Podcasts about Composition

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For many artists, an art career takes many twists and turns—an adventure shaped by different mediums, jobs, and ways of sustaining creative work  while at the same time, educating oneself with the histories of your chosen path.  On this episode of The Unfinished Print: A Mokuhanga Podcast, I speak with printmaker Charles Spitzack. We talk about his discovery of mokuhanga and how it connects to his broader printmaking practice. Charles shares his early experiences making mokuhanga, his teaching methods, and how his understanding of the medium developed through a Western American perspective. He also speaks about his time at the Mokuhanga Project Space, and his thoughts on the differences between oil-based and water-based mokuhanga. Please follow The Unfinished Print: A Mokuhanga Podcast and my own mokuhanga work on Instagram @andrezadoroznyprints or email me theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Charles Spitzack - website, Instagram Seattle Print Arts - is a printmaking association based in Seattle, Washington, United States. It maintains a membership and is dedicated to the exchange of knowledge related to various printmaking practices. More info can be found, here.  High Point Center for Printmaking -is located in Minneapolis, Minnesota, United States. It is dedicated to increasing the understanding of printmaking and operates a co-op, gallery, and educational programs. More info can be found, here.  Cornish College of the Arts - is an independent art college located in Seattle, Washington, United States. Its programs emphasize experimentation and critical thinking. More info can be found, here.  Mokuhanga (木版画) - is a Japanese word meaning "wood" and "print." Traditionally, it refers to a relief printing method using woodblocks, water, natural handmade papers, and water-based pigments. With the rise of the sōsaku hanga (creative print) movement in the early to mid 20th century, mokuhanga expanded to include works made with Western oil pigments as well. Today, mokuhanga can be difficult to define, as many artists experiment with new approaches while others remain dedicated to traditional water-based methods. This balance between innovation and tradition shows that mokuhanga is limitless, continually evolving while still grounded in its past. sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Stephen Hazel (1934-20120 - was a painter and printmaker based in the Pacific Northwest. He created works on paper, and educated upon the subject. More info can be found, here.  Beautiful Display 10: Beauties of Chinatown (1977) 24" x 17 11/16" Katheleen Rabel - is an American printmaker, painter and sculptor. More info can be found, here.  Penedo Alto (sōsaku hanga) 50″ x 39″ Hideo Hagiwara (1913-2007) - was a mokuhanga printmaker who came of age during the sōsaku hanga period of the mid 20th Century in Japan. He studied printmaking with Un'ichi Hiratsuka (1896-1997). Hagiwara made prints that were expressive of the self and abstract. He taught at Oregon State University in 1967.   Lady No. 6 (1975) 24.75" x 18.25"  kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.   floating kentō - is like the traditional kentō registration technique but is carved on an "L" shaped piece of wood, and not onto the wood block.  monotype print - is a unique print created from an image painted or drawn on a smooth surface, such as glass or metal, and then transferred to paper. Unlike most printmaking methods, where multiple copies of the same image can be produced, a monotype typically has a single, one-of-a-kind image. It's called a "mono" type because it is not part of an edition like traditional prints (e.g., lithographs, etchings), where you can make multiple copies.  Mike Lyon  -  is an American artist. His medium has varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here. Mike's interview with The Unfinished Print can be found, here.  Grass 4 (2010) 77" x 22" Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it.  Naoko Matsubara's interview with The Unfinished Print can be found, here.  Conducting (2004) 22.05" × 15.59" Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. Katsu's interview with the Unfinished Print can be found, here.  On The Dawn of Night and Fog (2025) 39.37" in × 78.74" Antonio Frasconi (1919-2013) - was a Urugyuan printmaker who lived and worked in the United States. He cerated coloured woodcuts and was an educator and author. Frasconi's themes could be political in nature. More info can be found, here.  Cows (1955) 7 1/2" x 12 15/16" The Arts and Crafts Movement in America - flourished from the late 19th to early 20th century, emphasizing simplicity of design, and the use of natural materials as a response to industrial mass production. Inspired by the ideals of John Ruskin (1819-1900) and William Morris (1834-1896) in Britain, the movement in the United States was closely tied to architecture, furniture making, and decorative arts, promoting honesty and a functional beauty.  There was a link with social reform, criticizing modernity and industry and fostering communities of makers across the country. In Japan this folk movement was explored in the mingei movement of the early 20th Century.  William S. Rice (1873-1963) - was a painter, educator and woodblock artist from the United States. Having moved to California early in his life, Rice made landscape prints and paintings of California. At the 1915 Panama Pacific International Exhibition, Rice had a chance to see Japanese mokuhanga in person and was influence by those prints in his woodcuts.  The Windy Summit (1925) 9" x 12" Arthur Wesley Dow (1857-1922) - was an American printmaker who was greatly influenced by Japanese ukiyo-e. He wrote a book on the subject of printmaking called Composition which was published in 1905.    Lily (Ipswich Prints x 1901) 5½" x 4⅛"   Toledo Museum Shin Hanga Exhibitions (1930 & 1936) - were held at the Toledo Museum of Fine Arts in the United States. These two exhibitions played an important role in introducing Japanese woodblock prints to the American market. They were curated by J. Arthur MacLean and Dorothy L. Blair. Artist Hiroshi Yoshida (1876-1950) had traveled to the United States in the 1920s, helping to set the stage for these exhibitions. More info can be found, here.    Walter J. Phillips (1884–1963) - was a British-Canadian printmaker who began his career as a commercial artist. After moving to Canada, he produced etchings, watercolors, and color woodcuts. Influenced by Japanese ukiyo-e, Phillips's prints offer a distinctive view of Canada in the early to mid-20th century.My interview with Sophie Lavoie of The Muse/Lake Of The Woods/Douglas Family Arts Centre about the life and times of Walter J. Phillips can be found, here.      Warren's Landing, Lake Winnipeg (1931) 6.30" × 9.45"   Kathleen Hargrave - is a printmaker and kiln formed glass maker. Kathleen explored various printmaking methods but uses mokuhanga in her practice. Kathleen's mokuhanga is abstract and uses colour in a fantastic way. More info can be found, here.      Resilience 5   Pratt Fine Arts Center - is a nonprofit arts educator in Seattle, Washington. It offers classes and instruction on various artistic expressions such as blacksmithing, glass, jewelry, paintings and printmaking. More info can be found, here.     Mokuhanga Project Space - is a mokuhanga residency located in Walla Walla, Washington, USA. It was established in 2016 and is led by printmaker Keiko Hara. My interview with Keiko Hara and Benjamin Selby of MPS can be found, here. More info can be found, here.    Shoichi Kitamura - is a woodblock carver and printmaker based in Kyoto, Japan. Shoichi has been involved in MI Lab through his demonstrations on carving. More info can be found, here.    Utagawa Kuniyoshi - from The Series Bravery Matched With The Twelve Zodiac Signs. A Modern Reproduction 4.13" x 11.15" (2017) printed and carved by Shoichi Kitamura   April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here.     It Happened To Me  (1995) 11" x 14"   Andrew Stone - is an American mokuhanga printmaker based in Florence, Italy. He is also a baren maker. The baren is a mokuhanga specific tool. Andrew's interview with The Unfinished Print can be found, here.    Tutto Bene? (2024)   Davidson Galleries - is a gallery situated in Seattle, Washington. Opening in 1973 Davidson Galleries focus on works on paper. In their stable of artists is Charles Spitzack and Andy Farkas. More info can be found, here.    SGC International - the Southern Graphics Council is a member supported printmaking organization which supports printmakers throughout the world. It is located in Kennesaw, Georgia, United States. More info can be found, here.    Karen Kunc - is an American printmaker and Professor Emeritus at the University of Nebraska Lincoln and is based in Nebraska. Karen Kunc works in various artistic and printmaking styles but has worked in mokuhanga for many years. My interview with Karen Kunc for The Unfinished Print can be found, here. More information can be found on her website, here.      Weight of Air (2018) 12" x 24" Woodcut, etching, pochoir, watercolor   Tollman Collection  - is a well known Japanese art gallery located in Daimon, Tokyo, Japan and New York City, NY. More information can be found, here.    Ballinglen - is an arts foundation based in Ballycastle, Co Mayo, Ireland. The groups aim is to "enhance cultural awareness," of North County Mayo. This is done via fellowships, education, exhibitions and workshops. More info can be found, here.    Pomegranate - is a company which sells items such as jigsaw puzzles, holiday cards, etc using different types of artists  and their work in these pieces. More info can be found, here.    Gustave Baumann (1881-1971) - was a colour woodcut printmaker, and painter of German descent who made his life in the United States. More info can be found, here.      Marigolds (1960) colour woodcut 12 7/8" x 12 7/8" © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Intro music by Oscar Peterson, I Got It Bad (And That Ain't Good)  from Night Train (1963) Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know.  ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                  

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WSDOT denied the C-TRAN review committee's 3-3-3 proposal as not proportional by population; a 4-3-2 format is now expected as meetings approach on Sept. 3 and Sept. 9. https://www.clarkcountytoday.com/news/wsdot-denies-c-tran-board-composition-review-committees-3-3-3-plan/ #CTRAN #WSDOT #TransitGovernance #ClarkCounty #Vancouver #Camas

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time).—Can your smartphone really rival a $100,000 DEXA scan? What if the same device you use to scroll Instagram could also reveal your body fat percentage, fat distribution, and even your HRV?I sit down with Jason Moore, founder and CEO of Spren, a company turning your phone into a precision biometric tool. We talk about how Spren compares to gold-standard lab equipment, why body composition tells you more than scale weight ever could, and why tracking trends is often more important than chasing perfect numbers. This conversation will show you how technology can bring lab-grade insights straight to your pocket.Today, you'll learn all about:0:00 – Intro2:36 – Why body composition matters6:56 – How a phone measures fat10:55 – Accuracy versus precision explained14:38 – Lean mass and muscle changes20:15 – Why fat distribution is key29:56 – Apple versus pear body shapes33:20 – How often should you measure40:15 – Using your phone for HRV45:34 – Predicting VO₂ max with data48:32 – Turning numbers into outcomesEpisode resources:Website: spren.com LinkedIn: linkedin.com/in/thehumanjason Instagram: @thehumanjason Support the show

Send us a textThe Secret to Amazing Photos Isn't a Camera. It's How You Use Your Eyes. ✨Have you ever wondered what separates a simple snapshot from a truly captivating photograph? It's all about composition—the art of purposefully arranging everything within your photo frame to guide the viewer's eye and tell a clear story. In this episode, your host, Rick, demystifies this powerful photographic tool, sharing five simple, practical, and highly effective tips to help you move beyond taking a picture to "making" a picture that truly stands out.You'll discover why composition is the single most important element in photography, why it's not a complex art theory, and how to create images that are more dynamic, clear, and visually appealing.Five Tips for Better Photographic Composition

Fin 2024, plus de 10 600 femmes étaient sur liste d'attente pour une PMA (procréation médicalement assistée) avec don de spermatozoïdes. La demande explose, mais les donneurs, eux, restent rares. Car derrière ce geste de solidarité persistent des stéréotypes, des peurs et des fantasmes sur la masculinité et la paternité.Comment se déroule un processus de don de sperme ? Qui sont ces hommes qui choisissent de donner leurs gamètes et pourquoi est-ce qu'ils le font ? Qu'est ce que le don de sperme fait à la construction de la masculinité des hommes qui donnent, et qu'en est-il pour ceux qui reçoivent le don ?Dans ce quatrième épisode de la série inédite en cinq volets « Tout sur le sperme », Naomi Titti reçoit Lou Broos, doctorante en sociologie à l'Université de Caen Normandie. Depuis 2018, elle écrit une thèse sur les controverses autour du don de sperme, en menant ses recherches dans des CECOS (Centres d'Étude et de Conservation des Œufs et du Sperme). Ensemble, elles retracent l'histoire du don de sperme et analysent les blocages qui subsistent autour de cette pratique.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page :https://www.binge.audio/podcast/les-couilles-sur-la-table/don-de-sperme-plaisir-doffrir-joie-de-recevoir-4-5Crédits :Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti, et enregistré le mardi 24 j juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production, édition Marie Foulon. Communication : Lise Niederkorn. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Générique : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

11 Labs API is making music smarter, faster, and more dynamic. In this discussion, we discuss its applications across genres and industries. Could this be the dawn of an AI-driven music era?Try AI Box: ⁠⁠https://aibox.aiAI Chat YouTube Channel: https://www.youtube.com/@JaedenSchaferJoin my AI Hustle Community: https://www.skool.com/aihustle

11 Labs API is making music smarter, faster, and more dynamic. In this discussion, we discuss its applications across genres and industries. Could this be the dawn of an AI-driven music era?Try AI Box: ⁠⁠https://aibox.aiAI Chat YouTube Channel: https://www.youtube.com/@JaedenSchaferJoin my AI Hustle Community: https://www.skool.com/aihustle

'Proud', 'must be appreciated' are just some of the responses from visitors who watched the musical drama Primadona in Melbourne. - 'Bangga', 'harus diapreasi' hanyalah beberapa tanggapan para pengunjung yang menyaksikan drama musikal Primadona di Melbourne.

Join Physique University (free for 2 weeks) to engineer your best physique using our science-based fat loss and muscle-building blueprint—Why can two people follow the same diet and training plan but get completely different results? Could your DNA explain why fat loss feels harder, or why recovery takes longer? And is genetic testing the breakthrough it claims to be or just another fitness gimmick?With me is Joe Cohen, founder and CEO of SelfDecode, to separate the science from the scams. Joe shares what your genes can actually tell you about building muscle, losing fat, and preventing disease, and where the industry is misleading you. We also dig into how combining genetic data with lab work creates actionable steps you can measure and adjust over time.Tune in to discover whether your DNA could be the missing piece in your fitness journey.Today, you'll learn all about:0:00 – Intro2:17 – Why most DNA health tests fail6:44 – Marketing hype vs real science9:59 – Moving beyond the fitness basics12:01 – Diseases genetics can predict well16:38 – Universal habits vs targeted actions18:15 – How SelfDecode prioritizes recommendations22:43 – Genes and training insights27:22 – Pathways and functional genetics31:17 – Combining genetics with lab work38:07 – Joe's story of food intolerance45:45 – Where to learn more about SelfDecodeEpisode resources:Website: SelfDecode.comInstagram: @mrbiohacker Facebook: @selfdecode X: @SelfDecode Support the show

Ara Dinkjian is a master of the oud, an ancient Middle Eastern fretless lute. Ara is of Armenian descent. He and his band, Night Ark, have recorded four CDs and given concerts in 24 countries throughout the Americas, Europe, the Middle East, and Asia. His compositions have been recorded by various singers in 16 different languages. His composition “Homecoming” was performed at the closing ceremonies of the 2004 Athens Olympics.                              My featured song is “Feeling So Good”, from the album Bobby M and the Paisley Parade 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 All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH ARA:www.aradinkjian.com____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Send us a textIn this episode of the Tatter-a-Fact PMU Podcast, Teryn dives deep into the truth about topical anesthetics in permanent makeup, what works, what doesn't, and what every artist needs to know to keep clients safe and results beautiful.From melting and migrating formulas that ruin mapping and stretch… to the real facts on whether anesthetics affect pigment retention… to the rise in reported cases of pupil dilation during eyeliner tattooing, this episode is packed with education, safety protocols, and myth-busting.You'll learn:Why some anesthetics melt, drip, or migrate and how to prevent itHow oily carriers interfere with mapping, stretch, and healed resultsWhat to do if your client experiences pupil dilation (step-by-step safety protocol)Why anesthetics don't “ruin retention” when used correctlyHow to choose melt-free, eye-safe products and avoid dangerous knockoffsAt Girlz Ink, we're raising the bar in PMU—through education, integrity, and real talk. Tune in and empower yourself with knowledge that protects your clients and your craft.

Au cœur de tous les discours autour du sperme et de la masculinité, la masturbation cristallise fantasmes et inquiétudes depuis des siècles. Alors que les croyances sur ses méfaits semblaient appartenir au passé, une nouvelle mouvance les remet au goût du jour sur les réseaux sociaux : le #NoFap, qu'on pourrait traduire par “Pas de branlette”. La promesse ? Arrêter la masturbation pour reprendre le contrôle sur sa vie, et ré-affirmer sa masculinité. D'où vient le #NoFap et quels sont ses préceptes ? Pourquoi séduit-il autant de jeunes hommes ? Qu'est-ce que les discours des influenceurs #NoFap révèlent de la sexualité masculine aujourd'hui ? Dans ce troisième épisode de la série inédite en 5 volets « Tout sur le sperme », Naomi Titti reçoit Florian Vörös, enseignant-chercheur en études culturelles à l'Université de Lille et auteur du livre « Désirer comme un homme. Enquête sur les fantasmes et les masculinités » (éd. La Découverte, 2020). Depuis plusieurs années, il consacre ses recherches au #NoFap en collaboration avec l'anthropologue Mélanie Gourarier. Pour Florian Vörös, sous ses atours de développement personnel le #NoFap révèle un nouveau bastion du masculinisme en ligne impregné de néo-libéralisme.RÉFÉRENCES CITÉES DANS L'ÉMISSION :Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/no-fap-branlette-interdite-3-5CRÉDITS :Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti, et enregistré le mardi 24 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production, édition Marie Foulon. Communication : Lise Niederkorn. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Générique : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In Alien: Earth, the music has to merge sci-fi horror with sci-fi action — all while carrying the emotional core of Noah Hawley's storytelling. This week on Below the Line, Score Composer Jeff Russo joins Skid and returning co-host Louis Weeks to discuss his work on Alien: Earth, the FX series now airing its first season. An Emmy-winning and multiple Emmy-nominated composer, Jeff talks through how his music honors the legacy of Alien while building something entirely new — with select clips from his score woven throughout the conversation. Here's what we cover: Collaborating with Noah Hawley from the earliest concept stage — five years before cameras rolled Weaving together the tones of Alien (1979) and Aliens (1986) while still making the score uniquely his own Creating distinct sonic palettes for human, alien, and synth characters — and finding ways to blend them Crafting character-driven themes, including Wendy's motif and the “Siblings” theme Integrating unusual instruments like the bass desmaphone and Aztec death whistle to shape the show's sonic identity How serialized storytelling allows themes to grow and evolve across multiple episodes Building episode-specific releases, like the standalone score for Episode 5 Jeff also shares how his long creative partnership with Hawley has shaped his process — and why building trust early makes it easier to take musical risks later.

In this episode of Home with Dean, Dean kicks things off by introducing the gang and chatting about a recent whale-watching adventure. Then it's back to the house as Dean dives into painting over century-old wallpaper—yes, it can be done!—with oil-based primer and quality paint. He also breaks down modern roofing materials, from lightweight tile to composition asphalt, and explains why synthetic roofing paper is the smart choice. Plus, learn the key differences between manufactured homes and mobile homes in this packed, practical episode. 

When considering an object-oriented programming problem, should you prefer inheritance or composition? Why wouldn't it just be simpler to use functions? Christopher Trudeau is back on the show this week, bringing another batch of PyCoder's Weekly articles and projects.

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time): bit.ly/wwpu-free-plan—Were women in the past weaker than men, or have we been sold a lie? What if prehistoric women could outlift most modern athletes? And how does understanding this history change the way you train today?I'm joined by Anne Marie Chaker, author of Lift: How Women Can Reclaim Their Physical Power and Transform Their Lives. We break down archaeological evidence that shows ancient women had elite-level strength, explore how cultural narratives have stripped women of their physical identity, and reveal why midlife can be a prime time for building muscle. You'll learn simple, sustainable ways to start lifting, structure your workouts, and rethink food as fuel, not the enemy.Today, you'll learn all about:0:00 – Intro2:24 – From journalist to competitive bodybuilder4:30 – Archaeological proof of elite ancient women7:07 – The Viking warrior who wasn't a man11:10 – The mixed messages of modern fitness culture17:37 – How to fuel like an athlete26:10 – Navigating perimenopause and training30:05 – First steps for women new to lifting36:10 – A brief history of strong women in sport40:09 – How lifting shapes identity and mindsetEpisode resources:Website: annemariechaker.comBook: Lift: How Women Can Reclaim Their Physical Power and Transform Their LivesLift SubstackLinkedIn: linkedin.com/in/anne-marie-chaker-62119317 Instagram: @annemariechaker Support the show

In this episode, we detail the structure and function of the intestinal mucosal barrier, highlighting key roles that zinc plays in supporting various aspects of mucosal barrier integrity. We detail key anatomical features, including the mucus layer, epithelial cells, and tight junctions, before discussing zinc's physiological roles, its relationship with copper, and factors that can affect zinc levels. The discussion further details mechanistic features of zinc absorption as well as specialized forms such as zinc carnosine.Topics:1. Introduction - Overview of intestinal hyperpermeability and intestinal barrier function- Highlighting the role of zinc 2. Intestinal Barrier Anatomy - Four major layers: mucosa, submucosa, muscularis externa, serosa- Mucosa subdivisions; focus on epithelium  3. The Mucus Layer  - Location over the epithelial surface- Composition: mucin-rich, secreted by goblet cells- Goblet cell mucin storage and expansion upon hydration- Functions: trapping pathogens, lubricating epithelium, housing molecules including secretory IgA- Small intestine mucus - Large intestine mucus 4. The Intestinal Epithelium - Monolayer of epithelial cells: enterocytes, goblet cells, and more- Tight junctions, paracellular transport - Continuous epithelial renewal 5. Introduction to Zinc - Zinc as a trace mineral required in minute quantities for numerous physiological processes - Second most abundant trace mineral after iron; majority stored in muscle and bone- Maintaining plasma and intracellular zinc concentrations within narrow range- Both deficiency and excess can disrupt biochemical processes 6. Zinc and Copper  - Zinc and copper as closely interconnected minerals- Zinc, copper, and metallothionein binding in enterocytes- Both high and low zinc can disrupt zinc-copper balance- Metallothionein as a cysteine-rich metal-binding protein  7. Factors Affecting Zinc Levels  - Multifactorial- Possible signs of low zinc status 8. Zinc Absorption  - Dietary sources- Primary absorption in small intestine - In the stomach: HCl and pepsin denature proteins and cleave peptide bonds, releasing zinc from protein complexes- Dietary zinc often bound within tertiary protein structure- Specialized transporters  9. Zinc's Role in the Intestinal Barrier  - Zinc and tight junction proteins- Zinc and Intestinal Epithelial Cells - Zinc and the mucus layer 10. Broader Context of Zinc in Physiology   11. Zinc Carnosine  - Molecular complex of zinc and carnosine- L-carnosine composed of beta-alanine and L-histidine- Gastrointestinal context 12. Conclusion - Multifactorial and multi-system.Thank you to our episode sponsors: 1. ⁠⁠⁠⁠OmneDiem®'s⁠⁠⁠⁠ ⁠⁠⁠⁠Histamine Digest®⁠⁠⁠⁠ and ⁠⁠⁠⁠Histamine Digest® PureMAX⁠⁠⁠⁠ : Use code STXAL9VI for 15% off.2. ⁠⁠⁠⁠Histamine Digest® Histamine Complete⁠⁠⁠⁠ with DAO, Vitamin C, Quercetin, Bromelain, and Stinging Nettle Root Extract: Use code STXAL9VI for 15% off.3. Codex Labs: Explore Codex Labs' collections for acne, eczema, and more. Shop the BIA Collection HereThanks for tuning in!Get Chloe's Book Today! "⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠75 Gut-Healing Strategies & Biohacks⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠" Follow Chloe on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@synthesisofwellness⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠synthesisofwellness.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Depuis des siècles, le sperme, emblème d'une virilité triomphante, fascine autant qu'il obsède. que ce soit dans les discours médicaux ou religieux.D'où vient cette fascination ? Comment sa perception a-t-elle évolué au fil du temps ? À quel moment a-t-il été intimement lié à la virilité ? Et pourquoi continue-t-il encore aujourd'hui à susciter autant d'obsessions ?Dans ce deuxième épisode de la série inédite en 5 volets « Tout sur le sperme », Naomi Titti reçoit Marie Walin, enseignante-chercheuse en histoire contemporaine à l'Université de Poitiers, spécialiste de l'histoire des masculinités et des sexualités. Ensemble, elles remontent le temps et décortiquent les symboles liés au spermeà travers les siècles.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/sperme-retour-aux-sources-2-5Crédits :Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti, et enregistré le mercredi 25 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production, édition Marie Foulon. Communication : Lise Niederkorn. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Générique : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week we're talking about workers' inquiry with the Blue Bottle Independent Union for cafe workers! Learn about workers' inquiry, organization, and how you can do it too! Media mentioned Part 1 (on what cafe workers think and do while at work): https://notesfrombelow.org/article/class-composition-in-the-cafe-sector-part-1    Part 2 (exploring how cafe workers are organizing at work): https://notesfrombelow.org/article/class-composition-in-the-cafe-sector-part-2  Marx 101 questions Enquête Ouvrière (“Workers' Inquiry”) for Benoît Malon's French newspaper La Revue Socialiste https://notesfrombelow.org/article/introduction-karl-marxs-workers-inquiry Blood in the Machine: https://www.hachettebookgroup.com/titles/brian-merchant/blood-in-the-machine/9780316487740/?lens=little-brown https://theworkandus.squarespace.com/  https://newlaborforum.cuny.edu/ https://workingpeople.libsyn.com/  http://workersinquiry.work/ Support Blue Bottle Union https://www.bluebottleunion.org/  https://actionnetwork.org/fundraising/support-blue-bottle-workers-taking-on-nestle Transcript: https://pastecode.io/s/jmhcyzvo Join the Discord: https://discord.gg/zzEpV9QEAG

Welcome to Club Juke— where bloodlust means a killer playlist. The only sin about Sinners (2025) is if you haven't seen it yet. ***CONTENT WARNING: discussion of racism, racial violence & discrimination, colonization, enslavement, hate groupsFollow us on Instagram at @thewhorrorspodcastEmail us at thewhorrorspodcast@gmail.comArtwork by Gabrielle Fatula (gabrielle@gabriellefatula.com)Music: Epic Industrial Music Trailer by SeverMusicProdStandard Music License Sources: ​Anderson, Maureen. “The White Reception of Jazz in America.” African American Review, vol. 38, no.​          1, 2004, pp. 135–45. JSTOR, https://doi.org/10.2307/1512237. Accessed July. 2025.​Hobson, Janell. “Blood Money, Blues Women, and the Power of Price: How ‘Sinners' Rewrites the Gothic South.” Msmagazine.com. https://msmagazine.com/2025/05/08/sinners-feminist-film-review-black-women-history-power-south/. Accessed July 2025. Web.  ​Hoepfner, Fran. “The Women at the Heart of Of Sinners.” Vulture. 24 April 2025.  https://www.vulture.com/article/the-women-at-the-heart-of-of-sinners.html ​Kabeya, Victoria. ““How the Theme of Racial Escapism made Mary the Only Survivor in ‘Sinners.'” Medium.com. https://medium.com/@editions.canaan/how-the-theme-of-racial-escapism-made-mary-the-only-survivor-in-sinners-ffa421a52649. Web. ​McBride. “Hip-Hop Planet.” The Language of Composition. New York; Bedford, 2019. Pg. 301-311. Print.​Sinners (2025 film) Wiki: https://en.wikipedia.org/wiki/Sinners_(2025_film) ​Sinners (2025) IMDb: https://www.imdb.com/title/tt31193180/ ​@Teppertoks. “Spoilerish warning! Yes im still thinking about this movie!!” Tiktok. 19 April, 2025. https://www.tiktok.com/@teppertoks/video/7495079197350612254?lang=en ​The Eras & History Of Jazz Music" GreaterTorontoMusic.ca. Greater Toronto Music School, 2022.​          https://www.greatertorontomusic.ca/post/the-eras-history-of-jazz-music. Accessed July 2025. Web.​"Timeline." JazzInAmerica.org. The Herbie Hancock Institute of Jazz.​          https://www.jazzinamerica.org/JazzResources/Timeline/. Accessed July 2025. Web. 

C-TRAN's Board Composition Review Committee voted 10-1 to propose a 3-3-3 structure, granting equal seats to Vancouver, Clark County, and smaller cities, despite state pressure for a 4-3-2 format. The change aims to meet population compliance and preserve millions in grant funding, with deadlines approaching on Sept. 3, Sept. 9, and Oct. 1. https://www.clarkcountytoday.com/news/review-committee-to-recommend-new-composition-for-c-tran-board-of-directors/ #CTRAN #ClarkCounty #VancouverWA #LocalGovernment #TransitFunding #BoardRepresentation #PublicTransit #PopulationCompliance #WashingtonState #GrantFunding

In this episode of the Teacher Fellows Podcast, hosts Ryan Rarick and Lauren Merkley kick off the new season with an inspiring conversation with Dr. Molly Hart, the newly appointed Utah State Superintendent of Public Instruction. Dr. Hart shares her unique journey from social worker to her current role, emphasizing the importance of embracing opportunities with a 'Why not?' attitude. The discussion highlights the significance of curiosity, joy, and effective communication in education, and Dr. Hart offers valuable advice for teachers facing new school year challenges. Tune in to hear how educators can lead up, share their stories, and make a difference.00:00 Introduction and Welcome00:41 Introducing Dr. Molly Hart02:20 Dr. Hart's Journey to State Superintendent08:28 The Role of a State Superintendent14:19 Advice for Teachers and Educators20:41 Final Thoughts and Takeaways24:11 Closing Remarks GUESTS ON EPISODE:Dr. Molly Hart - Utah State Superintendent of Public Instruction, previously Executive Director of Summit AcademyADDITIONAL RESOURCES:Connect with Dr. Molly HartEmail: molly.hart@schools.utah.gov SOCIAL MEDIA CONNECTIONS: Want to be on the podcast? Fill out this form - Podcast Interview Survey Teacher Fellows Website: teacherfellows.orgLinkedin: Utah Teacher Fellows Twitter: @TeachFellowsPod or @HSG_UTInstagram: @TeacherFellowsPodcast or @hsg_utFacebook: @utahteacherfellowsprogramEmail us: socialmedia@hopestreetgroup.org PART OF THE SHOW Hosts:Lauren Merkley (@lmerkles) -- Taught AP English Language and Composition, Creative Writing in Granite School District, 2020 Utah Teacher of the YearRyan Rarick (@Coach_Rarick) -- Education Pathway Teacher for Washington Country School DistrictProduction Team:Kayla Towner (@mrstowner9) -- Technology Specialist and Product Manager for Utah Education Network (UEN)Info Drop Spokesperson:John Arthur (@9thEvermore) -- Co-Director of the Teacher Fellows, 6th Grade Teacher in Salt Lake School District, 2021 Utah Teacher of the Year, 2021 National Teacher of the Year Finalist.

Get 10% off SymptoGuard to manage GLP‑1 side effects and stay consistent with your eating and training.—Are GLP-1 drugs like Ozempic secretly stalling your progress? Why are so many users quitting despite major weight loss?I talk with Justin Silver, founder of SymptoGuard, who watched his father battle severe Ozempic side effects that nearly took his life. Justin shares the real reasons users struggle on GLP-1s and how these can derail your fitness and muscle goals even while losing weight. If you're taking or considering GLP-1s, this episode will help you manage side effects, protect your protein intake, and make the drugs actually work for you.Today, you'll learn all about:0:00 – Intro2:13 – Age, side effects, and body stress4:49 – Justin's father's Ozempic story6:16 – What's really causing the distress8:23 – Lifestyle habits reduce symptoms11:43 – Top 2 side effects that derail progress14:15 – The problem with food noise19:02 – What's in SymptoGuard and why21:57 – Clinical results: 50% less nausea25:24 – GLP-1 trends: fewer injections, more side effects28:44 – What doctors need to understand33:32 – Where to learn more and get supportEpisode resources:Visit witsandweights.com/symptoguard to learn more, view the ingredient label, etc.Instagram: @symptoguard and @thejustinsilver Facebook:  @SymptoguardYoutube: @SymptoGuard Support the show

S'il y a bien un liquide corporel étroitement lié à la masculinité triomphante, c'est le sperme. Symbole de virilité et de reproduction, ses rôles et sa composition restent pourtant mal compris.C'est quoi le sperme exactement ? Comment est-il produit ? À quoi sert-il ? Et comment évolue-t-il au cours de la vie ? Dans ce premier épisode de la série inédite en 5 volets « Tout sur le sperme », Naomi Titti reçoit le Dr Marc Galiano, urologue, andrologue, cancérologue, et co-auteur avec Rica Etienne du livre « Tout savoir sur le sexe des hommes »(Éd. Marabout poche, 2022). Ensemble, ils évacuent plein d'idées reçues sur la masturbation, l'éjaculation, la fertilité ou encore le mythe des “couilles bleues”.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/50-nuances-de-sperme-1-5Crédits :Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti, et enregistré le lundi 27 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production, édition Marie Foulon. Communication : Lise Niederkorn. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Générique : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The Object Worship boys are back! Today they're here to talk all about the discontinued Dweller Phase Repeater and its brand new spiritual successor, the Bathing Liminal Delay. Video calls from past guests Andy Pitcher, Dave Jordan, and Alec Breslow, calls from the hogline, and lots of chat about what it means to make a truly new pedal in this day and age. They're really exploiting algorithmic similarities on this one!Buy yourself some OBNE: http://www.oldbloodnoise.comJoin the conversation in Discord: https://discord.com/invite/PhpA5MbN5uFollow us all on the socials: @danfromdsf, @andyothling, @oldbloodnoiseSubscribe to OBNE on Twitch: https://www.twitch.tv/oldbloodnoiseSubscribe to Andy's Twitch channel: https://www.twitch.tv/powereconomyLeave us a voicemail at 505-633-4647!

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. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

How does an idea become a musical? How do you write both a play and a musical soundtrack at the same time? How does a musical that you've finally written wind up on a real stage with real actors?Kaylee Killingsworth and Kenady Sean have answers.In this episode, Emmeline sits down with two-thirds of the creative team behind Beyond Perfection, a new musical about our human desire for perfection and our love-hate relationship with reality. Just days before their New York City debut, Kenady and Kaylee get candid about the winding path to the stage, from initial table reads to a complete script revision. They also discuss the value of perseverance, the fine line between constructive criticism and debilitating criticism, and how this version of Beyond Perfection is, without a doubt, their best one yet. Plus, hear a sneak peek of the musical itself!To learn more about Beyond Perfection: The Musical, visit the official website or follow the musical on Instagram. To learn more about Kenady Sean and her upcoming projects, visit her official website or follow her on Instagram. To follow Kaylee's musical and creative journey, visit her official website or follow her on Instagram.For behind-the-scenes information and more about Journey of an Artist, visit the Journey of Series official webpage, or follow Emmeline on social media at @EmmelineMusic.

More C-Suite leaders view their boards as effective in 2025, but numerous challenges remain, including keeping up with AI.     More than one-third (35%) of C-Suite executives surveyed by PwC and The Conference Board say their board's effectiveness is “excellent” or “good.” What are these boards doing well, and where do they need to improve?     Join Steve Odland and guest Arielle Berlin, director of the Governance Insights Center at PwC, to find out how boards are grappling with uncertainty, why companies want boards to focus more on AI and talent, and why nearly all senior executives are calling for board refreshment.     For more from The Conference Board:  Board Effectiveness: A Survey of the C-Suite: 2025 Edition  The Evolution of Overboarding Policies  Board Practices and Composition: 2024 Edition 

Michael Krueger is “just a dude from Missouri who does music.”   Professor Krueger is a fantastic and prolific music composer. In this episode of  The Learning Vibes Podcast, Michael talks us through one of his most important compositions, For Patrick.   Both the music itself and the motivation that inspired the piece provide beautiful insights into the work of artist composition.  You will hear the piece as Michael discusses it.  Learn about some of the compositional considerations in the piece and consider why the piece is composed the way that it is.  Instinct, passion, and love for a friend drive the music.

Composition lessons with the Charlotte Mason Method are the culmination of years of your student sharing his thoughts and ideas. Charlotte Mason Language Arts: Composition originally appeared on Simply Charlotte Mason.

Lakeridge High School senior Elaina Stuppler is no stranger to the spotlight. She performs in the Portland Youth Philharmonic, playing trombone - but she also plays tuba, piano and composes music as well. She’s regularly featured on All Classical Radio as a reporter and Artist in Residence. But the last few months have been a veritable cavalcade of honors and opportunities. Stuppler won the Musical Theater Songwriting Challenge. Her winning composition, about the life of Maria Anna Mozart, was performed  by Broadway musicians and singers in New York this summer. She was just one of five students in the U.S. chosen by the Grammy Museum for its summer screen scoring program in LA. She is also a winner of the prestigious YoungArts Award with Distinction, Stuppler joins us to share some of her compositions, and tell us about what these honors mean to her and what opportunities they may open up for her future.  

Check out the other half of our Q&A on Brandon's Chasing Clarity podcast, where we tackle your questions on hunger, cravings, appetite, and artificial sweeteners.---Just wrapped a bulk and scared to lose muscle? Over 50 and unsure if gains are still possible? Walking 20,000 steps a day with no results?In this Q&A, I team up with physique coach Brandon DaCruz, host of the Chasing Clarity podcast, to tackle five hot topics around fat loss, muscle building, and diet fatigue. We break down smart post-bulk strategies, how much walking is too much, and realistic expectations for muscle gain over 50, plus how to recover when dieting burns you out.Don't miss part two of this episode on the Chasing Clarity podcast, where we explore how hunger, cravings, and sweeteners impact your results.Main Takeaways:A smarter way to cut after a bulkWhen walking too much backfiresMuscle gain over 50 is slow—but possibleDon't underestimate diet fatigueLifestyle stress and recovery matter more than you thinkTimestamps:2:00 – Post-bulk strategy for women 40+8:34 – Are 20K steps a day too much?22:15 – Building muscle after 5028:49 – Best small-space home gym setup36:56 – How to recover from diet fatigue41:08 – Training and recovery during a fat loss phase46:54 – The signs you're hitting a wall53:50 – Training mindset and strength drops during a cutCheck out the other half of our Q&A on Brandon's Chasing Clarity podcast, where we tackle your questions on hunger, cravings, appetite, and artificial sweeteners.Support the show

Composition lessons with the Charlotte Mason Method are the culmination of years of your student sharing his thoughts and ideas. Charlotte Mason Language Arts: Composition originally appeared on Simply Charlotte Mason.

#584 In this episode of the podcast, I explore the idea that your photos are not broken just because they aren't technically perfect or heavily edited. I share my own experiences as a photographer, reflecting on how the rise of digital editing and AI has made many of us feel like every photo needs to be “fixed” to be worth keeping or sharing. I encourage you to let go of those expectations and to rediscover what made you pick up a camera in the first place—whether it was to slow down, see the world differently, or simply enjoy making images.KEY TOPICS COVEREDThe Pressure of Perfection and Editing in Modern Photography - Raymond discusses how digital tools, social media, and AI have shifted expectations toward perfection. He challenges the presumption that photos must always be edited, and recalls the joy of simple, unedited film photography. The key takeaway is to let go of perfection and rediscover the fun in photography.Imperfection as Art and Authenticity - The episode illustrates, with anecdotes from Raymond's wedding photography, the value of candid moments (like a flower girl picking her nose), emphasizing that these “flaws” make photos memorable and human. He connects this to the broader theme of authenticity, suggesting that imperfection is what sets human-made images apart from AI-generated ones.Practical Approach: Enjoyment and Mindset Shift (Plork) - Raymond introduces “plork” (play + work). He encourages listeners to shoot for enjoyment, intentionally practicing and experimenting with their cameras rather than working only to “fix” images later. Actionable advice includes shooting JPEGs, skipping editing, and focusing on moments that feel right rather than those that look perfect.IMPORTANT DEFINITIONS & CONCEPTSPlork: A blend of play and work, meaning practicing a craft with a playful, no-pressure attitude. In photography, “plorking” means shooting for enjoyment while still improving your skills—the core mindset Raymond urges listeners to adopt.DISCUSSION & REFLECTION QUESTIONSWhen do you feel most pressure to edit your photos, and how does it affect your enjoyment of photography?Can you think of a photo you love because of, not in spite of, its imperfections? Why does it resonate with you?What habits can you adopt to “plork” more during your photography sessions?RESOURCES:Check out the Headway App for book summaries - https://makeheadway.com/Book: "The Creative Act" by Rick RubinBook: "The Dude and the Zen Master" by Jeff BridgesSign up for your free CloudSpot Account today at www.DeliverPhotos.comConnect with Raymond! Join the free Beginner Photography Podcast Community at https://beginnerphotopod.com/group Get your Photo Questions Answered on the show - https://beginnerphotopod.com/qa Grab your free camera setting cheatsheet - https://perfectcamerasettings.com/ Thanks for listening & keep shooting!

391 Stories and Connection It is vital to our own communities that we remember our stories and share them with one another, not to dwell on regrets and what ifs, but to reach out and connect with one another so that we all can learn and grow together, and hopefully create more grand stories on the paths we walk together. In this revisited episode, Sarah Elkins and Lee Keylock discuss their own stories and how they have healed through sharing stories and listening to the stories that others share with us.   Highlights Connecting with people through sharing stories. Healing from trauma through stories and the community that sharing those stories creates. The changing paths our decisions create and how we should live in the moment and not dwell on what ifs. Greet the world and the challenges offered with open minds and a willingness to learn.   Quotes “No regrets. Life is sliding doors right? If it's meant to be, it's meant to be.” “We're perpetual students, right? I've never approached anything I've ever done as an authority on anything.” “It's not enough to just hear stories. That can be brilliant and beautiful and life changing and you can have those moments, but when we work with youth we want them to think about how they can use stories to think about themselves, their communities, and the world and their place in it, and how they can become agents of change.”   About Lee Lee Keylock is Director of Global Programs at Narrative 4 and oversees the coordination and administration of all aspects of N4's ongoing programmatic development. Originally from Britain, Lee immigrated to the United States in 1989 and taught English at Newtown High School in Connecticut for thirteen years. He has served as an adjunct professor teaching Creative Writing and Composition at Southern Connecticut State University in New Haven, where he also earned his MFA in Creative Writing.  Connect with Lee on LinkedIn, Facebook, or Instagram! And make sure you check out his website Narrative 4!   About Sarah "Uncovering the right stories for the right audiences so executives, leaders, public speakers, and job seekers can clearly and actively demonstrate their character, values, and vision." In my work with coaching clients, I guide people to improve their communication using storytelling as the foundation of our work together. What I've realized over years of coaching and podcasting is that the majority of people don't realize the impact of the stories they share - on their internal messages, and on the people they're sharing them with. My work with leaders and people who aspire to be leaders follows a similar path to the interviews on my podcast, uncovering pivotal moments in their lives and learning how to share them to connect more authentically with others, to make their presentations and speaking more engaging, to reveal patterns that have kept them stuck or moved them forward, and to improve their relationships at work and at home. The audiobook, Your Stories Don't Define You, How You Tell Them Will is now available! Included with your purchase are two bonus tracks, songs recorded by Sarah's band, Spare Change, in her living room in Montana. Be sure to check out the Storytelling For Professionals Course as well to make sure you nail that next interview!

Stefan Collini, FBA.Professor Emeritus of Intellectual History and English Literature, University of Cambridge.The Donald Winch Lectures in Intellectual History.University of St Andrews.11th, 12th & 13th October 2022.In the course of the nineteenth and twentieth centuries, universities expanded to include a wide range of what came to be regarded as academic ‘disciplines'. In Britain, the study of ‘English literature' was eventually to become one of the biggest and most popular of these subjects, yet it was in some ways an awkward fit: not obviously susceptible to the ‘scientific' treatment considered the hallmark of a scholarly discipline, it aroused a kind of existential commitment in many of those who taught and studied it. These lectures explore some of the ways in which these tensions worked themselves out in the last two hundred years, drawing on a wide range of sources to understand the aspirations invested in the subject, the resistance that it constantly encountered, and the distinctive forms of enquiry that came to define it. In so doing, they raise larger questions about the changing character of universities, the peculiar cultural standing of ‘literature', and the conflicting social expectations that societies have entertained towards higher education and specialized scholarship.Handout - Lecture 2: Careers1. ‘His tastes and pursuits would no doubt lead him to lecture on the Structure of the English Language and its affinities with cognate tongues, rather than upon Rhetoric or the Art of Composition, but when it was mentioned to him that the latter formed part of the duties of the chair, he made no difficulty about undertaking it.'2. ‘We think that the Professor of the English Language and Literature at our College ought, if it were possible, to unite all the qualifications which we think desirable, to be a thoroughly educated man, a man whose peculiar learning is based upon the sound scholarship which is the general training of English gentlemen. He ought to have made a systematic study of the English Language and English Literature: a systematic study of the Language, so as to be thoroughly conversant with its etymological structure, and the history of its formation through its successive stages; a systematic study of the Literature, so that his familiar knowledge of it may not be confined within the limits of one or two periods. He ought to have experience as a Lecturer, and to be able to lecture well: but he ought to be prepared not only to lecture, but to teach. We must bear in mind, and our Professor must bear in mind, that the practical end of our English Class is to teach our students to use their own language well both in speaking and writing.'3. ‘All the world is standing, every chatterer in every newspaper thinks he is good enough for English language and literature.'4. ‘The lecture list of Easter Term was considered. It was agreed that the Reader in Phonetics should be asked either to change the subject of his lecture on Ugrian Phonetics or to remove it from the list, as in the opinion of the Board the subject did not fall within the scope of the school.'5. ‘The main point, of course, was to choose a scholar and not a chatterer; now the chatterers have command of the newspapers and the scholars have not. That's all. I have no doubt that to any maker of paragraphs, Matthew, Ealdorman of babblers, seems a greater man than William of Chester'.6. ‘In those early years everyone, whatever her natural bias, read for the English School at Oxford, because that was the only course for which adequate preparation could at that time be secured.'7. ‘Well, I have no hesitation in de-classing the whole professorial squad - Bradley, Herford, Dowden, Walter Raleigh, Elton, Saintsbury'... [Saintsbury is allowed to have some strengths, though in spite of his style rather than because of it] ...For the rest: Professor Walter Raleigh is improving. Professor Elton has never fallen to the depths of sterile and pretentious banality which are the natural and customary level of the remaining three.' This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit standrewsiih.substack.com

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time).—Why are you gaining belly fat even while lifting and eating well? Could your sluggish metabolism be a liver problem in disguise?I sit down with certified supplement expert Sara Banta to reveal how your liver and thyroid work together to control metabolism, muscle retention, and fat loss and why ignoring liver health might be what's sabotaging your fitness progress. We unpack how stress, sleep, hormones, and toxins overload your body's ability to function efficiently, even if you're doing everything “right.” If you're consistent with training and nutrition but still stuck, this might be the missing piece.Today, you'll learn all about:3:12 – Sara's health crisis and muscle loss9:36 – Iodine's surprising benefits12:36 – Liver's role in fat storage17:56 – The real hierarchy of healing24:29 – What to eliminate—and when28:15 – Movement and metabolic communication33:30 – Alcohol, toxins, and your thyroid36:08 – Final truth: Why proactive health mattersEpisode resources:Website: sarabantahealth.com Facebook: @acceleratedhealthproducts Instagram: @acceleratedhealthproducts Youtube: @AcceleratedHealthSaraBantaSupport the show

Send us a textIn this powerful episode of the Tatter-a-Fact PMU Podcast, Teryn Darling sits down with Jessica Ashley of Stunna Beauty to talk about one of the most debated procedures in the permanent makeup world: tattooed freckles.From ombre brows and lip blush to the artistry of freckles, Jessica shares how she transformed a personal obsession into a signature PMU service now loved by clients across the country. But not everyone in the industry is on board—and that's exactly why this episode matters.

Cocktails fluo, plages bondées, dragues, concours de shots… Chaque année des milliers de garçons partent “entre potes”, dans les hauts lieux du tourisme festif. Mais derrière les clichés de vacances décontractées se cache une autre réalité : celle des violences sexuelles, des rapports de force et d'une masculinité qui s'affirme dans la conquête, l'ivresse et la mise en scène de soi devant ses amis.Pourquoi ces lieux de vacances deviennent-ils si souvent le théâtre de violences sexuelles ? Comment la fête, surtout quand elle se déroule à l'étranger, se transforme-t-elle en terrain de démonstration virile ? Et comment les femmes deviennent, dans ces contextes-là, des objets de validation entre mecs ?Pour en parler, le journaliste Tal Madesta reçoit l'anthropologue, docteure de l'École des Hautes Études en Sciences Sociales et membre du laboratoire du SESSTIM à Marseille, Alix Boirot. Elle a écrit une thèse « Là où vont les garçons : une anthropologie du tourisme festif (Lloret de Mar, Costa Brava) » (2020) qui s'appuie sur son travail d'enquête mené à Lloret de Mar, en Espagne. Ensemble, il et elle montrent comment le tourisme festif amplifie les logiques d'exclusion, les hiérarchies entre hommes, et les normes autour de l'hétérosexualité et de la séduction.RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/machos-a-playaCRÉDITSLes Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Tal Madesta et enregistré le lundi 25 juin 2025 au studio Virginie Despentes de Binge Audio (Paris, 19e). Prise de son, réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Meet the piano piece that's been with me most of my life. In this solo episode, I share the story behind Waking Blue. A song I began composing at age 13, long before I had language for who I was becoming. From Beethoven to Salt Lake City, from Ensign Peak to Southern California, this melody carried me through moves, grief, queerness, and awakening. Waking Blue is a piece about impermanence and memory, about the moment (and years) before we fully wake up. I offer the 2011 studio version here: played on a Steinway, wrapped in decades of life. May it meet you in your own season of becoming.

Episode: 3321 Scott Joplin persevered in creating Ragtime music as a black musician in post-Civil War America. .  Today, Joplin and Ragtime.

In this video, I explore the magical dimension of Bruno's thought—an aspect often overlooked or dismissed in favour of his more fashionable reputation as a forerunner of modern astronomy. But Bruno was no mere proto-scientist. He was a visionary who believed that the universe was infinite, ensouled, and fundamentally magical—a living network of correspondences that could be navigated through imagination, desire, and memory.Drawing from his key texts—De Magia, De Vinculis in Genere, On the Composition of Images, Signs and Ideas—and supported by the work of scholars like Frances Yates, Ioan Couliano, Karen DeLeón-Jones, and Manuel Mertens, I show how Bruno developed a magical system where cosmology, ritual, and philosophy collapse into one another. His art of memory wasn't just a mental exercise—it was a theurgical practice. His use of images wasn't ornamental—it was a means of binding the soul to the divine. And his vision of the magician wasn't that of a trickster or charlatan, but of a philosopher in ecstatic alignment with the cosmos.CONNECT & SUPPORT

Want to build muscle, lose fat, and train smarter? ⁠⁠⁠Join the new Physique University for just $27/month⁠⁠⁠ and get your custom nutrition plan FREE (limited time)—Is your doctor telling you to “lift heavy” but you don't even know where to start? Wondering how to build strong bones without ending up hurt or overwhelmed? Curious if weighted vests actually do anything for bone health?I brought Megan Dahlman back to the show to answer these questions and more. Megan is a strength coach who specializes in helping women over 40 build muscle, improve mobility, and fight back against a condition called osteosarcopenia. We talked about the risks of jumping into heavy lifting the wrong way and how to progress smartly and safely from bodyweight to weights.Today, you'll learn all about:2:50 – What is osteosarcopenia?6:38 – How muscles and bones work together11:28 – Why “lift heavy” can backfire18:21 – The best place for beginners to start23:11 – The truth about weighted vests28:20 – What's the minimum effective dose?36:39 – Should you train for power too?42:04 – Sample training structures that work51:55 – Home vs. gym: how to decide55:50 – Where to start with Megan's programEpisode resources:Training program – Jumpstart 30Youtube: @vigeofitInstagram: @megandahlman Facebook: @vigeofit Website: vigeofit.com Support the show

In this episode, I talk with Ken Carlson about photographic composition. We move past the usual rules—like lines and shapes—and focus on how composition can express deeper meaning and intention. We share our frustrations with formulaic approaches often taught online, and discuss how real impact comes from understanding why we compose a certain way. We both share some of our teaching experiences and reflect on how personal connection and context shape our choices. We agree that composition is more than technique; it's about communicating emotion and meaning through our photographs.

In this episode of Chats and Tatts, host Aaron Della Vadova connects with talented tattoo artist Anthony Tex at the prestigious Gods of Ink convention in Frankfurt, Germany. They delve into the unique energy exchange that occurs during tattoo sessions, discussing the bond formed between artist and client during these intimate and vulnerable moments. Anthony shares insights about his 13-year journey in the tattoo industry, including his apprenticeship under his father, James, who has been tattooing for 26 years. The conversation highlights Anthony's unexpected path to becoming a tattoo artist, revealing how a childhood fascination evolved into a flourishing career, and being runner up to his dad on season 16 of Ink Masters. Tune in for an engaging discussion about artistry, mentorship, and the world of tattoos! Chat Breakdown: 01:50 - Choosing Tattooing Over Other Careers 02:12 - Family and Early Exposure to Tattooing 03:41 - Experience on Ink Master 05:02 - Importance of Illustrating and Drawing in Tattooing 07:57 - What Makes a Great Tattoo 09:47 - Composition and Placement in Tattooing 12:06 - Importance of Body Flow and Placement 15:26 - Spiritual and Emotional Connection in Tattooing 20:16 - Client Trust and Artistic Freedom 23:32 - Handling Client Feedback and Adjustments 26:38 - Growth and Learning Through Travel and Guest Spots 29:41 - Slowdown in the Tattoo Industry 32:18 - Saturation and Competition in the Tattoo Industry 35:58 - Concerns About AI Replacing Human Tattoo Artists 38:13 - Authenticity in Tattoo Art Creation Quotes: "There seems to be some kind of energy exchange when you tattoo somebody, like a bond that is created." "I think there was always talent. I think it's, you know, a lot of people don't want to, maybe show their failures or their weaknesses, you know, show vulnerability." "It turned for me from the idea of putting a tattoo on somebody into the idea of like decorating a human body."  "If you think everyone's a dick, then you're a fucking dick... You're just attracting... What's your problem?" "If you're trying to become the best tattooer possible, I don't think you should do that. Secluding yourself like that is going to stifle your growth." "I can't fathom not ever tattooing and just doing something else." "I think just reach out of that box a little bit. Try something new." Stay Connected: Chats & Tatts: Website: http://www.chatsandtatts.com⁠ Tik Tok: https://www.tiktok.com/@chatsandtatts  IG: http://www.instagram.com/chatsandtatts Chats & Tatts YouTube: https://www.youtube.com/c/chatsandtatts Connect with Aaron:⁠   Aaron IG:⁠ http://www.instagram.com/aarondellavedova⁠ Guru Tattoo: http://www.Gurutattoo.com Connect with Anthony: IG: https://www.instagram.com/Anthony_Tex    

Show DescriptionChris and Dave chat about whether you should wing it or script your videos, unplanned demos versus the safety net of edited videos, streaming software with Ecamm Live vs OBS vs Streamlabs, new CSS animation composition, and anchor positioning thoughts. Listen on Website →Links Canon EOS 5D Mark IV Sony ZV-1 Twitch > jlengstorf Twitch > ChrisCoyier YouTube > Chris Coyier Frontend Masters Figma Canva Figma Buzz YouTube > Mark Rober YouTube > The Coding Train Ecamm Live YouTube > CodePen Floating UI SponsorsDesign Tokens CourseWorld-renowned design systems experts Brad Frost (creator of Atomic Design) and Ian Frost teach you everything you need to know about creating an effective design token system to help your organization design and build at scale.

The fourth of 4 Episodes with Outdoor Adventure Photographer Sergio Bolivian providing tips and advice to improve your adventure photography. Facebook   Twitter   Instagram Love the show? Subscribe,  rate, review, and share! Sign up for my Newsletter  HERE I'd love to hear your feedback about the show! You can contact me here:  rick@ricksaez.com Show Notes WHAT HAPPENED – Personal Story: There I was, deep in the Amazon, camera in hand, soaking in this explosion of color—bright blue water, rusty orange clay, jungle green overhead, and that soft golden light photographers dream about. The kind of scene that doesn't just ask to be photographed—it demands it. So what did I do? I lined up my shot, textbook rule-of-thirds style. Sky in the top third, water in the bottom, everything “perfect.” But something felt… off. That's when I said screw it, let's break some rules. I shifted the frame. Horizon smack in the middle. My boat creeping in from the corner, becoming this perfect leading line. It looked weird… until it didn't. Until it looked just right. It was one of those rare, unrepeatable moments. In five minutes, the light would shift, the river would curve, and that magic scene? Gone forever. But because I trusted my eye over the rulebook, I got the shot—and every time I look at it, I feel that moment again. PRINCIPLE: Here's the thing—creative freedom doesn't mean ignoring the rules; it means understanding them well enough to know when to ditch them. Composition is a tool, not a cage. The rule of thirds, leading lines, all that jazz? It's there to guide your storytelling, not police it. Your camera is just the vehicle. You're the driver. TRANSITION: But so many of us get stuck. Not because we're not “creative enough,” but because we cling to the rules like a safety blanket. We're afraid to break out of the grid and trust our own visual instincts. And let's be honest—most beginner photographers aren't struggling because they don't have the gear. They're struggling because they're trapped by formula, instead of finding their own rhythm. THAT'S WHY: That's why this episode with Sergio is a breath of fresh, Amazonian air. We dive into composing wild spaces with intention, not restriction. We explore how to blend intuition with technique so your photos tell your story, not just the story the rulebook approves of. CALL TO ACTION: Tired of taking “technically correct” photos that still feel flat? Frustrated when your shots don't match what you felt in the moment? Listen to this episode now and start capturing the kinds of images that make people stop and feel something

Pourquoi est-ce si important de parler de la face sombre – voire violente – de nos luttes ? Des petits collectifs locaux aux grandes ONG internationales, les mêmes mécanismes destructeurs se répètent : des leaders “naturels” qui concentrent le pouvoir, l'absence d'outils pour prévenir ou traiter les violences internes, un dévouement absolu des bénévoles jusqu'au burn-out.Qu'est ce qui fait imploser nos luttes de l'intérieur ? Comment analyser les comportements nocifs qui persistent dans nos combats pour l'égalité ? Par quels moyens peut-on les contrer tout en donnant envie de s'engager ? Dans ce deuxième entretien sur les dessous de la révolution, Naomi Titti s'entretient avec Sarah Durieux, activiste, organisatrice et autrice du livre Militer à tout prix ? Pourquoi nos collectifs nous font mal et comment les soigner (Éd. Hors d”atteinte, 2025). Ensemble, elles proposent des pistes concrètes pour tendre vers un militantisme sans violence ni exclusion, mieux outillé pour faire face à la montée du fascisme. RÉFÉRENCES CITÉES DANS L'ÉMISSION Retrouvez toutes les références citées dans l'épisode à la page : https://www.binge.audio/podcast/les-couilles-sur-la-table/soigner-nos-revolutions-2-2CRÉDITS Les Couilles sur la table est un podcast créé par Victoire Tuaillon produit par Binge Audio. Cet entretien a été préparé, mené et monté par Naomi Titti et enregistré le samedi 14 juin dans le cadre du festival La Claque Podcast Party, à Marseille. Prise de son : Sébastien Geli. Réalisation et mixage : Paul Bertiaux. Supervision éditoriale et de production : Naomi Titti. Production et édition : Marie Foulon. Communication : Lise Niederkorn et Léna Fourgeau. Rédacteur en chef : Thomas Rozec. Direction de production : Albane Fily. Responsable administrative et financière : Adrienne Marino. Musique originale : Théo Boulenger. Identité graphique : Marion Lavedeau (Upian). Composition identité sonore : Jean-Benoît Dunckel. Voix identité sonore : Bonnie El Bokeili. Direction des programmes : Joël Ronez.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.