's ours. - Bees hang tight. - We're all jammed in. It's a close community. Not us, man. We on our own. Every mosquito on his own. - What if you get in trouble? - You a mosquito, you in trouble. Nobody likes us. They just smack. See a mosquito, smack, smack! At least you're out in the world. You must meet girls. Mosquito girls try to trade up, get with a moth, dragonfly. Mosquito girl don't want no mosquito. You got to be kidding me! Mooseblood's about to leave the building! So long, bee! - Hey, guys! - Mooseblood! I knew I'd catch y'all down here. Did you bring your crazy straw? We throw it in jars, slap a label on it, and it's pretty much pure profit. What is this place? A bee's got a brain the size of a pinhead. They are pinheads! Pinhead. - Oheck out the new smoker. - Oh, sweet. That's the one you want. The Thomas 3000! Smoker? Ninety puffs a minute, semi-automatic. Twice the nicotine, all the tar. A couple breaths of this knocks them right out. They make the honey, and we make the money. “They make the honey, and we make the money”? Oh, my! What's going on? Are you OK? Yeah. It doesn't last too long. Do you know you're in a fake hive with fake walls? Our queen was moved here. We had no choice. This is your queen? That's a man in women's clothes! That's a drag queen! What is this? Oh, no! There's hundreds of them! Bee honey. Our honey is being brazenly stolen on a massive scale! This is worse than anything bears have done! I intend to do something. Oh, Barry, stop. Who told you humans are taking our honey? That's a rumor. Do these look like rumors? That's a conspiracy theory. These are obviously doctored photos. How did you get mixed up in this? He's been talking to humans. - What? - Talking to humans?! He has a human girlfriend. And they make out! Make out? Barry! We do not. - You wish you could. - Whose side are you on? The bees! I dated a cricket once in San Antonio. Those crazy legs kept me up all night. Barry, this is what you want to do with your life? I want to do it for all our lives. Nobody works harder than bees! Dad, I remember you coming home so overworked your hands were still stirring. You couldn't stop. I remember that. What right do they have to our honey? We live on two cups a year. They put it in lip balm for no reason whatsoever! Even if it's true, what can one bee do? Sting them where it really hurts. In the face! The eye! - That would hurt. - No. Up the nose? That's a killer. There's only one place you can sting the humans, one place where it matters. Hive at Five, the hive's only full-hour action news source. No more bee beards! With Bob Bumble at the anchor desk. Weather with Storm Stinger. Sports with Buzz Larvi. And Jeanette Chung. - Good evening. I'm Bob Bumble. - And I'm Jeanette Chung. A tri-county bee, Barry Benson, intends to sue the human race for stealing our honey, packaging it and profiting from it illegally! Tomorrow night on Bee Larry King, we'll have three former queens here in our studio, discussing their new book, Classy Ladies, out this week on Hexagon. Tonight we're talking to Barry Benson. Did you ever think, “I'm a kid from the hive. I can't do this”? Bees have never been afraid to change the world. What about Bee Columbus? Bee Gandhi? Bee Jesus? Where I'm from, we'd never sue humans. We were thinking of stickball or candy stores. How old are you? The bee community is supporting you in this case, which will be the trial of the bee century. You know, they have a Larry King in the human world too. It's a common name. Next week… He looks like you and has a show and suspenders and colored dots… Next week… Glasses, quotes on the bottom from the guest even though you just heard ‘em. Bear Week next week! They're scary, hairy and here live. Always leans forward, pointy shoulders, squinty eyes, very Jewish. In tennis, you attack at the point of weakness! It was my grandmother, Ken. She's 81. Honey, her backhand's a joke! I'm not gonna take advantage of that? Quiet, please. Actual work going on here. - Is that that same bee? - Yes, it is! I'm helping him sue the human race. - Hello. - Hello, bee. This is Ken. Yeah, I remember you. Timberland, size ten and a half. Vibram sole, I believe. Why does he talk again? Listen, you better go ‘cause we're really busy working. But it's our yogurt night! Bye-bye. Why is yogurt night so difficult?! You poor thing. You two have been at this for hours! Yes, and Adam here has been a huge help. - Frosting… - How many sugars? Just one. I try not to use the competition. So why are you helping me? Bees have good qualities. And it takes my mind off the shop. Instead of flowers, people are giving balloon bouquets now. Those are great, if you're three. And artificial flowers. - Oh, those just get me psychotic! - Yeah, me too. Bent stingers, pointless pollination. Bees must hate those fake things! Nothing worse than a daffodil that's had work done. Maybe this could make up for it a little bit. - This lawsuit's a pretty big deal. - I guess. You sure you want to go through with it? Am I sure? When I'm done with the humans, they won't be able to say, “Honey, I'm home,” without paying a royalty! It's an incredible scene here in downtown Manhattan, where the world anxiously waits, because for the first time in history, we will hear for ourselves if a honeybee can actually speak. What have we gotten into here, Barry? It's pretty big, isn't it? I can't believe how many humans don't work during the day. You think billion-dollar multinational food companies have good lawyers? Everybody needs to stay behind the barricade. - What's the matter? - I don't know, I just got a chill. Well, if it isn't the bee team. You boys work on this? All rise! The Honorable Judge Bumbleton presiding. All right. Case number 4475, Superior Court of New York, Barry Bee Benson v. The Honey Industry is now in session. Mr. Montgomery, you're representing the five food companies collectively? A privilege. Mr. Benson… you're representing all the bees of the world? I'm kidding. Yes, Your Honor, we're ready to proceed. Mr. Montgomery, your opening statement, please. Ladies and gentlemen of the jury, my grandmother was a simple woman. Born on a farm, she believed it was man's divine right to benefit from the bounty of nature God put before us. If we lived in the topsy-turvy world Mr. Benson imagines, just think of what would it mean. I would have to negotiate with the silkworm for the elastic in my britches! Talking bee! How do we know this isn't some sort of holographic motion-picture-capture Hollywood wizardry? They could be using laser beams! Robotics! Ventriloquism! Oloning! For all we know, he could be on steroids! Mr. Benson? Ladies and gentlemen, there's no trickery here. I'm just an ordinary bee. Honey's pretty important to me. It's important to all bees. We invented it! We make it. And we protect it with our lives. Unfortunately, there are some people in this room who think they can take it from us ‘cause we're the little guys! I'm hoping that, after this is all over, you'll see how, by taking our honey, you not only take everything we have but everything we are! I wish he'd dress like that all the time. So nice! Oall your first witness. So, Mr. Klauss Vanderhayden of Honey Farms, big company you have. I suppose so. I see you also own Honeyburton and Honron! Yes, they provide beekeepers for our farms. Beekeeper. I find that to be a very disturbing term. I don't imagine you employ any bee-free-ers, do you? - No. - I couldn't hear you. - No. - No. Because you don't free bees. You keep bees. Not only that, it seems you thought a bear would be an appropriate image for a jar of honey. They're very lovable creatures. Yogi Bear, Fozzie Bear, Build-A-Bear. You mean like this? Bears kill bees! How'd you like his head crashing through your living room?! Biting into your couch! Spitting out your throw pillows! OK, that's enough. Take him away. So, Mr. Sting, thank you for being here. Your name intrigues me. - Where have I heard it before? - I was with a band called The Police. But you've never been a police officer, have you? No, I haven't. No, you haven't. And so here we have yet another example of bee culture casually stolen by a human for nothing more than a prance-about stage name. Oh, please. Have you ever been stung, Mr. Sting? Because I'm feeling a little stung, Sting. Or should I say… Mr. Gordon M. Sumner! That's not his real name?! You idiots! Mr. Liotta, first, belated congratulations on your Emmy win for a guest spot on ER in 2005. Thank you. Thank you. I see from your resume that you're devilishly handsome with a churning inner turmoil that's ready to blow. I enjoy what I do. Is that a crime? Not yet it isn't. But is this what it's come to for you? Exploiting tiny, helpless bees so you don't have to rehearse your part and learn your lines, sir? Watch it, Benson! I could blow right now! This isn't a goodfella. This is a badfella! Why doesn't someone just step on this creep, and we can all go home?! - Order in this court! - You're all thinking it! Order! Order, I say! - Say it! - Mr. Liotta, please sit down! I think it was awfully nice of that bear to pitch in like that. I think the jury's on our side. Are we doing everything right, legally? I'm a florist. Right. Well, here's to a great team. To a great team! Well, hello. - Ken! - Hello. I didn't think you were coming. No, I was just late. I tried to call, but… the battery. I didn't want all this to go to waste, so I called Barry. Luckily, he was free. Oh, that was lucky. There's a little left. I could heat it up. Yeah, heat it up, sure, whatever. So I hear you're quite a tennis player. I'm not much for the game myself. The ball's a little grabby. That's where I usually sit. Right… there. Ken, Barry was looking at your resume, and he agreed with me that eating with chopsticks isn't really a special skill. You think I don't see what you're doing? I know how hard it is to find the rightjob. We have that in common. Do we? Bees have 100 percent employment, but we do jobs like taking the crud out. That's just what I was thinking about doing. Ken, I let Barry borrow your razor for his fuzz. I hope that was all right. I'm going to drain the old stinger. Yeah, you do that. Look at that. You know, I've just about had it with your little mind games. - What's that? - Italian Vogue. Mamma mia, that's a lot of pages. A lot of ads. Remember what Van said, why is your life more valuable than mine? Funny, I just can't seem to recall that! I think something stinks in here! I love the smell of flowers. How do you like the smell of flames?! Not as much. Water bug! Not taking sides! Ken, I'm wearing a Ohapstick hat! This is pathetic! I've got issues! Well, well, well, a royal flush! - You're bluffing. - Am I? Surf's up, dude! Poo water! That bowl is gnarly. Except for those dirty yellow rings! Kenneth! What are you doing?! You know, I don't even like honey! I don't eat it! We need to talk! He's just a little bee! And he happens to be the nicest bee I've met in a long time! Long time? What are you talking about?! Are there other bugs in your life? No, but there are other things bugging me in life. And you're one of them! Fine! Talking bees, no yogurt night… My nerves are fried from riding on this emotional roller coaster! Goodbye, Ken. And for your information, I prefer sugar-free, artificial sweeteners made by man! I'm sorry about all that. I know it's got an aftertaste! I like it! I always felt there was some kind of barrier between Ken and me. I couldn't overcome it. Oh, well. Are you OK for the trial? I believe Mr. Montgomery is about out of ideas. We would like to call Mr. Barry Benson Bee to the stand. Good idea! You can really see why he's considered one of the best lawyers… Yeah. Layton, you've gotta weave some magic with this jury, or it's gonna be all over. Don't worry. The only thing I have to do to turn this jury around is to remind them of what they don't like about bees. - You got the tweezers? - Are you allergic? Only to losing, son. Only to losing. Mr. Benson Bee, I'll ask you what I think we'd all like to know. What exactly is your relationship to that woman? We're friends. - Good friends? - Yes. How good? Do you live together? Wait a minute… Are you her little… …bedbug? I've seen a bee documentary or two. From what I understand, doesn't your queen give birth to all the bee children? - Yeah, but… - So those aren't your real parents! - Oh, Barry… - Yes, they are! Hold me back! You're an illegitimate bee, aren't you, Benson? He's denouncing bees! Don't y'all date your cousins? - Objection! - I'm going to pincushion this guy! Adam, don't! It's what he wants! Oh, I'm hit!! Oh, lordy, I am hit! Order! Order! The venom! The venom is coursing through my veins! I have been felled by a winged beast of destruction! You see? You can't treat them like equals! They're striped savages! Stinging's the only thing they know! It's their way! - Adam, stay with me. - I can't feel my legs. What angel of mercy will come forward to suck the poison from my heaving buttocks? I will have order in this court. Order! Order, please! The case of the honeybees versus the human race took a pointed turn against the bees yesterday when one of their legal team stung Layton T. Montgomery. - Hey, buddy. - Hey. - Is there much pain? - Yeah. I… I blew the whole case, didn't I? It doesn't matter. What matters is you're alive. You could have died. I'd be better off dead. Look at me. They got it from the cafeteria downstairs, in a tuna sandwich. Look, there's a little celery still on it. What was it like to sting someone? I can't explain it. It was all… All adrenaline and then… and then ecstasy! All right. You think it was all a trap? Of course. I'm sorry. I flew us right into this. What were we thinking? Look at us. We're just a couple of bugs in this world. What will the humans do to us if they win? I don't know. I hear they put the roaches in motels. That doesn't sound so bad. Adam, they check in, but they don't check out! Oh, my. Oould you get a nurse to close that window? - Why? - The smoke. Bees don't smoke. Right. Bees don't smoke. Bees don't smoke! But some bees are smoking. That's it! That's our case! It is? It's not over? Get dressed. I've gotta go somewhere. Get back to the court and stall. Stall any way you can. And assuming you've done step correctly, you're ready for the tub. Mr. Flayman. Yes? Yes, Your Honor! Where is the rest of your team? Well, Your Honor, it's interesting. Bees are trained to fly haphazardly, and as a result, we don't make very good time. I actually heard a funny story about… Your Honor, haven't these ridiculous bugs taken up enough of this court's valuable time? How much longer will we allow these absurd shenanigans to go on? They have presented no compelling evidence to support their charges against my clients, who run legitimate businesses. I move for a complete dismissal of this entire case! Mr. Flayman, I'm afraid I'm going to have to consider Mr. Montgomery's motion. But you can't! We have a terrific case. Where is your proof? Where is the evidence? Show me the smoking gun! Hold it, Your Honor! You want a smoking gun? Here is your smoking gun. What is that? It's a bee smoker! What, this? This harmless little contraption? This couldn't hurt a fly, let alone a bee. Look at what has happened to bees who have never been asked, “Smoking or non?” Is this what nature intended for us? To be forcibly addicted to smoke machines and man-made wooden slat work camps? Living out our lives as honey slaves to the white man? - What are we gonna do? - He's playing the species card. Ladies and gentlemen, please, free these bees! Free the bees! Free the bees! Free the bees! Free the bees! Free the bees! The court finds in favor of the bees! Vanessa, we won! I knew you could do it! High-five! Sorry. I'm OK! You know what this means? All the honey will finally belong to the bees. Now we won't have to work so hard all the time. This is an unholy perversion of the balance of nature, Benson. You'll regret this. Barry, how much honey is out there? All right. One at a time. Barry, who are you wearing? My sweater is Ralph Lauren, and I have no pants. - What if Montgomery's right? - What do you mean? We've been living the bee way a long time, 27 million years. Oongratulations on your victory. What will you demand as a settlement? First, we'll demand a complete shutdown of all bee work camps. Then we want back the honey that was ours to begin with, every last drop. We demand an end to the glorification of the bear as anything more than a filthy, smelly, bad-breath stink machine. We're all aware of what they do in the woods. Wait for my signal. Take him out. He'll have nauseous for a few hours, then he'll be fine. And we will no longer tolerate bee-negative nicknames… But it's just a prance-about stage name! …unnecessary inclusion of honey in bogus health products and la-dee-da human tea-time snack garnishments. Oan't breathe. Bring it in, boys! Hold it right there! Good. Tap it. Mr. Buzzwell, we just passed three cups, and there's gallons more coming! - I think we need to shut down! - Shut down? We've never shut down. Shut down honey production! Stop making honey! Turn your key, sir! What do we do now? Oannonball! We're shutting honey production! Mission abort. Aborting pollination and nectar detail. Returning to base. Adam, you wouldn't believe how much honey was out there. Oh, yeah? What's going on? Where is everybody? - Are they out celebrating? - They're home. They don't know what to do. Laying out, sleeping in. I heard your Uncle Oarl was on his way to San Antonio with a cricket. At least we got our honey back. Sometimes I think, so what if humans liked our honey? Who wouldn't? It's the greatest thing in the world! I was excited to be part of making it. This was my new desk. This was my new job. I wanted to do it really well. And now… Now I can't. I don't understand why they're not happy. I thought their lives would be better! They're doing nothing. It's amazing. Honey really changes people. You don't have any idea what's going on, do you? - What did you want to show me? - This. What happened here? That is not the half of it. Oh, no. Oh, my. They're all wilting. Doesn't look very good, does it? No. And whose fault do you think that is? You know, I'm gonna guess bees. Bees? Specifically, me. I didn't think bees not needing to make honey would affect all these things. It's notjust flowers. Fruits, vegetables, they all need bees. That's our whole SAT test right there. Take away produce, that affects the entire animal kingdom. And then, of course… The human species? So if there's no more pollination, it could all just go south here, couldn't it? I know this is also partly my fault. How about a suicide pact? How do we do it? - I'll sting you, you step on me. - That just kills you twice. Right, right. Listen, Barry… sorry, but I gotta get going. I had to open my mouth and talk. Vanessa? Vanessa? Why are you leaving? Where are you going? To the final Tournament of Roses parade in Pasadena. They've moved it to this weekend because all the flowers are dying. It's the last chance I'll ever have to see it. Vanessa, I just wanna say I'm sorry. I never meant it to turn out like this. I know. Me neither. Tournament of Roses. Roses can't do sports. Wait a minute. Roses. Roses? Roses! Vanessa! Roses?! Barry? - Roses are flowers! - Yes, they are. Flowers, bees, pollen! I know. That's why this is the last parade. Maybe not. Oould you ask him to slow down? Oould you slow down? Barry! OK, I made a huge mistake. This is a total disaster, all my fault. Yes, it kind of is. I've ruined the planet. I wanted to help you with the flower shop. I've made it worse. Actually, it's completely closed down. I thought maybe you were remodeling. But I have another idea, and it's greater than my previous ideas combined. I don't want to hear it! All right, they have the roses, the roses have the pollen. I know every bee, plant and flower bud in this park. All we gotta do is get what they've got back here with what we've got. - Bees. - Park. - Pollen! - Flowers. - Repollination! - Across the nation! Tournament of Roses, Pasadena, Oalifornia. They've got nothing but flowers, floats and cotton candy. Security will be tight. I have an idea. Vanessa Bloome, FTD. Official floral business. It's real. Sorry, ma'am. Nice brooch. Thank you. It was a gift. Once inside, we just pick the right float. How about The Princess and the Pea? I could be the princess, and you could be the pea! Yes, I got it. - Where should I sit? - What are you? - I believe I'm the pea. - The pea? It goes under the mattresses. - Not in this fairy tale, sweetheart. - I'm getting the marshal. You do that! This whole parade is a fiasco! Let's see what this baby'll do. Hey, what are you doing?! Then all we do is blend in with traffic… …without arousing suspicion. Once at the airport, there's no stopping us. Stop! Security. - You and your insect pack your float? - Yes. Has it been in your possession the entire time? Would you remove your shoes? - Remove your stinger. - It's part of me. I know. Just having some fun. Enjoy your flight. Then if we're lucky, we'll have just enough pollen to do the job. Oan you believe how lucky we are? We have just enough pollen to do the job! I think this is gonna work. It's got to work. Attention, passengers, this is Oaptain Scott. We have a bit of bad weather in New York. It looks like we'll experience a couple hours delay. Barry, these are cut flowers with no water. They'll never make it. I gotta get up there and talk to them. Be careful. Oan I get help with the Sky Mall magazine? I'd like to order the talking inflatable nose and ear hair trimmer. Oaptain, I'm in a real situation. - What'd you say, Hal? - Nothing. Bee! Don't freak out! My entire species… What are you doing? - Wait a minute! I'm an attorney! - Who's an attorney? Don't move. Oh, Barry. Good afternoon, passengers. This is your captain. Would a Miss Vanessa Bloome in 24B please report to the cockpit? And please hurry! What happened here? There was a DustBuster, a toupee, a life raft exploded. One's bald, one's in a boat, they're both unconscious! - Is that another bee joke? - No! No one's flying the plane! This is JFK control tower, Flight 356. What's your status? This is Vanessa Bloome. I'm a florist from New York. Where's the pilot? He's unconscious, and so is the copilot. Not good. Does anyone onboard have flight experience? As a matter of fact, there is. - Who's that? - Barry Benson. From the honey trial?! Oh, great. Vanessa, this is nothing more than a big metal bee. It's got giant wings, huge engines. I can't fly a plane. - Why not? Isn't John Travolta a pilot? - Yes. How hard could it be? Wait, Barry! We're headed into some lightning. This is Bob Bumble. We have some late-breaking news from JFK Airport, where a suspenseful scene is developing. Barry Benson, fresh from his legal victory… That's Barry! …is attempting to land a plane, loaded with people, flowers and an incapacitated flight crew. Flowers?! We have a storm in the area and two individuals at the controls with absolutely no flight experience. Just a minute. There's a bee on that plane. I'm quite familiar with Mr. Benson and his no-account compadres. They've done enough damage. But isn't he your only hope? Technically, a bee shouldn't be able to fly at all. Their wings are too small… Haven't we heard this a million times? “The surface area of the wings and body mass make no sense.” - Get this on the air! - Got it. - Stand by. - We're going live. The way we work may be a mystery to you. Making honey takes a lot of bees doing a lot of small jobs. But let me tell you about a small job. If you do it well, it makes a big difference. More than we realized. To us, to everyone. That's why I want to get bees back to working together. That's the bee way! We're not made of Jell-O. We get behind a fellow. - Black and yellow! - Hello! Left, right, down, hover. - Hover? - Forget hover. This isn't so hard. Beep-beep! Beep-beep! Barry, what happened?! Wait, I think we were on autopilot the whole time. - That may have been helping me. - And now we're not! So it turns out I cannot fly a plane. All of you, let's get behind this fellow! Move it out! Move out! Our only chance is if I do what I'd do, you copy me with the wings of the plane! Don't have to yell. I'm not yelling! We're in a lot of trouble. It's very hard to concentrate with that panicky tone in your voice! It's not a tone. I'm panicking! I can't do this! Vanessa, pull yourself together. You have to snap out of it! You snap out of it. You snap out of it. - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - You snap out of it! - Hold it! - Why? Oome on, it's my turn. How is the plane flying? I don't know. Hello? Benson, got any flowers for a happy occasion in there? The Pollen Jocks! They do get behind a fellow. - Black and yellow. - Hello. All right, let's drop this tin can on the blacktop. Where? I can't see anything. Oan you? No, nothing. It's all cloudy. Oome on. You got to think bee, Barry. - Thinking bee. - Thinking bee. Thinking bee! Thinking bee! Thinking bee! Wait a minute. I think I'm feeling something. - What? - I don't know. It's strong, pulling me. Like a 27-million-year-old instinct. Bring the nose down. Thinking bee! Thinking bee! Thinking bee! - What in the world is on the tarmac? - Get some lights on that! Thinking bee! Thinking bee! Thinking bee! - Vanessa, aim for the flower. - OK. Out the engines. We're going in on bee power. Ready, boys? Affirmative! Good. Good. Easy, now. That's it. Land on that flower! Ready? Full reverse! Spin it around! - Not that flower! The other one! - Which one? - That flower. - I'm aiming at the flower! That's a fat guy in a flowered shirt. I mean the giant pulsating flower made of millions of bees! Pull forward. Nose down. Tail up. Rotate around it. - This is insane, Barry! - This's the only way I know how to fly. Am I koo-koo-kachoo, or is this plane flying in an insect-like pattern? Get your nose in there. Don't be afraid. Smell it. Full reverse! Just drop it. Be a part of it. Aim for the center! Now drop it in! Drop it in, woman! Oome on, already. Barry, we did it! You taught me how to fly! - Yes. No high-five! - Right. Barry, it worked! Did you see the giant flower? What giant flower? Where? Of course I saw the flower! That was genius! - Thank you. - But we're not done yet. Listen, everyone! This runway is covered with the last pollen from the last flowers available anywhere on Earth. That means this is our last chance. We're the only ones who make honey, pollinate flowers and dress like this. If we're gonna survive as a species, this is our moment! What do you say? Are we going to be bees, orjust Museum of Natural History keychains? We're bees! Keychain! Then follow me! Except Keychain. Hold on, Barry. Here. You've earned this. Yeah! I'm a Pollen Jock! And it's a perfect fit. All I gotta do are the sleeves. Oh, yeah. That's our Barry. Mom! The bees are back! If anybody needs to make a call, now's the time. I got a feeling we'll be working late tonight! Here's your change. Have a great afternoon! Oan I help who's next? Would you like some honey with that? It is bee-approved. Don't forget these. Milk, cream, cheese, it's all me. And I don't see a nickel! Sometimes I just feel like a piece of meat! I had no idea. Barry, I'm sorry. Have you got a moment? Would you excuse me? My mosquito associate will help you. Sorry I'm late. He's a lawyer too? I was already a blood-sucking parasite. All I needed was a briefcase. Have a great afternoon! Barry, I just got this huge tulip order, and I can't get them anywhere. No problem, Vannie. Just leave it to me. You're a lifesaver, Barry. Oan I help who's next? All right, scramble, jocks! It's time to fly. Thank you, Barry! That bee is living my life! Let it go, Kenny. - When will this nightmare end?! - Let it all go. - Beautiful day to fly. - Sure is. Between you and me, I was dying to get out of that office. You have got to start thinking bee, my friend. - Thinking bee! - Me? Hold it. Let's just stop for a second. Hold it. I'm sorry. I'm sorry, everyone. Can we stop here? I'm not making a major life decision during a production number! All right. Take ten, everybody. Wrap it up, guys. I had virtually no rehearsal for that.

Come see us in Las Vegas. Get your Sin City Tickets: https://thespacelv.com/event/side-scrollers-presents-sin-city/New Side Scrollers Bits Channel -https://www.youtube.com/@SideScrollersBitsWatch Craig on Kick: Kick.com/SideScrollersArch: https://www.youtube.com/@TheArchCast Marty O'Donnell: https://x.com/MartyTheElder https://martyforcongress.vote/00:00 Faux Intro05:39 REAL INTRO15:29 Marty's Cancellation34:33 Marty Is Joining Us In Vegas!01:08:18 Plane Talk01:15:50 Hard News01:16:00 New Movie Announcements!01:36:23 Digital Media - You Own Nothing!01:40:03 A NEW Video Game For Phoenix!01:42:36 Elder Scrolls 601:45:20 Layoffs01:48:20 Quake Announcement01:51:45 Wholesome Thing: Kids Gets N6401:55:20 Rumble Wallet01:57:10 Gaming History

Mexican composer Gabriela Ortiz won three Grammys for her 2024 album Revolución diamantina, and this week sees the work's UK premiere at the BBC Proms, when conductor Gustavo Dudamel leads the second of two LA Philharmonic Proms on Wednesday. Gabriela joins Nuala in the studio to discuss her career and how this work was inspired by Mexico's 2019 Glitter Revolution, the nationwide feminist protests sparked after the rape of a teenage girl by four police officers, during which activists famously covered Mexico City's security chief in pink glitter. A hospital in a rural area of England has suspended its maternity services from today because of unsafe levels of staffing. Instead of going to the North Devon District hospital in Barnstaple, women in labour will have to travel more than 50 miles to Exeter. More than 15,000 people have signed a petition against the plans that was initiated by the Liberal Democrat MP for North Devon, Ian Roome. He joins presenter Nuala McGovern along with Jemima Knight who is currently pregnant with her third baby and lives in the area.Imprisonment for Public Protection sentences – or IPPs - were brought in by the Labour government in 2005, resulting in many prisoners not being given a fixed release date. One woman given a two year sentence spent sixteen years behind bars, with no idea of when she would eventually be released. They were abolished in 2012, but figures show more than 2,000 people are still impacted. As Prime Minister Andy Burnham looks into how they will play a part in his plan to reduce the prison population, we hear from Dr Muin Boase, the barrister who led the recent complaint to the UN on the continued use of this sentencing and how it's impacted women. How can we get children to read more over the summer? It's officially the National Year of Reading and evidence suggests that reading more over the holidays can help children hit the ground running in September when schools go back. But for many busy parents, getting children engaged in books and actively choosing reading over the lure of a tablet, TV or anything else can be a challenge. Liberty Venn, founder of the Children's Book Project, and award-winning author and former primary school teacher Luan Goldie join us to discuss the benefits and share their tips for getting children reading more. Presenter: Nuala McGovern Producer: Sarah Jane Griffiths

Brad Fiedel wrote one of the most recognisable pieces of music in film history, and he did it on a drum machine, a sequencer and a keyboard chained together with a computer ribbon cable, before MIDI was really a thing. The famous lurch in the rhythm is him hitting a button by hand and deciding the wobble was better than the fix. Years later Henry Mancini rang up wanting to record it with a big band, and the man writing the lead sheet couldn't work out the time signature.There is a lot more to Brad than Terminator, and that's really what this conversation is about. He grew up inside his parents' school of the arts on Long Island, his dad a jazz musician, his mum a modern dancer who studied with Martha Graham. He spent years improvising live for dance classes, which turned out to be exactly the muscle a film composer needs, though nobody told him that at the time. He nearly signed to Columbia. He played keys for Hall and Oates in 1974 and jammed with the band that became the E Street Band. He was working with Arthur Miller and Vanessa Redgrave before James Cameron ever called.We get into temp tracks and why he never did his best work against one, when a scene is better off with no music at all, the direction Cameron gave him on the canal chase in T2, and the moment after the True Lies sessions when a small voice told him he was finished. These days his regular gig is writing musicals with first graders in Santa Barbara, and he's very clear that he gets as much out of it as they do.This podcast is completely independent and made possible by listener support. If you'd like to help me keep making these episodes, you can join my Patreon community here: https://patreon.com/jamiebenning Watch more on YouTube:Check out the Filmumentaries YouTube channel for behind-the-scenes clips and extra content: https://youtube.com/filmumentariesAll my links

Greg Schlaepfer is the founder of Orange Tree Samples, where he's spent seventeen years solving a strange problem: how do you take an instrument with six strings and two hands doing completely different things, and make it playable from a keyboard?We talk about the magic trick that gave the company its name, why he pays royalties to every musician and engineer who works on a library, and what it actually costs to spend eleven years finishing a single project — three scrapped interfaces, several rounds of burnout, and 376 instruments later.Along the way: chasing realism versus loving lo-fi sounds for what they are, why impressing people is the weakest way to move them, and what it means to be an artist on the days you feel like anything but.

Send us Fan MailFor many of us, hearing orchestras or choirs perform, "The Messiah," at Christmastime is one of our favorite traditions.  While "The Messiah," is composer George Frideric Handel's magnus opus, his other contributions to classical and sacred music, was a game changer! He dedicated his life to using his musical genius and glorifying God. Yet this Godly and brilliant man has recently come under attack by the LGBQT community and liberal ideologues who have their own evil agenda. Join us as we delve into George Frideric Handel's life and how his name and life is being desecrated!Thanks for tuning in! Be sure to check out everything Proverbs 9:10 on our website, www.proverbs910ministries.com! You can also follow us on Facebook, Instagram, Rumble, YouTube, Twitter, Truth Social, and Gettr!

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Kate Molleson tells Mozart's story through five of the relationships that shaped the composer and his music - from his friends and family to a mentor and a supposed rival.Symphony no. 35, K385 ‘Haffner' Violin Concerto No. 1 in B flat, K207 Concerto for Flute Harp and orchestra in C, K299 Symphony no. 31 D major, K297 'Paris' Idomeneo Piano Concerto No. 20 in D minor, K466 Concerto for Two pianos no. 10 in E flat major, K365 Exsultate Jubilate Symphony No. 29 in A major, K201 Vespers sollennes de confessore in C, K339 Sonata for Piano Four hands in D major, K381 String Quartet no. 20 in D Major, K499 ‘Hoffmeister' Symphony no. 36, K425 ‘Linz' String Quartet no. 19 in C major, K465 ‘Dissonance' Fantasia in C minor, K475 Symphony no. 41 in C Major, K551 'Jupiter' Die Entfuhrung aus dem Serail - Overture Der Schauspieldirektor, K486: Da Schlägt die Abschiedsstunde Piano Concerto no. 24 in C minor, K491 Così fan tutte Chamber Orchestra of Europe Clarinet concerto in A major, K622 Masonic funeral music in C minor, K477 Trio in E flat for clarinet viola and piano, K498 'Kegelstatt' The Magic Flute: Overture The Magic Flute: Finale Requiem in D minor. K626Presented by Kate Molleson Produced by Megan Jones for BBC Wales AudioFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Wolfgang Amadeus Mozart (1756-1791): https://www.bbc.co.uk/programmes/m002ztshAnd you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z.

Africa speaks to Linda Sikhakhane about his new album LINDA and its exploration of identity, heritage and the evolving sound of South African jazz. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Enjoy one month of free access to Conversations on Dance on Patreon and listen ad-free. Click here to redeem. Join Conversations on Dance hosts Rebecca King Ferraro and Michael Sean Breeden for a special live podcast recording celebrating a remarkable milestone: the 10th year of Pulitzer Prize and Grammy Award-winning composer and performer Caroline Shaw as the festival's Leonard Bernstein Composer-in-Residence.Shaw, the youngest-ever winner of the Pulitzer Prize for Music, has been a defining creative voice at Vail for a decade: composing and collaborating across genres, disciplines, and artists in ways that have transformed what's possible on a summer stage. In this conversation, she reflects on ten years of pushing music and dance into new territory, what keeps drawing her back to the mountains of Colorado, and what is next for her.Stay tuned for more episodes coming from the Vail Dance Festival 2026.Conversations on Dance at the Vail Dance Festival is generously underwritten by The Town of Vail.Conversations on Dance was the recipient of the 2024 Clive Barnes Award for Journalism and Media Achievement.Access bonus episodes on Patreon: https://www.patreon.com/cw/conversationsondanceWebsite: conversationsondancepod.comJoin our email list: https://conversations-on-dance.kit.com/7f73880f5bInstagram: instagram.com/conversationsondance Hosted on Acast. See acast.com/privacy for more information.

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. For this episode of “Obbligato,” a show dedicated to AAPI classical musicians, composers, and scholars, host Isabel Li interviews Indian American composer Reena Esmail, who blends Hindustani musical themes with western classical compositional styles. Music in this episode: – This Love Between Us “Prayers for Unity”: II. [Sikhism] – Lacrimosa (from Malhaar: a Requiem for Water) – Terra infirma: IV. roaming the ghost forest Transcript Isabel Li: I'm Isabel Li, here for a new edition of “Obbligato,” which explores the AAPI community in the classical music world. Today, we're featuring the Indian American composer Reena Esmail and her unique compositions that blend Hindustani music with Western classical styles and how she writes music about religion, spirituality, and even environmentalism. Welcome, Reena, to Apex Express. Reena Esmail: Hey! It's so great to be here. IL: My first question for you is one that's probably a little bit loaded, but how do you identify and what's your story? RE: I don't know, it's interesting because I work in many different situations, and I think I always identify as the thing that isn't whatever the dominant situation is that I work in. Right? So it's like when I'm in America, I identify as an Indian American. When I'm in India, I identify as an American. When I'm working in Western classical music, I'm the person who knows stuff about Hindustani music. When I'm working in Hindustani music, I'm the person who knows stuff about Western music. So really. Actually, I think of identity not as a fixed thing, but as how you, um, delineate yourself, how you're unique in the situation you're in. You know, it's interesting because especially in the case of Asian Americans, Asia is such a broad thing, right? There are so many more East Asians in Western classical music than there are South Asians. Certainly in my generation. You know, I was surrounded by Chinese, Korean, some Japanese people who were always, you know, playing the piano when I was playing the piano. And, um, there really was not many other Indian people. And, you know, I'll, I'll actually say that even within India, um, you know, if you look at me in America, I'm just Indian. If you look at me in India, I have a very unusual lineage, which is that my dad is from the region of Gujarat and his family is Muslim. My mom is from the region of Goa and her family is Catholic. And so because of that, when I was expressing interest in music, My mom was the one who had more of kind of a musical knowledge in her family, even though there's no professional musicians in her family. So because Goa was colonized by Portugal, there is this element of Western classical music in Goan culture. And so because of that, my mom was like, oh, let's give her guitar lessons, let's give her piano lessons. And so that's how I landed up in Western classical music as opposed to doing Indian classical music. Um, so yeah, I kind of went through the Western classical scene. I was very interested in being a pianist. And, you know, I'm glad that I'm glad I'm a failed pianist in all honesty, because I see what my colleagues who are real, you know, professional pianists have to go through. And I just don't think I have what it takes to do that. It's really an intense job. Um, but when I was in high school, um, one of my theory teachers kind of said, hey, you know, you might be a composer. It seems like you think like a composer thinks, why don't you try composing and why don't you try writing things down? and one thing led to another. And basically a year and a half to two years after studying, I got one of a very few spots in the undergrad program in composition at Juilliard. And that was a point where my parents kind of said, okay, you know, we don't know a lot about the music world, but it seems like if she got into Juilliard, she's probably like somewhat good at this. Maybe we should kind of see how this goes. And, you know, from there on, I pursued composition. IL: And when and why did you start to study Indian classical music, which is a big element in your compositions now? RE: Yeah, absolutely. So I think it's interesting because in every generation, I've seen so much change in how the diaspora views itself. And certainly when I was growing up, you know, I know this is hard to believe, but there were not if you were an Indian going to school, you were kind of the only one. If you were an Indian music, you were kind of the only one. So there was this element where when I went to Juilliard, um, there were I to my knowledge, two Indians in the entire school, me and an actress who had actually come from Calcutta. And so people were trying to, you know, make conversation with me and they'd be like, well, you know, do you do stuff with Indian classical music? And I would just be like, no, I'm trying so hard to even write music for orchestra and, you know, string quartet and all the things that my peers are trying to do. Like, is that not enough? Because I'm Indian, I also have to be doing all this other stuff. And so I resisted it for a long time because I was just trying so hard to do one thing well. But then, you know, I think what, what made me kind of unique is that, you know, I stood out, I was Indian and then, you know, when I was young, that felt really cool. The older I got, the more I thought, well, you know, I know I'm from this culture that has incredible music and I know it when I hear it, I know nothing about it, and maybe I should actually pursue it. And so I really separately kind of started meeting Indian musicians who lived in New York, and I would just ask them questions, and I got to know them. And I realized that while we didn't share a type of music, we did share a culture and we did share a love of music because it is interesting that the culture of Indian classical music is actually quite similar to the culture of Western classical music. You know, you study with a teacher over a really long period of time. You're practicing for hours a day. The kind of personality that would love Western classical music would also love Indian classical music. And so I just made friends with some of these Indian classical musicians. And of course, being a composer, I thought, why don't I put them in my music? You know, how do I do that? And so it was really just curiosity that led me down that path. And for many years, that path was very separate. Because again, I know it's very hard to believe now, but there was a time where people really did not want these cultures to be combined, and people just really looked down on cultures that were not, you know, the dominant Western European classical culture. And so I kept them really separate. And even when I started combining them, people were like, oh, that's sweet. She does stuff with Indian music, you know? And it was really not taken seriously. It's only really in the last decade that people have been embracing other musical cultures. And I mean, how glad I am that that's happening. But it was very, very hard fought and very separate at first. IL: And on that note, how do you navigate the unique challenges of composing with both these cultures in mind, but also being situated in the United States, where people come from all different backgrounds? And how do you as a composer approach that in this context? RE: I mean, I think it's interesting because first of all, I am musically bilingual now, so I can. I went to India, I studied Indian classical music. Seriously. I still work with Indian classical musicians very closely. And so, you know, I can be working on a piece that has Indian classical musicians in it, and I can turn to them and immediately speak in their language and their musical language. And then I can turn to the Western musicians and speak in their musical language. So every single piece I write, especially the ones that involve Indian classical musicians. There is a way through those pieces, both through the Western lens and through the Indian lens. And so I think I'm working in a position where I actually do know how to speak both those languages. And when you do speak both those languages, you know, just the way that if you speak any two, you know, verbal languages, you would know that there are sounds that are cognates. And so you're like, oh, I say the sound. So maybe and it means one thing in one culture and one thing in another culture. But you know that that sound is the same. And so with musical language, you can actually use those musical cognates to connect across cultures by saying, just listen for this thing. And when you listen for this thing, interpret it through the lens of your own culture. So that's certainly how I work. But, you know, I mean, again, I want to say that's not the only way to work. I don't think that you have to be, you know, I mean, again, there's probably most people who are listening to this probably have one musical culture and then maybe they know much less about the other musical culture. That is also fine. You know, you don't need to be an expert in order to want to explore and, and love a thing that's just, you know, where I am because it's the, the center of my musical practice. IL: Well, let's hear a selection from Reena Esmail's oratorio, “This Love Between Us.” This is the second movement titled Sikhism. David Hill conducts Juilliard415 with the Yale Schola Cantorum. [MUSIC: This Love Between Us “Prayers for Unity”: II. Sikhism] IL: That was Sikhism, the second movement from the oratorio This Love Between Us by Reena Esmail, who is here in conversation with me today on KPFA for APEX Express. Something that I really found interesting in especially your work — and I'm sure this has been asked many times, but This Love Between Us: Prayers for Unity. This oratorio that you wrote, beautiful work where you use words from the seven major religions of India. And each movement of the choral work is also named after a different religion. In what ways did you adhere to or challenge norms of spiritual music? Because religion is so religion and music are so deeply tied together. How did you challenge those norms or how did you express those norms when you wrote this work? RE: You know, I think it's interesting because my own spiritual background is very kind of multi spiritual multi-faith. But like I said, my, my father is, is my father's side of the family is Muslim. My mom's side of the family is Catholic. My husband is Hindu. All of them grew up in a very singular practice in each of their religions. But for me, I grew up, you know, around my mom and my dad and then, you know, my husband later. And just there's a part of me that takes in the essence of each of these spiritual traditions. And, you know, I'm trying to kind of find what feels true to me in each of those places. And so to me, you know, this love between us is, is a place where I'm trying to essentially say, yes, we express things differently through whatever cultural, uh, history, that language or that that religion emerged through. And yet we're all trying to get at that same numinous thing. And, you know, I mean, I'm not saying, oh, all religions are the same. Definitely not. You know, there's, there's many different ways to practice things. And, you know, your unique way into your spirituality is your own. And that's, that's amazing. But also, we all kind of our cultures form religions for a certain reason, and it's because we want to try to understand things that are beyond ourselves. And so that's essentially what the piece is saying. So I know I'm sure there are purists who are like, you shouldn't be combining these things, but, you know, there's always going to be purists who do that and there's a role for that. But that's not really my role. So, I mean, I picked the pieces and I picked the religion specifically because of the numbers of people who practice that religion currently within India. And so it is like the largest, um, populations, you know, like Hinduism, Islam, Buddhism, all, all of those things. And then there's one little tiny religion, Zoroastrianism. And while they are not, there's not many of them within India. They are the ones who are practicing Western classical music in India. So people like Zubin Mehta and all, they are Parsis that are Zoroastrians. So I thought, you know, it's important to include them too, because it's a piece that involves a lot of Western classical musicians. IL: I'm wondering now, as a composer who's working with music of different languages and religions and origins and also evoking a lot of these spiritual truths that are pretty universal in nature. What is your view on the function of music? There's the platitude that music is a universal language. Do you how to what extent do you agree with that? RE: You know, yeah, it's hard to, to, um, to think of music as a universal language. But I think sometimes we, how can I say this? It's such a broad question. When we are working in a form that isn't completely narrative, it gives us a little more chance to get at things that don't have to follow logically after one another. They're just feelings that we're able to feel. And I like working even when there are words, you know, there are certainly words in all of these, these, uh, pieces in this love between us. But I feel like sometimes we just feel something within us. And, you know, I experience this a lot when I have a piece performed, people will come up to me and say like, oh, this made me feel like this. And then the next person will come up to me and say, oh, this made me feel exactly the opposite thing. And I, I really love that we can have those experiences. And, you know, recently it's been really interesting because people have been asking these questions like interviewers, you know, before performances will be like, well, what do you want the audience to feel? And I'm like, oh, I don't want to answer that question. I want you to feel whatever you feel. There's nothing right to feel. And often, I mean, I'm not the one to ask. I'm so close to the music because when I'm listening, I'm thinking like, okay, was that C sharp in tune? Okay, you know, that's what I'm feeling. And I certainly don't want them to feel that. So I don't know. I think it's, it's just exciting to see how when we get out of these, what we should do this and this is the right thing to do. And this is the only way to do it. Um, how do we behave? And there are so few spaces left where if we don't say exactly the right words at the right time to the right people, you know, if we don't have exactly the right opinions that everyone around us has, We are so condemned and music might be one of the last places that we're allowed to feel whatever's inside of us. IL: Mhm. That's really interesting to think about. I think art in general is very beautiful because it allows people to interpret it in many different ways. I think for your music, you really draw on cultural specificity in terms of Hindustani music. What advice would you give to other young composers or also maybe artists of different mediums in creating that balance between specificity and universality? RE: Yeah, I think the thing is that the way into a deep practice is specificity. You know, I know people have asked me like, oh, you've done stuff with Indian music. Are you going to do stuff with other music? And I'm like, gosh, there's still so much to explore. I could have like three lifetimes and still not explore everything I want to explore just in the relationship between Indian and Western classical music. I mean, goodness knows I have four degrees in Western classical music, and I still am barely scratching the surface of it. Right. So I kind of feel like specificity is important because it allows you to access depth. And yet, you know, when you are specific about a certain thing, um, like for instance, like a scholar who only speaks Italian, I mean, they're going to know more than someone who maybe speaks five words of each language, right? So they can transfer over at a higher level and make more sophisticated points and understand the world with a more universal lens if they've gone really deep on one thing. So I would say, you know, to young composers, to young musicians, pick one practice and know it really, really well and deeply become go as far as you possibly can and then, you know, try to see if you can find relations between your primary practice and a different practice. Um, and I mean, some people, you know, I know in this generation that's coming up, that's like in their teens and twenties, there are South Asian, uh, kids who are here whose parents have come from India that are learning Indian and Western classical music side by side. And I think that's great. I mean, that's awesome. But I would also say make sure you don't just learn halfway. Both of those things, you know, if you're going to learn them, if at least with one thing, try to go as absolutely far as you can. IL: Let's hear another example of Reena Esmail's bilingual musicality with her work, Malhaar: A Requiem for Water, which was recorded fairly recently. The vocalist is Graycen Gardner with the choir conducted by Amy Fogerson. [MUSIC: Lacrimosa (from Malhaar: a Requiem for Water)] IL: Composer Reena Esmail used Indian classical instruments in that work, titled Malhaar: A Requiem for water. The vocalist was Graycen Gardner, with the choir conducted by Amy Fogerson. Percussionist was Rohit Panchakshari. I'm Isabel Li in conversation with composer Reena Esmail on this edition of Apex Express here on KPFA 94.1 FM. So when you integrate Hindustani classical Hindustani music, Indian classical music and those instruments into your scores, did you happen to did you have to develop a way to translate the notation of those notes in Western classical music notation, or vice versa? RE: Yeah, it it begs the greater question of what is notation for? Right? Because notation is essentially a way for Western musicians who read notation to look at a thing and be able to associate sounds with that thing. And so when I'm notating for Western classical musicians, I'm saying, okay, what is a cellist typically seeing and what are they doing based on what they're seeing? And then how can I take that language that they know really well that they play in Bach suites, that they play in Elgar, Cello Concerto, whatever it is, how can I take that language and just move it, you know, a couple degrees outward so that they're able to express different things, right? And so it's very much a psychological thing. You know, it's not a science the way that we think of it as and we learn it as this, oh, you know, eighths and sixteenths, and they divide this way. There's a lot you can do just to make someone feel a certain way with notation. On the other hand, if I'm writing for a sitar or tabla, the question is what? What is the role of the notation? Because the role of the notation for tabla player who has only Hindustani training and doesn't read music. It's certainly not for the tabla player that I'm doing the notation. Usually what I'll do is sit down with the tabla player in a, you know, more Hindustani style and say, hey, this is what I want. I want you to have like six overtones of teental. It should be at this tempo, blah, blah, blah. And they're like, oh, got it. I see what you want me to do. Right? And so all you need to figure out is the alignment points with the Western classical musicians. And so then the notation I put in the score is not really for them. It's for a conductor, for the Western musicians to be able to understand what they are doing and to be able to cue them in and help them kind of be in dialogue to one another. So it's interesting because, I mean, these days now I'm finding that there are tabla players who are both Indian and Western classical trained, and they want a part, but parts are not a thing. When I first wrote This Love Between Us, there were no parts for the tabla and sitar player. I actually had a cue sheet that I would actually point to as they were going, so that they knew, you know, what the different cues were because a part, you know, counting rests and stuff is not going to help them at all. So I think it's mostly trying to understand how is someone perceiving something and how can you give them the information they need in the most seamless way possible so that you can express what you want to express? IL: I love how technical that entire rundown was. I also wanted to talk a bit about your work, Terra Infirma, which is pretty recent. I had the honor of attending the premiere of Terra Infirma, a harp concerto that you composed based on your experiences with the Los Angeles fires in January of 2025. Um, it was such a wonderful work. I personally really loved hearing how you musically depicted the progression of a wildfire from despair to hope. It's also not the first environment based piece that you've written. YYou've written, for example, Earth Speaks in 2015. How do you approach composing works that are so rooted in environmentalism? And of course, have, have the undertones of speaking to the larger climate crisis at hand? RE: The thing that is interesting is, you know, someone was asking me about that piece, you know, you, you're, they're asking like, how do you kind of deal with activism in your work? And I was saying like, you know, I don't really think of myself as an activist because I think these issues are so fundamental to all of us, right? It's like you turn on your tap and you're just afraid that there's only going to be so long before water stops coming up. That's not, um, it doesn't feel like activism. It just feels like, you know, fear and it feels like we're tapping into these human emotions where people are so worried about what's going to happen. We don't really know what to do. And I think, you know, with anything, most people who have fear about things, you're going to just clam up if you feel that it's too, um, too much to deal with. And it is I mean, the environmental crisis is so huge that I think most people are just clamming up. And I guess, you know, what is our role as musicians? I think it's maybe to have some moments where we're not just like on our phones, seeing pictures of things burn down and freaking out where we can actually take some time to just reflect and be with one another. Because if we're going to solve this, it's going to be together and we need to come to some kind of like calm understanding of what is happening. And so a lot of my pieces are not accusatory. They're not, you know, pointing a finger. They're not supposed to rile people up. They're supposed to actually depict that experience of what it feels like to really sit with a hard thing for a long time and come to terms with it and then figure out how to move forward. And that's certainly the case with Terra Infirma and certainly the case with my Requiem. Certainly the case with curiosity, like you were saying, it's from Earth Speaks, which is many years ago. And that piece actually talks about the, the Pasadena institution's. It was actually for an organization called Pasadena Master Chorale. They commissioned the work many years ago. And what's so funny is I now live in Pasadena. I live in Altadena, up in the hills. So it's I wasn't living here at the time, but it is, you know, a place where many scientific institutions like the U.S. Geological Survey, you know, JPL, Caltech, all these places that are really exploring the environment in important ways are based. And so the piece kind of honors that and honors how we can interact positively with our environment. We can get data, we can find ways to do things that are, I mean, beyond my understanding, you'd have to ask a scientist, but but I just love that that we're in this place that sees the environment as something to understand more deeply instead of something that's just going to turn on us at a certain point. IL: Certainly. And I'm really curious, because Terra Infirma is also a work that was paired with multimedia animation and performance. Was there anything in your compositional process that differed when you're collaborating across these different mediums? RE: Yeah. So it's interesting because so the, there was, there were projections that were happening. And also in addition to that, it was a harp concerto, but a harp concerto where the harpist was also playing percussion. And so there were some elements that were so different than what would be typically like if harpist was like, I want a concerto. You would just be like, okay, you know, she sits there, she plays these notes. They're in that one position. That's all fine. Um, there was so much more, you're right with this piece than with, um, with my normal pieces. Um, and to me it's both, how can I say this? There's, there's such a different way I have to think about it, but I think that way starts with collaboration. So Yolanda Kondonassis, the incredible harp player, and Camilla Tassi, who was the production designer. These are people I know well and I've had multiyear relationships with. And so when you're thinking about how to build something, you're totally aware of what their work is like. I knew kind of the not even what Camilla's projections were going to look like, but the way that they interact with things. We've done projects together before. And so I pretty much had the sense of how she was going to respond. And I knew what she needed to know in order for her to do her work and make things kind of match up with one another. And then also with Yolanda, a lot of the stuff I put in that was like harp and percussion together. It wasn't something that I was making her do, right? It were things that we came up with together. We've spent so long workshopping things in percussion studios in, um, you know, we've met in all these different cities and we're basically like banging things against a harp and doing, you know, just so much experimentation. So for every technique you see in the concerto, you, um, you basically there's like ten things that we didn't do that didn't put in. So you're really only seeing the best of all the kind of crazy stuff that we tried. So I do think the thing is that when you're trying to invent something new and you're trying to invent new styles and new techniques, I mean, you can think of anything, but you're trying to find the things that A practically work and B allow the performers and the artists to really express themselves. So I found that I was actually choreographing the piece before I was composing it, um, that I had to figure out, okay, where are these percussion setups going to be? What are the instruments that I want? Okay. Are these chimes going to be like over her head? Or is she going to have to reach really far to get them? Are they going to be near the low end of the harp? Things like that that seem so practical. But the difference between having to reach out far and slowly versus having to like, quickly swat something near your ear, right? It makes a different choreography. And so I thought that way first. And then I kind of put the notes and rhythms and melodies and stuff in. IL: Let's now hear a selection from Reena Esmail's Terra Infirma. This is the fourth movement titled “Roaming the Ghost Forest.” Yolanda Kondonassis is the harpist with the Interlochen Center for the Arts Orchestra. [MUSIC: Terra infirma: IV. roaming the ghost forest] IL: The harpist was Yolanda Kondonassis with the Interlochen Center for the Arts Orchestra, playing the fourth movement of Terra Infirma by composer Reena Esmail. I'm Isabel Leigh, and in this episode of Apex Express, I'm joined by Reena Esmail, the composer, in conversation about her music and her approach to making art. Something else that I really was fascinated with on your on your Instagram account. You actually made a post a while back that I found to be very powerful. It's pinned as the letter to the young artists' immigrant parents. It's such an empathetic message that I also really relate to as a daughter of immigrants in the arts. And you kind of argue that these children's pursuit of the arts is a tribute to their parents immigrant struggles. Um, what motivated you to write this letter? RE: You know, I'm so glad you asked about that because so much has changed since I wrote that letter in a really good way. You know, first of all, I will say that when I wrote that letter, if you weren't a child of, you know, like Asian immigrant parents, you. And actually, I think this is true for most immigrant parents who, you know, have kind of given up everything to move to America so that their kids can explore all these opportunities they wouldn't get in their country of origin. When I first wrote this letter, it was really just, I felt like I was saying something really new. And now I think what's really interesting is that we have both parents who understand this and, um, kind of almost this parody way of seeing what Asian parents are like. Right. For me, one thing that I, that just makes my heart sing is the comedy of Zarna Garg. I don't know if you know who she is, but she is like an Indian American comic and she plays this role of being like this very typical Indian parent. And I will say, my parents weren't really like this because again, they were two different religions and married one another. So they were already quite open minded. But like 99% of Indian parents and even my parents, sometimes they have this thing of like, well, ‘why are you going into this?' Like you should make money, you should do this stuff. And I feel like, um, since Zarna's comedy came into the world, it's such an easy way to just point a finger at that and say, hey, this is what we're really dealing with as Indian immigrants. And, you know, we all just laugh at it. And I find that, you know, sometimes my friends who are just, you know, white Americans who have been in this family has been in this country for many generations. They don't get it. But like anyone who's a child of immigrant is like, oh yes, I completely understand what she's saying. So we have that. And I think that's really healthy and awesome. And she's very talented. Um, and on the other hand, I found that when I was first going into music and I mean, I, you know, when I was 18 and I was going to go to Juilliard, my parents were certainly supportive and curious and wanted me to do whatever they thought I might be good at enough to make a living and didn't want to optimize for, oh, you need to earn the most money or you need to, etc. but most other Indians around us were like, oh my God, she's so smart. Why is she like wasting her life doing music? You know, that was kind of the dominant narrative. And so I had to become very good at explaining why. And imagine my complete disbelief when I would go to conservatory and meet people whose parents had encouraged them to do music. I was like, what is happening? Like, we're like, there'd be four siblings and all of them would be in the arts. And I was like, oh wait, you're not the black sheep of your family. Like, I mean, half of my family, I don't think really knows what I do still even. Right? And so to me, it was so important to provide some kind of context. And like you said, it's like to, to come to this country and be an immigrant and to come with a lot of skills, but to have to just work in silence for so many years with no congratulation, with no one just constantly propping you up. That is what being an artist is. And you know, it's only maybe the past 10 years of my career that I've even been visible to people. Before that, it was just me doing my thing and like, no one cared about it. It was not not glamorous at all. And for me, that's what built the kind of strength in me to be able to sustain the career that I have now. And so I think if it had been a little too easy, I don't know that I would be able to handle, um, the, what I have now. So I think what's great though is that the Indian parents of kids who are teenagers and in their twenties nowadays are not coming to me being like, oh my God, what do I do with this kid who wants to be a musician? I've failed as a parent. Which again, for those of you who are not Asian, this is totally a true thing out there. They will come to me and say, hey, look, my, my child doesn't wants to be a musician. I want to help them. I can't tell like, are they good at this? Where should they be? Can you help me understand things? And that is really what my parents did. And I will, you know, kind of go further to say — PBS did a special on me a number of years ago, and I insisted on putting my parents in this special because I wanted people to see what it looked like to have really encouraging Indian parents who, again, they weren't going in blind. They were. They would go to my teachers and be like, well, I mean, is she good? Can she do this? We don't know what these answers are. Can you help us understand? And they really relied on the right people to be able to help me get to places that they couldn't get, but they also weren't just immediately dismissive of it. And that's what allowed me to kind of have a massive advantage, because I didn't have to also go back to school and do a medical degree. Or like most of my my peers of my age actually did. So I wanted to put them on that special to actually show that that is possible. And I'm seeing more and more that it is. There are many more parents like that now. And oh my goodness, I love every one of them. IL: That's wonderful. When you look back at your compositional career and how everything has changed since then, how do you think your work has evolved? RE: Oh, so you mean like since I began being a composer? IL: Yeah. Or maybe in the past ten years, even. RE: Yeah. It's interesting because I think one of the big inflection points in my work was when I did my Fulbright in India. So before that, I really didn't know very much about Indian classical music. And then the year before that, I really started to get deeper and started to integrate my Indian and Western classical world with one another. And then, you know, I from 2011 to 2012, I went to India and what was so different was actually seeing the music in its culture and actually getting to participate as an Indian in India, studying Indian classical music. Right. Because there's no filter. You're not going through a Western filter. You're just there in this culture. And I know that many of my Indian teachers, they kind of had this attitude of like, look, we don't know what kind of music you were doing before, but we're so glad you're here and studying your own music. And this is great. And so there wasn't this sense of having to go through another culture to get to their, their music. And to me, that really changed things because I don't see myself as writing music. That's one through the conduit of the other. I just see it as two streams that are equally incredible and equally independent, and they just meet each other in these interesting places. IL: And looking ahead into the future, is there an ensemble or an artist who you haven't worked with before that you'd love to work with? Ooh. It's interesting because, like, almost everyone who comes to mind is not a musician. Um, I've worked with so many. I mean, truly, I've been so lucky to work with musicians like Gil and Orli Shaham. Yolanda Kondonassis. I'm writing a piece for Hilary Hahn and Matthias Goerne right now. It's I mean, just like literally anyone who I could ever ask to work with, I have. I don't know. I mean, to me, it's like, gosh, someone like Misty Copeland would be amazing. Like, you know, there are so many actors like the world of Indian/South Asians in comedy and in drama and stuff like that is just incredible. People like Mindy Kaling who have done incredible things to me, people like that are just going outside of just music would be fascinating to me. IL: Absolutely. And I will put a link to your website, as well as the links to the music that will also be aired on this in this episode on KPFA.org, so our listeners can learn more about you and your wonderful work. Well, Reena, thank you so much for your time and thank you for talking to me today. RE: Absolutely. The post APEX Express – 8.06.26 – Obbligato – In Conversation with Composer Reena Esmail appeared first on KPFA.

In this episode, Dave talks with Pibox founder and CEO Ivan Talaichuk about the point where Dropbox, email, and spreadsheets stop being enough and what production music composers can learn from the way professional music teams manage feedback, revisions, cue versions, and collaboration.Watch this episode on YouTube: https://youtu.be/5p2apQqacwUFind out more about Pibox:https://pibox.comSupport for the 52 Cues Podcast comes from ReelCrafter, the professional way to pitch your production music and know exactly when your cues are heard.Start your free trial at ReelCrafter.com/52Cues!Join the 52 Cues Community! – https://my.52cues.comIt's free to post your cues for feedback from the community, network with other composers, and ask questions about the industry!Plus, member subscribers get extra perks like workshops, livestreams,  cue breakdowns, live feedback sessions, hundreds of hours of video archives, and opportunities to submit to real music libraries.One-on-one coaching sessions and video critiques also available at http://52cues.com/coaching!Note: Links may be affiliate links which generate a small commission but at no extra cost to you!

Tye Austin is a classical guitarist and composer from Southern Oregon and also the founder and artistic director of Wilder Frets: Classical Guitar in the Wilderness.     The two-month-long concert tour that kicked off on Aug. 1 features Austin performing original and traditional classical guitar compositions at 15 state parks and other outdoor locations, from the Central Oregon high desert to the Portland metro area, the Rogue Valley and the rugged Oregon coast. Austin is making tickets available for free or at discounted prices for people facing financial difficulties, and he’s also giving away free classical guitars and music instruction to at-risk youth.    He joins us to share how the pandemic inspired this concert series, his vision for its future growth and to perform works audiences can expect to hear.    

Allison Philips is a Brooklyn-based trumpet player, composer, and educator. She's led a trio and a quartet, and she's co-led the DeiCont | Philips Collective. She's toured throughout the U.S., Europe and Canada. She is a member of the Afro Latin Jazz Orchestra which has performed with The Jonas Brothers and Yo La Tengo among others. She's appeared at Carnegie Hall, Birdland, and The North Sea Jazz Festival, among others. My featured song is “The Rich Ones”, one of my recent singles. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH ALLISON:www.allisonphilips.com —------------------------------------ ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

Less, more frequently. Keeping my glorious subscribers up to date on some changes. Click here to view the printable newsletter. More readable than a transcript. Summary 600 blog posts and 250 podcast episodes in. I’m making a change. Production runs 50-60 hours per episode — unsustainable, even though I love every minute. In this trike-ride solo episode, I share what’s pulling my time: co-founding Trust My Own Health (a new startup, weekly one-screen newsletter ), co-leading an endometriosis series with Phee, and playing more baritone sax. The plan going forward: shorter, more frequent Health Hats episodes — 15-minute check-ins instead of long-form deep dives. Recorded live on a trike at 6:30 am, because that’s how I do things. Episode Okay, hello. How you doing? I’m back on my trike. It’s like 65, supposed to be 90 today. Maybe it’s 6:30 in the morning. I’m wearing a long-sleeve shirt just ’cause it’s a little cool, but not too bad. Anyway, good to be out here with you. So let’s see, what am I thinking about? I’m thinking I’m gonna make a change to my podcast. I thought I would take a moment with my most avid longtime followers. Thank you very much. ‘Cause I’ve been overwhelmed by my long-form podcasting. It’s taking 50 to 60 hours to do an episode. It’s just ridiculous. Actually, I enjoy every minute, but it’s too many minutes. And so let me tell you why it’s too many minutes and what my plan is going forward. I’m co-founding a startup, Trust My Own Health. And I will include a link to that ’cause I would love for you all to learn about it and subscribe to yet another Danny thing, a weekly one-screen newsletter. But anyway, this is taking a lot of my time, and I’m really enjoying it. I feel like it’s actually a culmination of my whole career, my whole life in healthcare, and I really wanna put the time in it. We’re in the raising money stage. And I’m actually, for the first time, feeling like we can do this and we’re getting ready to do this, and I wanna put in the time. But I don’t wanna stop doing Health Hats, the podcast, ’cause I love it. So I’m thinking about doing more frequent, like 15-minute things like this, just talking to you about life and health and what’s going on. And then meanwhile, What’s also happening is that I’ve been working with Phee, who is a person. with some very serious endometriosis. And over the past couple of years, my awareness of endometriosis has grown. Phee uses the pronouns they and him. So Phee wants to tell their story, and it’s a great story. I suggested that they co-lead the series about it. We’ve met a few times on Zoom, and we’re in the process of inviting a couple of guests. I see this as a series that will come out when it comes out. But I think I’m gonna– I think we are gonna put it out in half-hour bursts, just to go with the getting used to shorter, more frequent bursts. And actually, I’m spending a lot more time playing music, which I love. So again, it’s squeezing the podcast time, hence the change. I’m delighted to hear what you think of that, and you all have been with me through thick and thin for a lot of years. So this is probably the 600th episode since I started the blog, and we’re at 250 for the podcast. So there you have it. We’ll see you later Please comment and ask questions: at the comment section at the bottom of the show notes on LinkedIn  via email YouTube channel  DM on Instagram, TikTok to @healthhats Substack Patreon Production Team Kayla Nelson: Web and Social Media Coach, Dissemination, Help Desk  Leon van Leeuwen: editing and site management Oscar van Leeuwen: video editing Julia Higgins: Digital marketing therapy Steve Heatherington: Help Desk and podcast production counseling Joey van Leeuwen, Drummer, Composer, and Arranger, provided the music for the intro, outro, proem, and reflection Claude, Perplexity, Auphonic, Descript, Grammarly, DaVinci Resolve, DaVinci AI Art Generator, OpenArt AI Creator Studio Inspired by and Grateful to: Steve Heatherington, Tania Marien, Heidi Frei, Jane Beddall, Matt Neil, Phee Marcial Artificial Intelligence in Podcast Production Health Hats, the Podcast, utilizes AI tools for production tasks such as editing, transcription, and content suggestions. While AI assists with various aspects, including image creation, most AI suggestions are modified. All creative decisions remain my own, with AI sources referenced as usual. Questions are welcome. Creative Commons Licensing CC BY-NC-SA This license enables reusers to distribute, remix, adapt, and build upon the material in any medium or format for noncommercial purposes only, and only so long as attribution is given to the creator. If you remix, adapt, or build upon the material, you must license the modified material under identical terms. CC BY-NC-SA includes the following elements:    BY: credit must be given to the creator.   NC: Only noncommercial uses of the work are permitted.    SA: Adaptations must be shared under the same terms. Please let me know. dannyhealthhats@gmail.com  Material on this site created by others is theirs, and use follows their guidelines. Disclaimer The views and opinions presented in this podcast and publication are solely my responsibility and do not necessarily represent the views of the Patient-Centered Outcomes Research Institute®  (PCORI®), its Board of Governors, or Methodology Committee. Danny van Leeuwen (Health Hats)

Send us Fan MailWhat does it really take to create music for a video game?NickMoses05 sits down with award-winning video-game composer Chase Bethea for a behind-the-scenes conversation about game music, creativity and building a career in the gaming industry.Chase explains how his musical journey began with the Game Boy Camera, how he transforms an idea into an interactive soundtrack and what it is like managing music for multiple games simultaneously. He also discusses Black representation in the gaming industry, the importance of recognizing your natural talents and the advice he would give aspiring video-game composers.You will also hear about one of the strangest—and most unforgettable—objects Chase has ever used to create a sound for a game.This conversation originally appeared on the NickMoses05 YouTube channel and is now being released for the first time on the NickMoses05 Gaming Podcast feed.Topics include:• How Chase began creating video-game music• The process behind composing an interactive soundtrack• Managing several game projects at once• Black representation in gaming and game development• Advice for aspiring composers• Chase's future goals• The strangest sound-making instrument he has ever createdFollow the NickMoses05 Gaming Podcast for gaming news, interviews, industry conversations and debates from the world of video games.Watch NickMoses05 on YouTube: https://www.youtube.com/channel/UCRP7jR1vqgdNwUIXH6r8uZASupport the show

Episode 684 also includes an E.W. Poetic Piece titled, “Same Train.” Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

Academy Award®-winning composer Michael Giacchino returns to Dolby Creator Talks for his fifth appearance, this time to discuss his latest score for “Spider-Man: Brand New Day.” In this conversation, Giacchino explores how he approached Peter Parker's new emotional reality: One where the character is alone, isolated, and carrying difficult memories no one else shares, by reshaping familiar musical themes, excavating pieces out of the melody, and introducing a dark, synth palette beneath the orchestra. He also reflects on his working relationship with director Destin Daniel Cretton, recording an 85-piece orchestra at Abbey Road, and finding the right balance between the spectacle befitting a Spider-Man movie, and the loneliness at the heart of this new chapter for the beloved superhero."For me, musically, it was... 'do we abandon the theme that we had for three movies and just go with something brand new? So it felt like he's in a wholly new place?' That was my first thought. But the more I tried to do that, I kept thinking, 'well, no, maybe it's not so much about inventing anything new, but it's about taking away from what we already have.' So if I have a full melody written out, what notes can I pull out of that melody, that would represent the pieces of his life that have now gone away?"—Michael Giacchino, Composer, “Spider-Man: Brand New Day”Be sure to check out “Spider-Man: Brand New Day,” now playing in theaters in Dolby Vision® and Dolby Atmos® where available.Please subscribe to Dolby Creator Talks wherever you get your podcasts.You can also check out the video for this episode on YouTube.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

PHP Alive and Kicking – August 4, 2026 Hosts: Chris Miller (standing in solo while Mike is on holiday) Mike escaped to a beach so Chris hosts alone with special guest Derick Rethans. Expect date-time philosophy, PHP 8.6 goodies, Xdebug secrets, deprecation drama, and a heated debate about how to queue at a pub. From University Websites to Committing to PHP Derick traces his PHP origins back to his university days, building websites that needed database connectivity. ASP.NET was an option, but nobody wanted to pay for it — Linux was cool, and PHP was easy to start using. That combination hooked him early. His very first accepted contribution came from a practical need: everyone wanted centered Shockwave Flash films on their pages, back before CSS even existed. Centering meant knowing the width of a file, and while getimagesize() already existed (and still works today), it didn’t understand Flash. Derick added that support. From there he fell into bug triage, spending several years working through the issue tracker alongside Jani Taskinen (whose “Sniper” name still shows up in commit logs). For a long time it was just the two of them reproducing and fixing bugs — an important task that gets neglected easily, which is exactly how backlogs of a thousand issues and pull requests build up. The Eternal Problem of Date and Time Chris and Derick dig into why date-time bugs are so hard to triage: date algorithms are genuinely complicated, and it takes real time to figure out whether a report is a user’s mistake or an actual PHP bug. Crashes are easy to reproduce; subtle date arithmetic is not. The core philosophical question is “what does adding a month even mean?” If it’s January 31st and you add a month, PHP historically just bumps the month number, producing February 31st, which overflows to March 2nd or 3rd. But most people who add a month really just want the next month and don’t care about day counts — so “next month” is conceptually distinct from “add a month.” Derick has been brainstorming better interfaces so people can’t make these mistakes, though it’s a lot of work. They touch on Carbon as a unified interface people understand, but agree that making Carbon the language standard isn’t the right move. At the language level you need something that works for everybody and ideally doesn’t break existing code. What’s Coming in PHP 8.6 The first new time class is landing: a Duration object representing seconds and nanoseconds within a specific range, living in the Time namespace. It’s a trial run for new APIs and immediately useful — for example, passing a duration to sleep or to timeouts in the new polling API, rather than juggling raw integers. Another highlight is partial function application. With the pipe operator from 8.5, piping into anything that takes more than one argument meant wrapping it in a closure (and extra parentheses because of how the parser works). Partials let you pre-fill some arguments so the resulting callable accepts just one — perfect for pipelines. There’s also TLS session resumption support for streams, which lets OpenSSL shortcut the expensive session setup on repeated TLS connections. Bigger stream-layer work by Jakub Zelenka of the PHP Foundation is underway too, but that’s a huge job on old code and won’t make 8.6 — Chris and Derick both note the pain of keeping a year-and-a-half-long project in sync with the master branch. Xdebug in 8.6 and the Xdebug Cloud Xdebug’s recent headline feature (shipped with 8.5) is native path mapping, which lets you configure remote-to-local path mappings inside Xdebug itself instead of your IDE — handy when your code runs in Docker or on a dev machine. Feedback since release is driving quality-of-life improvements. For 8.6, relatively little is broken, though a change to how PHP reports line numbers needs untangling so debugging stops on the correct lines. Derick also has a new code-coverage implementation that gives better, more correct results at roughly a 10% speed cost. He’d rather ship correct output than fast output — and points out that PHPCov may be quicker but skips path and branch coverage entirely. The pair discuss how branch coverage doubles your test count at every branching point, and how Xdebug has a hard limit (around 64K) to avoid running out of memory on pathological code. Finally, Chris asks about Xdebug Cloud — a paid service that enables debugging where networking otherwise wouldn’t, such as remote teams sharing a single development machine (an SSH tunnel only lets one person listen on the debug port). It’s £15/month or £150/year for an individual, priced similarly to Packagist’s private packages, and helps fund Derick’s ongoing Xdebug work. He plans to do more marketing about it this year. Deprecations, Consensus, and Two-Thirds Votes Every year PHP collects a big list of deprecations — around 20 to 25 this cycle — voted on separately. Derick is more reluctant than most to approve them, arguing many offer no clear user benefit. His examples: deprecating metaphone() (whose suggested Composer replacement ironically relies on the internal function) and the dechunk filter (which can’t really be removed because HTTP streams use it internally). The list() deprecation is another sore point — Chris uses it, and the vote is tied 21–21 with one abstention, so it won’t pass under the two-thirds rule. Derick reminds everyone that “yes” needs to be twice “no.” Returning from a finally block is another candidate that makes little sense to use but hurts nothing to keep. Chris and Derick reflect on how voting was originally meant to confirm consensus reached on the mailing list, not to be the decision itself. A 50%+1 result isn’t consensus; two-thirds is the compromise, even if true 75–80% agreement would be ideal. Joe notes many deprecations are groundwork to reserve keywords for future RFCs — which raises the perennial question of how you measure real-world usage across Composer’s dependency chains. Infrastructure, the Website, and the Next Generation The PHP infrastructure has been converted to an Ansible-based repository over the last year and a half (largely by Derick, with help from Joe), replacing a wild mix of individually maintained servers — one was still running FreeBSD 4.3. They’ve also migrated to a new CDN, which brought surprises: a default one-month cache, ignoring the query string in cache keys, and even dark/light mode being an organization-wide setting rather than per-user. On the website side, everything currently lives in a single root directory of 1999-vintage code, and there’s a long-pending patch to restructure it. The PHP Foundation’s ambassadors program — with speaking, marketing, and research streams — aims to make the very techy php.net homepage speak to CTOs and newcomers about who uses PHP and why it’s a thriving project (only 31-ish years old, versus C’s 60). The conversation closes on caretakers and the next generation of contributors. Triage, they stress, doesn’t require deep internals knowledge — just reading reports to see if they still make sense is hugely valuable. Security and infrastructure access necessarily stay gatekept for trust reasons, and both agree a bus factor of one (or even two) isn’t good enough. Chris admits he’s struggling to name people who are both nice and know infra. Links from the show: Join us live in Discord — discord.phparch.com Watch live on YouTube — youtube.com/phparch PHP Tek Conference 2027 — Call for Papers now open PHP Arch Swag Store — store.phparch.com Xdebug — and Xdebug Cloud for shared debugging Magazine discount code ALIVE3 — three free months on an annual digital subscription Host: Chris Miller X: @ccmiller2018 Mastodon: @miller@phpc.social Bluesky: @ccmiller2018.bsky.social PHPArch.me: @miller Mike Page Mastodon: @MikePageDev@phpc.social PHPArch.me: @mikepagedev Streams: Youtube Channel Twitch Connect & Hire PHP Architect Website Twitter/X Mastodon Hire PHP Developers Looking to hire PHP developers? Email support@phparch.com – the team is available for consulting, infrastructure work, Ansible playbooks, and code review. Partner This podcast is made a little better thanks to our partners Displace Infrastructure Management, Simplified Automate Kubernetes deployments across any cloud provider or bare metal with a single command. Deploy, manage, and scale your infrastructure with ease. https://displace.tech/ OurCVEs Your security posture, on autopilot with OurCVEs CodeRabbit Cut code review time & bugs in half instantly with CodeRabbit. PHP Architect Consulting Your PHP codebase deserves a partner, not a contractor PHP Architect provides long-term technical partnerships for organizations that need senior-level PHP expertise that you can depend on. https://www.phparch.com/consulting/ Music Provided by Epidemic Sound https://www.epidemicsound.com/ Join Us Live Next Week Youtube Channel Got feedback? Join us on Discord at discord.phparch.com The post PHP Alive and Kicking 2026.08.04 appeared first on PHP Architect.

Episode 795 of On Screen & Beyond takes us into the musical world of composing with Jonathan Hylander, the composer for Nickelodeon's "The Loud House", "The Casagrandes" and much more!

Rick MalteseTake a walk with me down Fascination Street as I get to know Toronto's own Rick Maltese. Rick is a jazz pianist, composer, songwriter, and singer. In this episode, we chat about how he first got into jazz, and being a Canadian, that wasn't an easy task! We discuss some of his early influences, including his dad, and some of the greats. I do dig into where he gained the confidence to learn to play an instrument as an early age. We talk about some of the different styles of piano playing and why he started playing The Beatles songs as jazz tunes! Next, I ask him about the various brands and types of pianos, and which are his favorites. Rick shares some of the reasons behind why he decided to write lyrics to accompany his music, as well as why he wrote them in a manner that advocates for social consciousness. Rick has fairly recently released 3 albums of new music with some of his friends. Rick Maltese and Friends Vol 1, 2, & 3 are out now and available just about everywhere. Volume 1 is actually released under The RGB Trio. The other members include George Koller, Ben Wittman, and Bill McBirnie. Rick is kind enough to let me play 2 songs from 2 different albums in this episode, and he explains in depth what each of them is about and why he felt the need to write them. Check out Rick's website for more details on where the music can be found, and for any upcoming live dates

Mäkelä Conducts Rite of Spring by CSO Association

Composer of Pluribus, Breaking Bad, Better Call Saul, El Camino In this episode, Tony chats with Dave Porter, the award‑winning composer behind the sonic identity of Pluribus. Known for his long‑standing creative partnership with Vince Gilligan — beginning with Breaking Bad and continuing across multiple series — Porter brings a rare combination of classical training, electronic innovation, and narrative instinct to every project he touches. This conversation explores how Porter shaped the sound of Pluribus, from the unexpected use of vocals in the main theme to the way he threads vocal textures throughout the score. He breaks down how his classical foundation led him to electronic music, how experimentation became a core part of his process, and why one of his standout pieces draws inspiration from 1970s cinematic style. Tony also asks the question only Pluribus fans would dare: If Dave were absorbed into the collective, how would it change his music? His answer is as thoughtful as it is surprising. Go premium with Sci‑Fi Talk Plus — your home for commercial‑free podcasts and videos. Get Summer Movie coverage, sit‑down interviews, film clips, and red carpet moments from around the world. Sign up now for just $1.99. Click the link in the show notes to start today.”  

Composer and pianist Christopher Jessup recorded two of his works with the London Symphony Orchestra — then spent the years after Juilliard unlearning the difficult, angular music he thought he was supposed to write. He explains why he stopped being afraid of things sounding pretty, and why a four-minute piece can carry as much weight as a symphony.Jessup is based in New York and graduated from The Juilliard School in 2021, where he studied composition with Melinda Wagner and piano with Jerome Lowenthal. He records for PARMA Recordings and its Navona imprint. The four-time Grammy-winning choir The Crossing recorded his choral cycle Astronomia, and The New York Times critic Zachary Woolfe singled out its movement "The Mississippi at Midnight" for its "eerie wonder."The conversation covers the concerto performance in Italy that fused the composer and the pianist into one artist, the June 2024 London Symphony Orchestra sessions filmed at LSO St Luke's, his ongoing work with The Crossing on a piece about how the brain heals from trauma, and why climate and mental health keep surfacing in his catalog. His solo album Emergence arrives February 5, 2027, with the title track released as a single on January 8, 2027.Classical Post is a video podcast on how classical musicians build careers, hosted by Jonathan Eifert and based in New York. Publishing original artist interviews since 2018 and in podcast form since 2021, the archive now runs past 150 conversations — long-form, on the record, and in the artist's own words.Produced by Gold Sound Media — specialist video-first marketing for elite performing arts institutions and major-stage artists. Clients include the Van Cliburn International Piano Competition and the Gilmore Piano Festival.--Christopher Jessup: https://www.christopherjessup.com/Gold Sound Media: https://goldsoundmedia.com/Classical Post: https://classicalpost.com/

Ep 195: July 29, 2026 - Exoplanets and the 4-minute bell with Linda. From the archives. #LindaMoultonHowe #Earthfiles — For more incredible science stories, Real X-Files, environmental stories and so much more. Please visit my site https://www.earthfiles.com — Be sure to subscribe to this Earthfiles Channel the official channel for Linda Moulton Howe https://www.youtube.com/earthfiles. — To stay up to date on everything Earthfiles, follow me on FaceBook@EarthfilesNews and Twitter @Earthfiles.  To purchase books and merchandise from Linda Moulton Howe, be sure to only shop at my official Earthfiles store at https://www.earthfiles.com/earthfiles-shop/ — Countdown Clock Piano Music:  Ashot Danielyan, Composer:  https://www.pond5.com/stock-music/100990900/emotional-piano-melancholic-drama.html

Host Marina Franklin chats with Emmy-nominated composer Kathryn Bostic & filmmaker Sharaé Nikai. Dive into their stories, career wisdom, and the power of community and vote for Kathryn for the World Soundtrack Awards.  Kathryn Bostic - Award winning, Emmy nominated (The Supremes at Earl's All You Can Eat; Amy Tan-Unintended Memoir; Toni Morrison-The Pieces I Am) composer and singer-songwriter Kathryn Bostic is known for her original work on film,TV, Broadway and symphonic music. On Broadway, Bostic worked with iconic playwright August Wilson, creating the score for "Gem of the Ocean." She also created the score for the Broadway production "Bengal Tiger at the Baghdad Zoo" featuring world renowned actor and comedian Robin Williams. She is a recipient of many awards and fellowships including the prestigious BMI "Streaming Media Award"; Hollywood Music in Media Award for "Best Score TV Streamed Movie"; Society of Composers and Lyricists "Outstanding Music for Independent Feature Film"; African American Film Critics Award for "Best Music in Film"; Sundance Time Warner Fellowship; Sundance Fellowship for Feature Film Scoring; and Sundance Documentary Film Scoring. Bostic served as Vice President for the Alliance of Women Film Composers. She is a member of Television Academy of Arts and Sciences, The Recording Academy, and Bostic is the first African American female composer in the Academy for Motion Pictures Arts and Sciences. Her end title song "High Above the Water" for the award winning film "Toni Morrison- The Pieces I Am" was Oscar shortlisted. Her work on Sarah's Oil: Original Motion Picture Soundtrack is up for the world sound track public choice award. You can vote for Kathryn at worldsoundtrackaward.com . Sharaé Nikai - Against industry odds, Jersey City native Sharaé Nikai wrote, produced, co-directed and starred in her very first feature film, "The Other, Gold." It is a heartfelt dramedy that follows a TV writer living in Little Tokyo as she navigates grief, isolation and the rekindling of a former BFF-ship. Out of 13,016 submissions, TOG was invited to world premiere as one of only 10 films in Tribeca's US Narrative Competition. This acclaim led to Nikai being in consideration for the 2025 Oscars, Spirit Awards and Emmys in the Outstanding Television Movie, Directing & Lead Actress categories. It also makes her the first Black female quadruple threat (sole writer/producer, director & star) to qualify for the Academy Awards with no studio or major production company backing. As a producer, Sharaé secured an exclusive Mental Health Awareness partnership for "The Other, Gold" at FOX-owned Tubi and sponsorship for its launch by Women in Film (WIF) and The Entertainment Community Fund. In March 2026, "The Other, Gold" was released worldwide in celebration of Women's History Month exclusively on Apple TV. In addition to TOG, Nikai appears in numerous ad campaigns, films and TV series including Grey's Anatomy and opposite Alison Brie in Sundance's "Horse Girl" (The DuPlass Bros/Netflix). Currently, she is the 2026 international voice of Nordstrom Rack all while developing her dramedy driven TV/film slate. In her spare time, Sharaé takes serious pride in the accent mark over her "e" and is the reigning (read: self-proclaimed) trap karaoke queen. Always hosted by Marina Franklin - One Hour Comedy Special: Single Black Female ( Amazon Prime, CW Network), TBS's The Last O.G, Last Week Tonight with John Oliver, Hysterical on FX, The Movie Trainwreck, Louie Season V, The Jim Gaffigan Show, Conan O'Brien, Stephen Colbert, HBO's Crashing, and The Breaks with Michelle Wolf. Writer for HBO's 'Divorce' and the new Tracy Morgan show on Paramount Plus: 'Crutch      

Ludovica Burtone is a violinist and composer. Her music spans an eclectic range of styles and genres including classical, jazz, Brazilian, and contemporary. She has performed worldwide as a soloist, chamber musician, and collaborator in numerous ensembles. And at venues including Carnegie Hall, Lincoln Center, Radio City, Boston Symphony Hall, and Boston Opera House among others. Her latest project, “Migration Tales”, explores the stories of immigrant women in New York City through original compositions. Recent highlights include performing at the Notorious B.I.G. Tribute at Lincoln Center. My featured song is “The Gift”, my recent single that transformed my jazz ballad into a big band Samba. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH LUDOVICA:www.ludovicaburtone.com —------------------------------------ ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

AP correspondent Lizzie Knight reports on the death of a well-known electro-pop composer.

Join Mark Newbold on this special episode of Fantha Tracks Radios Making Tracks as he sits down with Jon Everist, the composer behind the music for Monopoly: Star Wars Heroes vs. Villains, the new team-based digital video game which was released on 30th June by Ubisoft. We discuss his process, his love of Star Wars, and his work on the smash-hit Star Wars: Outlaws. Get those comfy headphones on and turn it up for this special episode of Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. Thanks to James Semple for the Fantha Tracks intro, Blues Harvest for our Making Tracks opening music and Mark Daniel and Vanessa Marshall for our voiceovers. Subscribe and tune in to all of our shows at https://radio.fanthatracks.com And of course for all your Lucasfilm and Star Wars news 24/7, 365 days a year head on over to https://www.fanthatracks.com You can contact our shows and send in your listeners questions by emailing radio@fanthatracks.com or by leaving a comment on our social media feeds: https://www.instagram.com/fanthatracks https://www.facebook.com/FanthaTracks https://www.x.com/FanthaTracks https://www.threads.net/@FanthaTracks https://www.reddit.com/r/fanthatracks/ https://mastodon.social/@fanthatracks https://bsky.app/profile/fanthatracks.com https://www.pinterest.co.uk/fanthatracks/ https://fanthatracks.tumblr.com/ And be sure to check out our live streams and video content at: https://www.youtube.com/@FanthaTracksTV/ https://www.tiktok.com/@fanthatracks https://www.twitch.com/fanthatrackstv All of our links can be found at https://links.fanthatracks.com/

This week the geeks are doing another DrinkIN Geek OST and presenting a composer spotlight on Jesper Kyd. Most notably known for his works on the Assassin's Creed franchise!Beer for the Episode:Pax Verum's Stray Thoughts #5Support us:Patreon https://www.patreon.com/DrinkINGeekOUTExclusive DiGo T-Shirts https://drinkingeekout.threadless.com/Another Place for T-Shirts https://drinkingeekout.dashery.com/Alt https://www.teepublic.com/stores/drinkin-geekoutLinks:https://www.instagram.com/drinkingeekout/https://www.threads.net/@drinkingeekouthttps://www.tiktok.com/@drinkingeekouthttps://bsky.app/profile/drinkingeekout.bsky.socialhttps://www.x.com/drinkingeekouthttps://www.facebook.com/DrinkINgeekOut/https://www.drinkingeekout.com/ Hosted on Acast. See acast.com/privacy for more information.

Gentiane MG is a fabulous Montreal-based pianist and composer who combines jazz and classical. Her music explores human connection, emotional depth, and the quiet relationship between inner life and the natural world. She's toured with her trio extensively across Canada and Europe and she's earned major honours including OPUS Awards, Radio Canada recognition, and JUNO nominations. Her latest album is called “Can You Hear the Birds?” My featured song is my reimagined cover of Chick Corea's “Sea Journey”, from the album Play by my band Project Grand Slam. Spotify link. —------------------------------------ The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries! Click here for Start Here Click here for All Episodes  Click here for Guest List  Click here for Guest Testimonials Click here for Pillars Click here for Robert's Project Grand Slam Click here to Subscribe  Click here to receive our Email Updates Click here to Rate and Review the podcast —---------------------------------------- CONNECT WITH GENTIANE:www.gentianemg.com —------------------------------------ ROBERT'S NEWEST RELEASE:“THE BUZZ” - Ft. Darius de Haas (vocals) and Dave Eggar (Celo). Short, Sweet and Totally Different CLICK HERE FOR OFFICIAL VIDEO CLICK HERE FOR ALL LINKS —-------------------------------------- Audio production: Jimmy RavenscroftKymera FilmsConnect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comFollow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.com    

In this episode of Music Matters, host Darrell Craig Harris welcomes the multi-talented Martin Luther McCoy for an engaging conversation about his remarkable career in music, film, and television.  Martin shares the stories behind his journey as a recording artist, acclaimed actor, songwriter, and composer, discussing the experiences that have shaped his creative path. From performing on some of the world's biggest stages to appearing in major film and television productions, he offers an inside look at the dedication, resilience, and passion required to build a lasting career in the entertainment industry. Whether you're a fan of music, filmmaking, acting, or the creative process, this episode is filled with inspiring insights, memorable stories, and valuable advice for artists at every stage of their careers. Website www.MartinLutherMcCoy.com Social Media www.Instagram.com/martinluthermccoy  Spotify https://open.spotify.com/artist/6FdIwdTYtfGSULGl1JA9OJ?si=26771d7bd6f64ebe  About Music Matters with Darrell Craig Harris The Music Matters Podcast is hosted by Darrell Craig Harris, a globally published music journalist, professional musician, and Sports Illustrated photographer. Music Matters is now available on Spotify, iTunes, Podbean, and more. Each week, Darrell interviews renowned artists, musicians, music journalists, and insiders from the music industry. Currently, over 1.2 million global downloads in 40 countries. Visit us at: www.MusicMattersPodcast.com Follow us on Twitter: www.Twitter.com/musicmattersdh  Instagram: www.Instagram.com/musicmatterspodcastofficial For inquiries, contact: musicmatterspodcastshow@gmail.com Support our mission via PayPal: www.paypal.me/payDarrell Episode editing and Voice intro by Nigel J. Farmer of Voice Wrap Studios Representation:  Yvette Morales | YM & Associates PR Beverly Hills, CA YM-PR.com Email: YMoralesY@ym-pr.com            

Ep 194: July 22, 2026 - From Deep UFO Secrets to Mysterious Orbs From the archives. #LindaMoultonHowe #Earthfiles — For more incredible science stories, Real X-Files, environmental stories and so much more. Please visit my site https://www.earthfiles.com — Be sure to subscribe to this Earthfiles Channel the official channel for Linda Moulton Howe https://www.youtube.com/earthfiles. — To stay up to date on everything Earthfiles, follow me on FaceBook@EarthfilesNews and Twitter @Earthfiles.  To purchase books and merchandise from Linda Moulton Howe, be sure to only shop at my official Earthfiles store at https://www.earthfiles.com/earthfiles-shop/ — Countdown Clock Piano Music:  Ashot Danielyan, Composer:  https://www.pond5.com/stock-music/100990900/emotional-piano-melancholic-drama.html

Composer and playwright César Alvarez and actors Anthony Alfaro and Barbara Walsh discuss “The Potluck,” a new musical about the 1979 Greensboro Massacre, in which members of the KKK and the American Nazi party killed 5 labor organizers during a rally in North Carolina. The show grapples with that period in US history, as well as its legacy, and the grief that accompanies the act of relating those tragic events. “The Potluck,” produced by Soho Rep and Intar, is playing at the Peter Jay Sharp Theatre 416 W. 42nd St until August 2.  Photo courtesy of the production Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Your hormones aren't broken — but if nobody's told you about the conductor running the whole show, you'll keep chasing your tail. In this episode, Dr. Tabatha and Ashlee unpack the Symphony Framework: the orchestra (your organs), the conductor (your nervous system), the sheet music (what's shaping your thoughts), and the Composer who wrote it all.●        Why the original Hormone Guide got a full overhaul — and what was missing●        The Symphony Framework: orchestra, conductor, sheet music, and Composer●        Why your internal dialogue can be a bigger stressor than a staph infection●        Why labs come back "normal" while you still feel awful●        Renewing your mind: Paul's 2,000-year-old protocol, backed by science●        The two wolves, the shopping-cart test, and what it means to actually abide | "For my thoughts are not your thoughts, declares the Lord... so are my ways higher than your ways, and my thoughts higher than your thoughts." — Isaiah 55:8-9Grab the brand-new Hormone Guide (completely rebuilt — grab it even if you have the original): https://drtabatha.com/free-hormone-guide/For just five dollars, you get five days with a certified one-on-one coach guiding you through your hormones, your gut, and your faith.Go to ftf.fasttofaith.com/empoweredbyfaithdiyReady to go deeper?The women who hear this episode and feel something shift — they belong in the Fast to Faith Sisterhood. This is where faith, functional medicine, and identity work come together with a community of women who are done managing symptoms and ready to lead from healing.If you feel called to take that even further — to guide other women through this exact transformation — the Fast to Faith Coaching Academy is where that calling becomes a career.Become a certified Fast to Faith™ coach →Weekly live mentorship with Dr. TabathaNot ready for the academy yet? Start here: 5-Day Empowered by Faith Challenge ftf.fasttofaith.com/empoweredbyfaithdiyShop Dr. Tabatha's supplement line: Use code PODCAST for 20% off your first order: shop.fasttofaith.comGet the book: Fast to Faith: A 40-Day Awakening: book.fasttofaith.com/bonus?am_id=fasttofaith5413Fast to Faith is hosted by Dr. Tabatha Barber — OB/GYN, functional medicine physician, and founder of the Fast to Faith Sisterhood and Coaching Academy.

Dilemmalina IX - The World's Largest Podcast Party!Michael Sidgwick and Michael Hamflett discuss some of the biggest Dilemmalinas (everybody's saying it) in all of wrestling, including...Biggest IWC Lie: Two-Man Power Trip, The Nexus or Evolution?Who do WWE respect the LEAST: Sami Zayn or Mick Foley?Most influential composer: Jimmy Hart, Jim Johnston or Mikey Ruckus?ENJOY! Hosted on Acast. See acast.com/privacy for more information.