Podcasts about Conservatory

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  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.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world. Your voices are important.  00:56:31 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA  for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

#realconversations #conservation #spirituality #yoga#composer #author #channeling CONVERSATIONS WITH CALVIN WE THE SPECIESMeet PETER DEL VECCHIO: “We're back from a year ago. Ineeded this infusion of Peter, who will be conducting this year's ‘ObservingNature: Inward and Outward' in Sussex County, NJ, on September 13th and 14th.There is so much to his energy and passion. Never enough time. Here are somedigestive words from today. Yoga. Trumpet. Nature. Composing. Spirituality.Rutgers 1972. Conservation. Healing. What Are You? Who Are You? Why You'reHere? What ‘Here' Is. And Peter recites his special love song. AND try this on.Go on a fast for a day from the word ‘Should.' This is part of our interview.” Calvinhttps://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs605 Interviews/Videos  9200 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People.  PLEASE SUBSCRIBE **PETER DEL VECCHIO; Observing Nature (NJ); Spiritual Guide& Channel; Former Yogic; Composer; Rutgers; the word ‘SHOULD;' Author; Livefrom Virginia.YouTube:  https://youtu.be/pT4nVxV1P3UCONTACTS: Email: WithinLex@ gmail.comFacebook: https://www.facebook.com/peter.delvecchioLinkedIn:https://www.linkedin.com/in/peter-del-vecchio-56149915/Book: The Art of Being Human: Available directly from Peter(1)Amazon: soft cover and hard cover editions(2)Kindle: e-book(3) Audible: digital recording, narrated by PeterBIO EXCERPT: (from The Art of Being Human)I was fortunate to graduate from college by the age oftwenty. I cloistered myself in an American yoga ashram (monastery), where Ibegan the formal training of my spiritual learning. After learning simple yetprofound truths that I could not have discovered in the broader society, I leftthe ashram to learn simpler yet profound truths that I could not have learnedthere. I was fortunate to get a job as a resident host in abeautiful YMCA camp at the very lake where the lightning had struck my tentseven years earlier. I followed my path as a music teacher, trumpet player, andcomposer, and while conducting a symphonic work of mine, met my future wife,who was a clarinetist; we married eleven months later. I was hired to teachmusic and yoga at a school for emotionally disturbed children a few miles fromthe YMCA camp and began to teach evening yoga and meditation classes there aswell. My adult yogastudents and I then established the American Yoga Conservatory to teach yoga ona deeper level, free from external Indian cultural trappings. In December 1984,my wife and I learned that we were expecting a child. The Conservatory lost itslease, and I had my first channeled reading by the entity Hemetro, who laterwould reveal himself as one of my three principal guides. I was made aware of mistakes in the structure of my teachingvehicle (the Conservatory) and immediately began the process of releasing thatfrom my life. I traveled to the Soviet Union in May 1985 with 80 other yogis,artists, teachers, actors, authors, and clergy to establish grassroots contactwith Russian counterparts. Upon returning home, I secured a job as a musicteacher in the New York City suburb of Mahwah, New Jersey.Our first child was born that August, and a new chapter ofmy life - that of a father - began in earnest, all the while attempting toserve humanity through music and my love of children. It has not been easy.Sometimes humanity does not wish to be served.** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Join our Premium Sleep for Women Channel on Apple Podcasts and get ALL 5 of our Sleep podcasts completely ad-free! Join Premium now on Apple here --> https://bit.ly/sleepforwomen Join our Premium Meditation for Kids Channel on Apple Podcasts and get ALL 5 of our Kids podcasts completely ad-free! Join Premium now on Apple here → https://bit.ly/meditationforkidsapple I'm so glad you're taking the time to be with us today. My team and I are dedicated to making sure you have all the meditations you need throughout all the seasons of your life.  If there's a meditation you desire, but can't find, email us at hello@womensmeditationnetwork.com to make a request. We'd love to create what you want!  Namaste, Beautiful,

Step into a lush tropical paradise nestled in the heart of southern Ontario as we explore the Cambridge Butterfly Conservatory with naturalist Andalyne Tofflemire. This episode takes you behind the scenes of one of Canada's largest butterfly facilities where thousands of exotic butterflies flutter freely among visitors in a meticulously maintained tropical environment.Andalyne reveals the fascinating journey of how 1,500-2,000 butterfly pupae arrive weekly from sustainable farms in Costa Rica and the Philippines, supporting both conservation and education. You'll discover the surprising containment protocols that prevent these non-native species from escaping into the Canadian environment, including the vigilant "butterfly hitchhiker" checks that visitors undergo before leaving.The conversation delves into the intricate differences between butterflies and moths (it's all in the antennae!), the silent crisis facing monarch butterflies due to inappropriate rearing practices, and why fireflies are disappearing from our summer skies. You'll learn that firefly larvae are actually predators that hunt slugs and snails in leaf litter, making them garden allies as well as evening light shows.For butterfly enthusiasts and gardeners alike, Andalyne offers practical advice on creating butterfly-friendly habitats using native plants that serve as both nectar sources and host plants for caterpillars. She emphasizes the importance of moving beyond mere aesthetics to supporting complete butterfly life cycles in our gardens.Whether you're planning a visit to escape winter's chill in the conservatory's 27°C tropical greenhouse, seeking to understand more about invertebrate conservation, or simply curious about the insect world that surrounds us, this episode provides a window into the extraordinary complexity of some of our smallest but most magnificent neighbors. Ready to see butterflies, scorpions, giant millipedes and stick insects in a whole new light? This conversation will transform how you view the invertebrate world.

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Clive Greensmith. Clive has been Professor of Cello at the Colburn School Conservatory of Music since 2013. Clive shares about his incredible journey as cellist of the World renowned Tokyo String Quartet for their final 15 years, his position as Principal Cellist of the Royal Philharmonic Orchestra in London, and how those two distinctive careers compared to each other. With his vast teaching experience, Clive also shares about his teaching philosophy, offers advice to young musicians, and much more. For more information on Clive: https://www.clivegreensmith.com/You can also find Clive on Instagram and Facebook: @clivegreensmithIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Facebook, Instagram, YouTube and Bluesky @theCelloSherpaFor more information on our sponsor: www.CLEAResources.com 

We have officially made it to August, the month that will kick off HHN34. With the event right around the corner, we make a lap around the event, discussing everything there is to know about all of this year's houses, zones & shows, to prepare you for what the Conservatory has in store for us at HHN34.MINOR SPOILER WARNING! IF YOU DO NOT WANT TO KNOW SPECIFIC DETAILS ABOUT THE HOUSES AND ZONES, THIS EPISODE IS NOT FOR YOU.We can't wait to see you all in the fog!

Christelle Bakhache is a climber, conservationist, Lagoped ambassador, and Nature Sports Project Manager at Asters, the Conservatory of Natural Spaces in Haute-Savoie, France. With a background in environmental science and fieldwork that includes time with global organisations like WWF, Christelle brings a deep, practical understanding of conservation to her current work protecting some of France's most fragile alpine environments.Christelle works where outdoor adventure and environmental protection meet. She focuses on making sure that people can still enjoy the mountains without causing lasting harm to the ecosystems that make these places so special. Whether it's shaping policy, supporting grassroots projects, or helping athletes think differently about their impact, she's passionate about finding practical ways to balance human presence in these special and unique environments.In this conversation, Christelle shares how her love for wild spaces fuels her mission, what she's witnessing firsthand in the face of climate change, and how outdoor athletes and everyday adventurers alike can reduce their impact. She also reflects on her personal journey—blending exploration, advocacy, and a commitment to low-impact living to pursue a more sustainable future.In this episode, we discuss:Christelle's path into conservation and her drive to protect the natural worldLife and work in Haute-Savoie, and how the region shapes her environmental outlookHer role at Asters and their mission to safeguard mountain biodiversityThe rapid and visible impacts of climate change in the European AlpsConservation wins, persistent challenges, and reasons for hopeThe hidden environmental toll of large-scale sporting eventsWhat genuinely low-impact outdoor events could look likeSustainable training and travel tips for athletes and adventurersPractical ways we can all reduce our footprint in natureThe influence of individual athletes and institutions advocating for changeChristelle's year of travelling simply and living with intentionSteps toward becoming a more thoughtful, respectful presence in the outdoorsTo view all the links to the websites and documents, visit the show notes on our website.Please support our work and enable us to deliver more content by buying us a coffee or becoming a member of Athletes for Nature.Follow us on Instagram, Facebook and Bluesky, subscribe to this podcast, and share this episode with your friends and family.

Walking in San Francisco has its joys – but also its dangers. We hear what safety advocates have tried to do to tip the scales. Then, an author takes us back to the gay scene in 1990's SF. Plus, the Conservatory of Flowers' corpse flower recently bloomed, but what's next? 

What does it mean to live a life in tune—with yourself, your passions, and your wellbeing? In this episode of Musings on Wellbeing, host Charlie Bresler and his guest, internationally renowned pianist Milica Jelača Jovanović, explore how the pursuit of excellence can both shape and challenge our inner lives. Raised in a family of classical musicians in Yugoslavia, Milica's journey spans elite music schools, intense conservatory training in post-Soviet Moscow, and a new chapter of life in Michigan. Their conversation touches on the delicate balance between ambition and self-care, artistry and identity. Her story is both deeply personal and universally resonant—a reflection on discipline, resilience, and finding meaning through music. Listeners will hear Milica's candid take on how intensive training has shaped her mental and emotional wellbeing, the role of family in grounding her, and why she prioritizes self-improvement over competition.  She also shares the guiding principles behind her teaching style and gives a sneak peek into exciting musical projects on the horizon.  Links: milicajelacajovanovic.com Milica on YouTube @milicajj Music from this episode: Mozart concerto performance with bellinghamsymphony.org  Musing on Wellbeing is sponsored by EH Walkers. Discover more and join EH Walkers at www.ehwalkers.org. Charlie Bresler is a former business executive, co-founder of the nonprofit The Life You Can Save, and a self-described effective hedonist. As a psychologist, Charlie emphasizes the importance of aligning personal pleasure with doing good, rejecting the notion of self-sacrifice in favor of a fulfilling, values-driven life.  

WBBM's Carolina Garibay stops by the Garfield Park Conservatory's newest flower show, inspired by Mexican artist Alfredo Ramos Martínez.

WBBM's Carolina Garibay stops by the Garfield Park Conservatory's newest flower show, inspired by Mexican artist Alfredo Ramos Martínez.

WBBM's Carolina Garibay stops by the Garfield Park Conservatory's newest flower show, inspired by Mexican artist Alfredo Ramos Martínez.

John Ellis' long and winding road led through performing, recording, engineering, teaching, and then some. Currently one of two main techs at the Conservatory of Recording Arts & Sciences, we caught up with him in the midst of customizing a new console for Bob Clearmountain.

In this episode of the RIP Tour Podcast, hosts Ash, Lizz, and Gary discuss the latest announcements for Halloween Horror Nights, including the new original house 'El Artista' and the overarching theme of the event, 'The Conservatory.' They reflect on their experiences at Spooky Empire, the importance of fan engagement, and the potential return of iconic characters. The conversation highlights the excitement surrounding the event and the expectations for future announcements, as well as the significance of immersive experiences for attendees.Chapters00:00 Welcome and Introductions01:52 Exciting Announcements and Schedule Overview04:06 Discussion on Horror Nights Structure and Themes08:39 Spooky Empire Event Insights10:44 Original Announcement: El Artista13:52 Initial Reactions to El Artista19:35 Exploring the Theme and Aesthetics23:22 Overall Theme: The Conservatory26:36 The Importance of Halloween Horror Nights for Fans29:09 Nostalgia and Immersion: The Role of Queue Line Videos32:11 Interactive Experiences: Engaging Fans in New Ways34:11 The Future of Halloween Horror Nights: Sequels and Original Content41:15 Sergio: A New Character or an Icon?47:32 RIP Intro - 35 Second Version 2.wavKeywordsHalloween Horror Nights, Horror Nights announcements, El Artista, Spooky Empire, Horror Nights icons, Horror Nights theme, Universal Orlando, haunted houses, Horror Nights podcast, Horror Nights updatesThe RIP Tour Podcast is an Orlando-based year-round podcast with 70+ years combined experience of ⁠#HHN⁠. Join your tour guides Gary, Tim, Ash, Lizz, & Jason for News, Speculation, & History!Follow Us On Social Media:Twitter: ⁠  / riptourpodcast  Instagram: ⁠  / riptourpodcast  ⁠Help Support the show: ⁠https://riptourpodcast.myspreadshop.com/

Damon gets to talk to Joshua about The Percussion Conservatory, his app, timpani, Marimbafest, pullups, Texas, rapping and much more! There's also segments like gig alerts, music news, and others. 

Whether you already grow mushrooms or are looking to diversify your market offerings, Erin Hamilton of The Mushroom Conservatory tells us about the varieties and methods we should consider for mushrooms that can be cultured and grown for market. Erin, an expert mushroom grower and agricultural educator, shares her passion for mushrooms and their ecological significance, including how spent mushroom spawn can improve your compost pile. She discusses the role of mycelium in plant growth, types of mushrooms you can cultivate, and the ongoing debate surrounding golden oyster mushrooms.Erin also provides practical advice on how to start growing mushrooms, focusing on oyster mushrooms and functional varieties. She provides a detailed guide on growing mushrooms, discusses the health benefits of functional mushrooms like Lion's Mane, and offers practical tips for selling mushrooms at farmers markets and building relationships with restaurants. This includes ways to dehydrate and package mushrooms that come back from market for sale later in this conversation with host April Parms Jones. Connect With Guest:Instagram: @themushroomconservatoryWebsite: https://themushroomconservatory.com Podcast Sponsors: Huge thanks to our podcast sponsors as they make this podcast FREE to everyone with their generous support:Tilth Soil makes living soils for organic growers. The base for all our mixes is NOP-compliant compost, made from the 4,000 tons of food scraps we divert from landfills each year. And the results speak for themselves. Get excellent germination, strong transplants, and help us turn these resources back into food. Try a free bag, and check our 2025 farmer pricing at tilthsoil.com/gfm. Farmhand is the all-in-one virtual assistant created for CSA farmers. With five-star member support, custom websites, shop management, and seamless billing, Farmhand makes it effortless to market, manage, and grow a thriving CSA. Learn more and set up a demo with the founder at farmhand.partners/gfm. Harnois has been pioneering greenhouse design since 1965, working with farmers across North America to deliver turnkey greenhouse solutions. Designed to withstand high snow and wind loads, their greenhouses optimize brightness, boost yields, and offer a rapid ROI. And in 2025, they're introducing a new tunnel starting at just $2 per square foot- and as a GFM listener, you'll receive an exclusive 5% discount on all new structures at Harnois.com. Subscribe To Our Magazine -all new subscriptions include a FREE 28-Day Trial

Passion to Power Presents:Coach Carole: NO Bullshit 4 Writers & CreativesCaroleKirschner.comKeywords: career coaching, diversity in entertainment, writing advice, pitching, underrepresented voices, entertainment industry, creative careers, mentorship, storytellingMichelle Zeitlin interviews Carole KirschnerHighlights of their discussion:Diversity initiatives that have launched over 120 writers of color in the industry.The CBS Diversity Writers Mentoring Program Writers must learn to sell themselves, not just their work.The entertainment industry is cyclical; opportunities come and go.Aspiring creatives should build relationships before asking for favors.Resilience is key in navigating the ups and downs of the industry.Effective pitching requires engaging storytelling and personal connections.Ageism exists, but contemporary, high-concept material can help overcome it.Buy her Book:Hollywood Game Plan: How to Land a Job in Film, TV and Digital EntertainmentQuote from Carole: “I've had the privilege of working with some of the top professionals in the business – writers, producers, directors and executives. I've also hired or mentored hundreds of talented, ambitious entertainment professionals who blasted through barriers to achieve success in Hollywood.”Michelle Zeitlin, Host /Producer of More Zap Productions & Management LLC, a Talent & Literary Boutiquewww.morezap.comTo invite Michelle Zeitlin to Chair or Be a Guest on your Event Panel, to book a Speaking Engagement or Create a Customized Program for your Students, Conservatory or Special Event, reach out to Passion to Power: Passion-Power.comMoreZap@Gmail.comIf you want to PITCH your special guest, please send a press kit and cover note via email to Michelle: MoreZap@gmail.com or fill out the online request form on our websites.We are especially interested in Experts in Entertainment, the Performing Arts, Media, Music, Book Publishing and Experiential Events.

Trevor Barrette is a queer theatre maker based in Montreal, known for his kaleidoscopic productions and joy-forward storytelling. A graduate of John Abbott College's Professional Theatre program, he founded the award-winning KaleidoscopeMTL, producing and directing ten productions, including the hit Fringe musical Captain Aurora and the immersive Memento Mori. Trevor's work explores dynamic timescapes, ensemble casting, and enchanting worlds that foster a sense of wonder. Directorial highlights include The Sages of Chelm and The Great Divide for the Dora Wasserman Yiddish Theatre at the Segal Centre, as well as serving as assistant director for Les Belles Soeurs at the Stratford Festival. Trevor has performed with institutions such as the National Arts Centre, Centaur Theatre, Segal Centre, Geordie Theatre and teaches at the Segal Centre Academy and Geordie Theatre School. Currently, he is developing new works, including a musical inspired by Dr. Brenda Milner's legacy. This July, he will direct Hudson Village Theatre's presentation of Bed and Breakfast.Rylan Allen is thrilled to be part of the MAWAM team and to bring this touching, hilarious show to life. Hailing from Hamilton, Ontario, he graduated from Sheridan College's Musical Theatre Program and performed with Canadiana Productions Inc. in Niagara as a performer, dance captain, and choreographer until lockdown. During that time, he discovered a passion for teaching, working as a Music Director for Hamilton's Conservatory for the Arts. Favorite roles include Peter in Jesus Christ Superstar (Brott Music Festival), Noel Gruder in Ride the Cyclone (Playhouse Collective), and Monsieur André in Phantom of the Opera (Theatre Sheridan). Rylan thanks his mentors for sharing their toolboxes with him, the MAWAM team for this incredible experience, and his friends and family for their unwavering support.Émile Auger is a multidisciplinary performer and teacher from Montréal. He began his artistic journey in the music and jazz band program at St-Luc High School. He went on to study musical theatre at Collège Lionel-Groulx's professional theatre program and graduated in the spring of 2022. In 2023, he completed his third and final semester in musical theatre at Sheridan College, Ontario. His performance credits include Jazz Noisette (Les Jeunesses Musicales du Canada), Lucky Stiff (Stephenville Theatre Festival), Rock of Ages (STF), Let's Bop! (Terra Bruce Productions) and Lorenzo Sterzi's latest film, Cadavre Exquis (LostandKik Pictures). Émile is thrilled to make his Segal Center debut as part of this original musical theatre production.Max + Aaron Write A MusicalSet in present-day Montreal, two childhood friends and creative collaborators race against the clock to finish their latest project: a coming-of-age musical loosely based on their lives. But as they deep dive into the work, long-repressed truths rise to the surface and threaten their partnership. A sexy cautionary tale about writing what you know.

Victoria Mazzarelli, Artistic Director of the Nutmeg Conservatory, joins us to share what sets this independent ballet conservatory apart. Widely known for its warm and nurturing environment, Victoria covers everything from curriculum and housing to performance opportunities, as well as the school's postgraduate program. She also explains how Nutmeg supports its students both in and out of the studio, what kind of dancer thrives in their environment, and how they help students navigate big decisions about career paths.  Learn more about Nutmeg Read reviews of the school More Links: Support Ballet Help Desk Summer Intensive Essentials Guide Buy Summer Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

It's The Pest's Playbook! Sam R., William, and Sam D from Pest Control join Lauren, Miah, and Jonny for “The Conservatory.” A tarot-based world-building game. Join us as we turn the most mundane organization we could think of—a local driving school—into something very weird, very frightening, and very very Wisconsin-y.-------Thank you to ⁠⁠Pest Control⁠⁠ for joining us for this episode, be sure to check out their new season on June 1st! If you liked this episode, please leave a rating and review to help us spread the word and don't forget to share with your friends. We love friends!Subscribe to our Patreon: Head to our Patreon for bonus content you won't want to miss out on. Support the Show: Follow us on social media, buy some merch, support us on Ko-fi, and check out our Wiki by heading to our DirectMe Profile. Join us on Discord! Come hang out with the cast on The Monster's Playbook Discord server where we can discuss the latest episodes, trade theories, answer questions, and get to know you, our listeners, a little better. -------Cast:Jonny, Lauren , and Miah from the Monster's PlaybookSam R., William, and Sam D. from Pest ControlThis episode was edited by Miah and Lauren.Theme song by Jonny.Cover art by ⁠Mygie⁠.Incidental music from Epidemic Sound.

This episode features a write in question asking about my personal tastes. Additionally, advice on one framework to help soften your hard limits.    Announcing: When “Never” Becomes “Maybe” Online Class This class isn't about pushing past boundaries—it's about understanding the ones that might be ready to soften. Whether you're a seasoned explorer of kink or just beginning to map your desires, this workshop invites you to pause, reflect, and ask: What if that hard limit isn't as hard as it used to be? Click the "When 'Never' Becomes 'Maybe'" link for more info and to register!

Kiesha Lalama is an internationally recognized dancer, choreographer, and teacher who has created works for stage, film and TV. She is currently Point Park University's interim Dean of Theatre, Film and Animation, and the Executive Producer of the Pittsburgh Playhouse. Kiesha co-founded and has choreographed 15 years of Broadway's the Jimmy Awards, which has reached over 120,000 students annually. She choreographed the feature films, “The Perks of Being a Wallflower,” and “Sorority Row,” the documentary series “Broadway or Bust” for PBS, and two critically acclaimed TV series, “Outsiders” and “American Rust”. Her international concert dance works continue to be performed throughout Europe and Asia, including: Shed, Catapult, Alegria, Kinex, Aftermath, Wish, Jolt, Unsung Moment, and Vicious Cycle. She's also created three critically acclaimed full-length dance theater productions including The Bench: Journey into Love, HeartShakes, and Bound in Before.Kiesha's regional theater highlights include: All Shook Up at North Shore Music Theatre, Jesus Christ Superstar at Kansas City Starlight Theatre, Into the Woods at the Arsht Center, and for the Pittsburgh CLO, Judge Jackie Justice, Ruthless! The Musical, First Date and the Gene Kelly Awards.For the record, Kiesha and I have known one another for a number of years as we were both faculty members in the Conservatory of Performing Arts at Point Park.https://kieshalalama.com/https://www.pointpark.edu/academics/schools/copa/copadeptsmajors/dance/faculty/kieshalalama

The longer you play in the BDSM Lifestyle, the more likely it is that your hard limits will soften. This episode cover a personal look at what situations can cause a hard limit to become soft.    Announcing: When “Never” Becomes “Maybe” Online Class This class isn't about pushing past boundaries—it's about understanding the ones that might be ready to soften. Whether you're a seasoned explorer of kink or just beginning to map your desires, this workshop invites you to pause, reflect, and ask: What if that hard limit isn't as hard as it used to be? Click the link for more info and to register!

Learn more at TheCityLife.org

Neither Tom nor Ben wants to build a conservatory… so Matthew says we're gonna have to have a flatshare slamdown!Matthew Crosby, Ben Clark and Tom Parry Wicks recorded live at The Phoenix Cavendish Square with guests Ruth Husko and Joe SutherlandJoe Sutherland - https://www.joesutherland.co.uk/Ruth Husko - https://x.com/dank_ackroyd or https://www.instagram.com/ruth_husko/To get episodes early and ad-free - PLUS a bonus episode every week - join our Patreon - https://www.patreon.com/pappysflatshareTo watch full episodes of Pappy's Flatshare find us on YouTube: www.youtube.com/@pappysflatshareAnd follow us onInstagram: instagram.com/pappyscomedyTikTok: www.tiktok.com/@pappysflatshareFacebook: www.facebook.com/PappysFlatshare/And X: twitter.com/pappystweetPAPPY'S FLATSHARE SLAMDOWN, is back at the Phoenix Pub for TWO Flatslams on May 27th and June 2nd!WITH SPECIAL GUESTS...TUESDAY MAY 27TH: NATALIE CASSIDY + LEAH DAVISMONDAY JUNE 2ND: ROISIN CONATY + MILES JUPPPappy's Flatshare Slamdown is the hilarious and anarchic panel game hosted by award-winning sketch heroes Pappy's and featuring great guests from the world of comedy.You can buy tickets for either show or use this special link to buy ONE DISCOUNTED TICKET THAT GETS YOU INTO BOTH SHOWS! Tickets are £11 (£19 for both) but our Patreon members get discounted tickets (£2 off). Hosted on Acast. See acast.com/privacy for more information.

Kay Hiramine chats with Steve Reiter. Welcome back to another episode of Holy Smokes! Welcome to the Holy Smokes Club podcast, where cigars, spirituality, and community converge. In this episode, we sit down with the founder of Holy Smokes, Kay Hiramine, alongside hosts Steve Reiter and Steve Reiter, for an engaging update from the Nashville-Franklin area. Kay highlights the exciting influx of dynamic individuals and organizations transforming this vibrant region into a new hub for creativity and collaboration. With a focus on private sector leadership and international influences, Kay discusses how Nashville-Franklin is shaping into a community rich with potential. He also teases his upcoming book, "Net Weaving," which reflects his approach to leadership and interconnectedness. With over 5,500 global members, the Holy Smokes community is thriving, and this episode uncovers stories of transformative journeys and initiatives. Join us for this insightful conversation filled with inspiration and fellowship. Outline:  (00:00) Influx of People in Nashville (05:06) Private-Sector Leadership Influence (09:06) "Divine Calling to Franklin" (13:01) "Supporting Widows, Orphans, and Single Parents" (15:10) "Building a Community with Conservatories" (18:17) Prompted to Write a Book (22:21) "Exclusive Deals on Stylish Apparel" About the Guest:  Kay Hiramine is an observer of the demographic shifts in the Nashville area, especially in Williamson County, where he has noticed a significant influx of talented individuals over the past five to seven years. A resident there for the past four years, Kay is impressed by the quality of newcomers settling in this vibrant region, particularly in the city of Franklin, a suburb of Nashville. Previously, Kay resided in Colorado Springs, the birthplace of the Holy Smokes community, before making the move to Tennessee. Through his experiences, Kay has gained a keen insight into the dynamic and evolving landscape of this Southern locale.

Putting concepts to music helps us learn. Let's see why and how.

During the prelude to our "Medicare Advantage Minute" segment, I erred in identifying the surgeon given credit for the first heart transplant, which was performed in South Africa. Eventually, our subject centered an article with the headline: "Insurers Brace for Continued Medicare Advantage Medical Costs" which was abandoned due to being out of date. In the "Your Medicare Benefits 2024" we learn about Federally Qualified Health Center Services. The final subject centered on an article listing "The 8 Things That Medicare Does Not Cover" which included a surprising number of items demonstrating trouble with Medicare Advantage plans.  Poetic justice! Contact me at: DBJ@MLMMailbag.com (Most severe critic: A++)                   Visit us on: BabyBoomer.ORG Inspired by: "MEDICARE FOR THE LAZY MAN 2025; Simplest & Easiest Guide Ever!" on Amazon.com. Return to leave a short customer review & help future readers. Official website: https://www.MedicareForTheLazyMan.com.

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

Join "Dance Talk” ® with Joanne Carey and special guests Stevn Melendez and Wendy Perron.In this episode of "Dance Talk” ® , host Joanne Carey engages with Steven Melendez, the artistic director of New York Theatre Ballet, and Wendy Perron, a dance historian and former editor of Dance Magazine. They discuss the significance of Judson Dance Theater, its impact on modern dance, and how its philosophies resonate with contemporary dance practices.The conversation explores the challenges of restaging historical works, the importance of audience engagement, and the political context of dance as a form of protest and expression.The episode culminates in a preview of an upcoming performance that aims to bridge the past and present of dance April 23-26.The Judson Dance Theater was a pioneering experimental dance collective that operated in New York City from 1962 to 1964. They performed at Judson Memorial Church in Greenwich Village, known for its social and artistic activism. Judson Dance Theater is widely recognized as a key force in the development of postmodern dance and its avant-garde approach influenced subsequent generations of choreographers. Steven Melendez was born in New York City in 1986 and started his ballet training with the LIFT Program at Ballet School New York at the age of 7. He has danced as a Soloist dancer with Ballet Concierto in Buenos Aires, Argentina, a Principal dancer with The Vanemuine Theater Ballet Company in Tartu, Estonia, and for over 15 years with New York Theatre Ballet. He was a national and international guest artist and teacher and has worked across Europe, Asia, and Central and South America. Steven co-choreographed his first large-scale work, Song Before Spring, for New York Theatre Ballet which was named a Dance Europe critic's choice “Best Premiere” of 2016. Steven is currently a member of the alumni advisory committee on diversity and inclusion for School of American Ballet and served as the Hiland Artistic Director for National Dance Institute New Mexico. Steven was named as the Artistic Director of New York Theatre Ballet in April of 2022Wendy Perron is a dancer/choreographer turned writer/editor/scholar. She trained in modern dance and ballet and earned a BA from Bennington College and an MA from SUNY Empire State College. She danced with the Trisha Brown Company in the 1970s and choreographed more than 40 works for her own group, which received commissions from Lincoln Center Festival, the Joyce Theater, Jacob's Pillow, and the Danspace Project. Perron has taught at Bennington, Princeton, NYU Tisch School of the Arts, and the Conservatory at SUNY Purchase. In the early 1990s she served as associate director of Jacob's Pillow. She was the editor in chief of Dance Magazine from 2004 to 2013, and has also written for the New York Times, the Village Voice, vanityfair.com, and journals in Europe and China. An authority on Judson Dance Theater and postmodern dance, Perron has lectured across the country and in Russia and China. In 2011 she was the first dance artist to be inducted into the New York Foundation for the Arts' Hall of Fame. Her second book, The Grand Union: Accidental Anarchists of Downtown Dance, 1970-1975, met with acclaim when it was published in 2020. She has recently performed with Yoshiko Chuma and the School of Hard Knocks in downtown venues. Her new online series, “Unsung Heroes of Dance History,” presents research on dance artists outside the “canon.” She has been on the Juilliard faculty since 2019.To see this performancehttps://nytb.org/tickets“Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠ https://dancetalkwithjoannecarey.com/Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Creepypasta Scary Story

Music and conversation around an upcoming concert in Sandpoint, ID

I'm delighted to welcome back Emma Hewlett to the show. Listeners might remember her from last summer when she joined us to chat about the Wexford Garden Trail Podcasts. Today, she's back to talk about a special upcoming event called 'Nature Speaks: In Quest of Good Health', a free gathering taking place on April 13th at the beautiful Conservatory at Kilmokea, where seven speakers will explore the powerful connection between nature and well-being.

Great experiences don't happen by accident—they're designed with intention. From the first click on a website to the moment a visitor steps through your door to engagement after they leave, every interaction shapes how people feel about an organization. So what does it take to create a truly exceptional guest experience? Emily O'Hara, Senior Director of Guest Experience at the Detroit Zoological Society, thinks about this every day. In this episode, she shares how the Detroit Zoo fosters personal connections and creates a welcoming, engaging environment for every guest. We explore practical strategies for delivering wildly good experiences that turn visitors into raving (and returning) fans. CI to Eye with Emily O'Hara (1:30) – Dan and Emily discuss the growing importance of hospitality in arts and culture, making our venues more accessible with thoughtful accommodations, and the magic of penguin exhibits.  CI-lebrity Sightings (41:00) – Dan shares his favorite stories of CI clients in the news. This episode's roundup includes ArtsEmerson, Boston Ballet, The Children's Theater of Cincinnati, The Huntington Theatre, and San Francisco Symphony. ---- LINKS: WBUR | Free tickets drop for Boston kids as performance arts venues join city program Broadway World | The Children's Theatre of Cincinnati Receives $2 Million Anonymous Challenge Gift San Francisco Chronicle | S.F. Symphony and Conservatory of Music announce benefit concert for Los Angeles fire relief

We inherit a plant shop in the middle of Gloomy-gloomsville, USA (Or maybe UK?), and hand people a bunch of wild and wacky potted plants to cure their various ailments, allergies and alimonies in Strange Horticulture! Stay tuned after the ad break for a chill, but heated conversation of of Raves and Rants!Check us out on our socials and join the discord! https://linkpop.com/lightgamingpodcastProduced by Alex Hambrock and Jerome BarbatsisCover Art by Alex Hambrock and Kat HambrockSound and Editing by Jerome Barbatsis

The Wisconsin Conservatory of Music has been providing access to music education to Wisconsin's communities for over a century.

In today's podcast, we speak with Kathryn Schulmeister and Andrew Mell. Kathryn and Andrew joined the double bass faculty at the University of the Pacific's Conservatory of Music in fall 2023, where they recently hosted the inaugural Pacific Bass Day in January 2025. We explore their backgrounds, discuss the experience of launching their first bass day, and delve into their plans for the future, among other topics. Enjoy! We explore their backgrounds, discuss the experience of launching their first bass day, and delve into their plans for the future, among other topics. Enjoy! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music theme music by Eric Hochberg

On this week's program, we share with you “China, Russia, Europe, and the U.S.: New World Disorder?”, a virtual conversation with Professors Marc Blecher (Political Science) and Ron Suny (History) that was hosted on Thursday, March 13, 2025 by the Oberlin Club of Washington, D.C. The fundamental remaking of the post-World War II settlement—American supremacy in the capitalist world, Soviet domination of the state socialist one, and China's radical rise after a century of crisis—began to unravel five decades ago, a process that is now completing. But, in Slavoj Žižek's poetic gloss of Antonio Gramsci, “The old world is not yet dead, the new world is not yet born. It is a time of monsters.” Professors Blecher and Suny sketch some of the major tectonic forces at play, both within each pole and also among them on the international chessboard, and explore the implications. Marc Blecher is the James Monroe Professor of Politics and East Asian Studies at Oberlin College. His specialty is Chinese politics, and he also teaches Asian politics and political economy, Marxian theory, and comparative politics. His most recent books are Class and the Communist Party of China, 1921-1978, Class and the Communist Party of China, 1978-2021, Politics as a Science: A Prolegomenon, and The Making of China's Working Class: A World to Lose. Marc is now the most senior member of the Oberlin faculty, having taught since 1976. He recalls that Ron Suny became his first friend when he arrived on campus and remains his best friend. Marc expresses pride in holding the James Monroe professorship, noting that Monroe was an Oberlin alum, a member of the Oberlin faculty, a member of Congress, and an important abolitionist. When on campus you can visit the historic Monroe home which is located next to the Conservatory. Ronald Grigor Suny is the William H. Sewell Jr. Distinguished University Professor Emeritus of History and Professor Emeritus of Political Science at the University of Michigan and Emeritus Professor of Political Science and History at the University of Chicago. His intellectual interests have centered on the non-Russian nationalities of the Russian Empire and the Soviet Union, particularly those of the South Caucasus (Armenia, Azerbaijan, and Georgia). Ron taught at Oberlin College from 1968-1981 and is the author of Stalin: Passage to Revolution, “They Can Live in the Desert But Nowhere Else”: A History of the Armenian Genocide, and The Revenge of the Past: Nationalism, Revolution, and the Collapse of the Soviet Union. Truth to Power airs every Friday at 9pm, Saturday at 11am, and Sunday at 7pm on Louisville's grassroots, community radio station, Forward Radio 106.5fm WFMP and live streams at https://forwardradio.org

Hey HBs! It's part 2 of DARKFEVER by Karen Marie Moning with bff of the pod Rebecca! Bonus Content: double bucket syndrome, no sneaky leakage, why has no one gotten Mel a Conservatory?, MAYBE a forehead kiss, being muzzled about glitter dragons, and so much more! Don't miss Rebecca's cozy, steamy contemporary romances! She writes as Lynn Camden and she's not to be missed! Want to support the show? Rate and review us on your favorite podcast app! It super helps the algorithm connect us to new listeners.  Want more of us? Check out our PATREON! This Friday, we're doing a Quickie on the next few books in the Sea Sand Warlords series by Ursa Dax!! Credits: Theme Music: Brittany Pfantz  Art: Author Kate Prior Want to tell us a story, ask about advertising, or anything else? Email: heavingbosomspodcast (at) gmail  Follow our socials:  Instagram @heavingbosoms Tiktok @heaving_bosoms  Facebook group: the Heaving Bosoms Geriatric Friendship Cult The above contains affiliate links, which means that when purchasing through them, the podcast gets a small percentage without costing you a penny more.

Thuỳ Dung, known as Shayda, is a Vietnamese singer-songwriter making waves in the music industry. With a passion for both Vietnamese and English music, she has released multiple songs, gaining millions of views on YouTube. Shayda rose to fame after competing in Rap Việt 2024 and continues to grow her fanbase on social media. She is set to release her upcoming album on February 28, 2025Connect with Shayda!https://www.instagram.com/shayda_04https://www.youtube.com/@shaydaofficial204https://www.tiktok.com/@shayda.officialCHAPTERS:0:00 - Introduction0:39 - Meet Shayda1:20 - Andy shares that he wants to move to Vietnam for six months to learn Vietnamese2:22 - Shayda's hometown: Growing up in Ho Chi Minh City, Vietnam3:19 - How Shayda learned English through language classes5:05 - The story behind Shayda's stage name6:11 - Shayda shares how she started creating music in 2023 after graduating from college6:58 - Shayda explains how she learned to write Vietnamese songs by listening to the radio, TV, and U.S. music8:10 - Shayda shares her favorite song by her favorite U.S. artist, Bruno Mars10:40 - Shayda talks about writing 16 Vietnamese songs after graduating from the Conservatory of Music in Ho Chi Minh City11:48 - Shayda shares how she released 16 Vietnamese songs, with one hitting millions of views on YouTube12:13 - Shayda discusses how she gained popularity after joining Rap Việt 2024 in Vietnam13:51 - Shayda shares why she is no longer creating Vietnamese songs and is focusing on English songs instead14:15 - Shayda shares that she wrote 15 English songs for her upcoming album15:51 - Shayda talks about writing 15 songs for her first album and 8 songs for her second album17:56 - In Vietnam, is it common for singers to perform English songs?18:31 - Shayda shares how she plans everything in her music career19:14 - Shayda explains why people think she is a single mom when walking with her younger sister19:52 - Shayda talks about her parents' strong support for her music career22:37 - The main challenges Shayda has faced in her music career24:21 - Shayda shares why famous influencers in Vietnam focus on paid bookings rather than collaborations26:28 - The most famous Vietnamese artist in his 20s: Sơn Tùng M-TP28:04 - Shayda shares her experience attending one of Sơn Tùng M-TP's concerts28:37 - Why Andy thinks Vietnam is full of amazing singers29:53 - Do clubs in Vietnam play more Vietnamese or English music?30:30 - Shayda shares how Vietnamese people love remix music32:10 - What's more fun: clubs with foreigners or with Vietnamese people?33:17 - Andy shares his surprise at how fashionable young people in Vietnam have become compared to 10 years ago35:12 - Shayda explains why she's happier having fewer friends now37:05 - Is the music industry in Vietnam competitive or friendly?38:06 - Shayda shares why TikTok is the most popular social media app for Gen Z in Vietnam38:43 - How Shayda gained 1.4M followers on TikTok by covering songs with her yellow comb40:46 - Shayda on using the name "Yung" for cover songs and "Shayda" for her original music42:00 - Were Shayda's family and friends surprised when they found out she had 1.4M followers on TikTok?43:37 - Shayda shares how most Vietnamese people use dating apps like Tinder to find partners45:14 - Shayda's ultimate goal: Bringing Vietnamese culture to the world through her music46:59 - Shayda on releasing her new album on February 28, 202548:05 - From English to Vietnamese: Andy answers Shayda's question in Vietnamese50:14 - Shayda expresses her gratitude for joining Andy's podcast to practice her English54:48 - Shayda helps Andy practice speaking Vietnamese1:05:51 - Connect with Shayda1:06:36 - Outro

For Karl Adler, there is nothing more powerful than music. While recovering from an injury sustained as a soldier in World War I, Karl pursues his goal of changing the way music is taught in Germany. And for a while, he's successful – until a former student (and member of Hitler's Brownshirts) falsely reports him for sexual harassment. Forced to start over, Karl devotes himself to creating a new cultural association for German Jews. As antisemitic laws take hold and Jews begin to flee Germany en masse, Karl continues to connect people through music – even as the world falls apart around him.  The Karl Adler collection at LBI documents his entire career, including his engagement at the Royal Court Opera of Wurttemberg, his WWI service, and his work with the Conservatory and the Jewish Culture League in Stuttgart. Records of the Jüdische Mittelstelle show Adler intervening with the Gestapo on behalf of Jewish families seeking news of their husbands and fathers who had disappeared or been arrested. A folder of materials he collected about the Jewish history of Buttenhausen includes a photograph of Adler, his voice raised in song, at the dedication of his native town's Holocaust memorial in 1961. Learn more at lbi.org/adler. Exile is a production of the Leo Baeck Institute, New York and Antica Productions. It's narrated by Mandy Patinkin. This episode was written by Nadia Mehdi. Our executive producers are Laura Regehr, Rami Tzabar, Stuart Coxe, and Bernie Blum. Our producer is Emily Morantz. Research and translation by Isabella Kempf. Voice acting by Cyrus Lane and David Walpole. Sound design and audio mix by Philip Wilson. Theme music by Oliver Wickham. Please consider supporting the work of the Leo Baeck Institute with a tax-deductible contribution by visiting lbi.org/exile2025. This episode of Exile is made possible in part by a grant from the Conference on Jewish Material Claims Against Germany, which is supported by the German Federal Ministry of Finance and the Foundation Remembrance, Responsibility and Future.

What's up, y'all! Today we are talking about how some plants made it from Africa to the U.S. it's an interesting conversation. Come and learn with us!13Send us a textSupport the showCheck out our weekly newsletter! Also, catch Dario on the new season of Netflix's "High On the Hog" here!!If you have anything you'd like us to talk about on the podcast, food or history, please email us at ⁠media@77flavorschi.com⁠ WATCH US ON YOUTUBE ⁠HERE⁠! Visit our website ⁠https://www.77flavorschi.com⁠ Follow us on IG: 77 Flavors of Chicago ⁠@77flavorschi⁠ Dario ⁠@i_be_snappin Sara @sarafaddah

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Somebody Say HallelujahLinda Sloan of Hopkins, Minn., is the executive director for the Council for Minnesotans of African Heritage. She predicts audiences will be on their feet at the Fitzgerald Theater in St Paul this weekend, moved by “The Sound of Gospel: An Anthology Depicting the Rich History and Evolution of Gospel Music.”The play is written by Rev. William H. Pierce of 2nd Chance Outreach and directed by Academy Award-nominated artist Jevetta Steele, with musical direction by Grammy Award-winning artist Billy Steele. The all-ages show will be performed Saturday, Feb. 8 at 7 p.m. and Sunday, Feb. 9 at 3 p.m. Linda says: I cannot say enough about this performance. It is amazing. When I went to the show a couple years ago, I was just blown away by the caliber of the talent and then the meaning of the songs. It's just a phenomenal show. You'll hear anything from spirituals to praise and worship. It is just an opportunity for individuals who maybe have never really experienced gospel to understand the roots, the roots of where it comes from and why it is spiritual music. It's so energetic. There are a couple little somber moments, because it is a history of gospel music, and there have been things in the past that maybe occur that required spiritual music. But for the most part, it's just one of those “toe-tapping, get-on-your-feet, clapping, as if you were in a Baptist church” shows. — Linda Sloan  A play about DREAMers navigating life Actor and singer Anna Hashizume of Minneapolis recommends seeing Frank Theatre's current production of the play “Sanctuary City,” about two undocumented teens growing up in Newark, N.J., post 9/11. She describes the play as a series of very short scenes performed by an outstanding three-person cast. The play runs in the intimate Open Eye Theatre in Minneapolis through Feb. 23. Masks are required for the Feb. 7 and Feb. 16 performances. Frank Theatre, which mounted the play, specializes in works that spark conversation, and Anna says this show feels incredibly timely.Anna says: I know when [director] Wendy Knox first chose the play we didn't know the political climate that was going to be happening at this moment in time, but it is a very timely play for what is happening in our nation right now.  Theater has a lot of different functions. It can just be entertainment, which is also lovely at a time like this, but also being able to be educated and see different life experiences in front of your eyes in a relatively safe space can open something up in all of us. — Anna HashizumeA breath of spring Donna Winberg of Deephaven, Minn., loves to walk the trails at the Minnesota Landscape Arboretum in Chaska, so she's been able to pop inside the visitor center to watch preparations for the Spring Flower show. The enchanted garden displays are now open to viewers with an Arboretum ticket daily through March 16.  In addition to the Spring Flower show, Donna recommends continuing through the Synder Building to the Conservatory, which is currently packed with orchids and tropical blooms, with a stop at the Rootstock Café for a bite to eat. Additional ticketed events include an Art Fair on Feb. 15 and 16, After Hours with Flowers and Afternoon Tea events. MPR chief meteorologist Paul Huttner is also a fan; see his pictures in a recent Updraft Blog here. Donna describes the scene: You'll be amazed when you see the huge tree trunks they've brought in there, and the mosses and the lichens and the mushrooms. It's just like a breath of spring, which we all need this time of year! What I really love is the local artist work that is incorporated into the displays. There'll be different artists coming in [through the course of the show.] [This week] there are mosaic glass birds and ceramic birds and all sorts of wonderful little fairy houses, bird houses. So you have to stand there and look at things for a while to have it all revealed to you, which is fun.— Donna Winberg

Want more MTM Vegas? Check out our Patreon for access to our exclusive weekly aftershow! patreon.com/mtmvegas Episode Description: As a reminder you can watch this show as well at: http://www.YouTube.com/milestomemories This week Wynn was in the news for everything outside Vegas as they made a huge purchase in a new for them market. They also were dealt a big setback in their pursuit of a NYC casino when the Town Board voted against their proposal. Is Wynn's Hudson Yard project dead in the water and will they ever build Wynn West in Vegas? In other news Venetian and Hyatt have now started their parnetship but it isn't as good as we had hoped. We also discuss Rio's 34th birthday, the old hotel room "ick", a new Olympic Village project, Peter Luger's lunch deal, Downtown Grand raising prices, transparency in the gambler influencer space and Venetian's wicked social media dance. 0:00 Venetian's “wicked” social media dance 0:42 Rio turns 34 - First all suite Vegas hotel 1:33 The old hotel bed cover “ick” 2:33 Wynn purchases high-end Crown London casino 3:44 Wynn's NYC casino project hits a big roadblock 5:36 Huge shakeups at the Raiders 6:38 Hylo Park begins construction - Replacement for Texas Station & Fiesta Rancho 9:07 The myth of Circus Circus flying elephants 10:42 Bellagio's Conservatory boneyard 12:12 Peter Luger's prix fixe lunch menu 12:59 Taste of Hakassan menu - A deal? 14:02 Downtown Grand raises price of hot dog deal & cuts good video poker 15:55 Transparency from slot influencers - Tracking losses? 17:57 Troubling issues with the gambler influencer space 19:00 Venetian and Hyatt begin partnership - Good or bad? 20:44 Both Vegas Hyatt hotels are all-suite and renovated Each week tens of thousands of people tune into our MtM Vegas news shows at http://www.YouTube.com/milestomemories. We do two news shows weekly on YouTube with this being the audio version. Never miss out on the latest happenings in and around Las Vegas! Enjoying the podcast? Please consider leaving us a positive review on your favorite podcast platform! You can also connect with us anytime at podcast@milestomemories.com.  You can subscribe on Apple Podcasts, Google Podcasts, Spotify or by searching "MtM Vegas" or "Miles to Memories" in your favorite podcast app. Don't forget to check out our travel/miles/points podcast as well!

Katie checks in with actor, playwright, teacher, and the author of the upcoming Off-Broadway play, Nina, directed by Katie and produced by Katie and Francesca Carpanini. Nina runs at Theaterlab January 23-February 9.

Emily and Ryan met online. They decide to picnic in Golden Gate Park by the Condervatory of Flowers. She can't think of anything that would cause him to ghost.

Discover the hidden gem that is the Conservatory Gardens, within the world- famous Central Park. Nestled in the northeastern corner of Central Park, the Conservatory Gardens is a lush, six-acre oasis that offers a stark yet welcome contrast to the bustling cityscape. The gardens are divided into three distinct sections: the Italian Garden, the French Garden, and the English Garden, each offering its own unique charm. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Becoming a more equitable librarian is an ongoing process. In the face of the last decade's events and increased public awareness of issues of diversity, equity, inclusion, and accessibility (DEIA), library workers in music libraries can do things to create the space in our teaching for optimal creativity and connection by and with our library users. As the editors of Music Information Literacy: Inclusion and Advocacy (Library Juice Press, 2024), Kathleen A. Abromeit and Dyani Sabin bring together contributions that imagine what it would be like to expand our inclusion structures so that we increasingly recognize and accommodate differences in our music libraries. The ways librarians teach and assist students must change to amplify the voices of those who have been traditionally marginalized and create effective and equitable libraries and classrooms. Doing so is a multi-part process, where critical information literacy overlaps with self-reflection as a librarian and a deep understanding that our students have identities and experiences that influence how they navigate their world. Many of our students have experienced trauma from the generational oppression of systemic racism, gender fluidity, invisible disabilities, discrimination, or poverty. Ongoing trauma triggers toxic stress that can rewire parts of the brain and impact one's ability to process information, formulate questions, and feel safe enough to be creative and in the zone of ideas. The chapters in the volume are authored by librarians who have actively been learning and self-reflecting on what is needed to invite users into their libraries and teaching spaces fully. The book is divided into three sections: Critical Theories, Concepts, & Reflections, Bringing Underrepresentation to the Forefront, and Supporting Activism. Each chapter includes case studies and discussion questions supporting ideas and concepts. A sample reading guide for each chapter is included as well. Kathleen A. Abromeit is the Head of the Conservatory Library at Oberlin College and Conservatory, and Dyani Sabin is a writer based in the Midwest. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Send us a textIn today's episode, Alex and Tara sit down with Sarina Louise, an up-and-coming author from The Author Conservatory Program. As a teen, Sarina was diagnosed with Chronic Lyme Disease, an illness that made her give up on her dream of being an author. Now, after walking a miraculous healing journey, she writes young adult stories that don't shy away from brokenness, but always promise that healing is coming. Listen as they discuss the launch of her first Anthology publication with the Conservatory, Voices of the Future: Stories of Adventure and Imagination, the challenges of writing historical fiction, how her writing program has helped her grow as a writer, how C.S. Lewis inspired the poem in her story within the anthology, and the ins-and-outs of writing books about brokenness but never without hope.Due to character limitations, please find a full version of the show notes with applicable content warnings and links on our website at: https://www.tarakross.com/podcast-1→  Connect with Sarina on her Instagram or visit her website → Buy the Anthology Voices of the Future: Stories of Adventure & Imagination HEREThe Hope Prose Podcast's InstagramAlex's Instagram Tara's Instagram

Welcome to your Daily Detroit for Monday, December 2, 2024. Jer Staes and Fletcher Sharpe get into the latest happenings in Southeast Michigan. As we approach the end of the year, we reflect on resolutions, goals, and unexpected developments in the city. Our first story revolves around General Motors' bold announcement to demolish Detroit's iconic Renaissance Center if public funding isn't secured for its renovation plans with Dan Gilbert's Bedrock. The proposal faces skepticism from lawmakers and pushback from local architects and preservationists. Jer and Fletcher debate whether this threat is a bluff and discuss the potential impacts on Detroit's skyline. More reported info on the Freep: https://www.freep.com/story/news/local/michigan/detroit/2024/12/01/gm-tear-down-rencen-towers-subsidies-rejected/76658555007/  Next, changes at Stellantis as CEO Carlos Tavares steps down following a challenging year for the auto giant. The company, formed from the merger of PSA Group and Fiat Chrysler, faces significant financial challenges and a search for a new leader. The discussion touches on the future of iconic brands like Jeep and Chrysler and the evolving automotive market. Why did they let Chrysler lose their swagger? The Anna Scripps Whitcomb Conservatory on Belle Isle is set to reopen on December 4th. This historic gem, designed by George Mason and Albert Kahn, has been a beloved part of Detroit since 1904. We get into its rich history and the excitement surrounding its reopening. In sports, the Detroit Lions bolster their defense by signing former All Pro safety Jamal Adams. Despite recent injuries, Adams' versatility is seen as a valuable addition to the team. Fletcher Sharpe provides insights into what this means for the Lions' defense. Finally, we turn our attention to the Detroit Pistons. Despite a 9-13 record, the team is showing promise. Fletcher highlights the impact of players like Cade Cunningham and Malik Beasley, as well as the positive changes under new coaching. There's hope for a playoff push as the Pistons continue to develop and grow. Daily Detroit shares what to know and where to go in Metro Detroit every single day on our podcast and newsletter. Find us on Apple Podcasts: https://podcasts.apple.com/us/podcast/daily-detroit/id1220563942 Sign up for our newsletter: https://www.dailydetroit.com/newsletter/