Podcasts about Crosscurrents

Hana Baba is creator of the new audio series “Folktales From Sudan.” The series is a passion project inspired by the stories Baba grew up hearing when visiting relatives in Sudan. Each episode is a single story narrated by Baba with music and sound effects. Baba says the series marks the first time the tales have been recorded in English. “Folktales From Sudan” premiered in March and is now available wherever you get your podcasts.Baba is an award-winning journalist with KALW in San Francisco, where she hosts the long-running news magazine “Crosscurrents.” She reports on immigrants and communities of color, health, education, race, identity, culture, religion and arts. Baba was born in Sudan and migrated to the United States with her family as a child.Michael Griffin talks with Baba about storytelling's role in culture, and the virtue of sharing African stories on a global scale.

We need a recovery of the sacred in our secular world. Because the mental, emotional, and psychological struggles haunting society right now can't be solved without addressing meaning, purpose, and the longing for connection to something beyond ourselves.In other words, spiritual health is an essential part of mental health.An attorney, religious scholar, and university chaplain, Dr. Varun Soni is Dean of Religious Life at the University of Southern California, and is leading us back to our true north, through spacious and life-giving spiritual conversations and sacred practices that realign us to our values and identity.In this conversation with Varun Soni, we discuss:Finding the sacred in our secular culture.Religious pluralism and what it means to build trust that reaches across religious lines of difference.The transformative power of finding your “truth north”—your North Star—to orient our journeys of faith and spirituality.Varun shares six pillars of flourishing; how to align our actions with our values; and the benefit of listening to the cultural narratives and stories we tell.He reflects on the missing elements of spirituality in our understanding of mental health today, evidenced in his work with teens and emerging adults.He offers us a Hindu meditative practice to provide inner clarity, stability, and calm.And he comments on compassion and a cultivation sacred spiritual practices to counteract the loneliness, anguish, and suffering in our world.Show NotesDr. Pam King welcomes Varun Soni, Dean of Religious and Spiritual Life at USCJourney from Hindu attorney to first Hindu Dean of Religious and Spiritual Life in the U.S.“What does it mean to be Indian? What does it mean to be Hindu? What does it mean to be American? What is this Indian American experience?”1965 Immigration and Naturalization ActInspired by grandfather's connection to Mahatma Gandhi“ What it meant to be Hindu was to be like Gandhi. What it meant to be Indian was to be like Gandhi. What it meant to live a meaningful life was to live like Gandhi.”“ I continued to study religion as a way of understanding myself.”Sitting with the Dalai Lama on Mahatma Gandhi's birthdayMentorship from the Dalai LamaDeepak Chopra's influence“Interfaith trust building”University ChaplaincyWhat is thriving to you?"Thriving is the alignment of purpose and practice—it's not about arriving, but about moving in the right direction."“What is my north star, and how do I get there?”Spiritual well-being about asking the right questions, not having all the answersReligion once provided meaning, rituals, and community—now young people seek new structures"What is sacred to you? If you can't answer that, you're drifting without a compass."The urgency of time when turning 50 years old“I'm not trying to prove anything to anyone anymore.”“Put the process before the answer.”6 pillars of thriving and well-being: diet, sleep, exercise, contemplative practice, emotional intelligence, connection to natureBasic physical pillars of thriving: Diet, Sleep, ExerciseSpiritual pillars of thriving: Contemplation, Emotional Intelligence, and Communing with NatureFinding what is sacred—faith, relationships, personal values51% of USC students non-religious, 80% spiritualRecord levels of loneliness, imposter syndrome, comparison culture“Not just a mental health crisis, but a spiritual health crisis.”Loss of intergenerational religious experiences—key protective factor against depression"We took away religion and replaced it with social media, then wondered why anxiety skyrocketed."Social media fuels disconnection rather than community"We weren't built for this much bad news. Our brains weren't designed to process global suffering 24/7."“There's no right way to do contemplative practice.”Find moments built into your dayExercise: So Hum breath meditation: Inhale “So,” exhale “Hum”Using meditation as a spiritual technology or tool"You are not your thoughts—you are the awareness behind them."Identity shaped by personal narrative—"If you don't like your story, rewrite it."Telling the story of who you will become"Every individual is the hero of their own journey, whether they realize it or not."Cultural mythology, from sacred texts to Marvel movies, reflects search for meaningSpirituality helps build redemptive life narratives“There power in being part of something bigger.”The Spiritual Child by Lisa Miller—research on spirituality and mental health"It's hard to hate the people you love—universities are one of the last places where people can learn to love each other across differences."Technology and mediated relationshipsWhat is sacred to you?"Gen Z's greatest superpower is empathy, but they've never been lonelier."Building protective factors for young peopleGratitude rituals shift focus from anxiety to appreciationCare, justice, and connectionMental Health CrisisMental Health and Spiritual HealthAwe-inspiring moments—nature, music, relationships—essential to well-being"Awe, wonder, and gratitude aren't luxuries—they're survival tools."“You can't doom-scroll your way to joy. Presence and connection matter.”Religious institutions declining, but human need for transcendence remainsCreating new rituals and meaning-making for a secular generation"Spiritual health is just as important as mental health—ignore it, and you miss a key part of the equation."What is your North Star? What gets you up in the morning?How do your daily practices align purpose and action?How do the stories you tell shape your identity and thriving?Try So Hum meditation as a daily mindfulness practiceEngage in one act of gratitude—write a note, express appreciation, savor a momentIt's all too easy to fragment our lives into secular and sacred, but thriving and spiritual health require wholeness and integration of every aspect of ourselves, including our faith and spirituality.Future generations of leaders need our guidance and support in their connection to community and their search for meaning, purpose, and hope.Keep your seat-belt firmly fastened, your seat-back upright, tray table stowed, and secure your own spiritual oxygen mask before assisting others.We can counteract the outrage, anxiety, and information overload with simple, daily practices that bring stability and clarity.We thrive when we align our actions and our values, our behavior with our beliefs, and our practices with our purpose.About Varun SoniVarun Soni is the Dean of Religious Life at the University of Southern California. He received his B.A. degree in Religion from Tufts University, where he also earned an Asian Studies minor and completed the Program in Peace and Justice Studies. He subsequently received his M.T.S. degree from Harvard Divinity School and his M.A. degree through the Department of Religious Studies at the University of California, Santa Barbara. He went on to receive his J.D. degree from University of California, Los Angeles School of Law, where he also completed the Critical Race Studies Program and served as an editor for the Journal of Islamic and Near Eastern Law. He earned his Ph.D. through the Department of Religious Studies at the University of Cape Town, where his doctoral research focused on religion and popular culture. As an undergraduate student, Dean Soni spent a semester living in a Buddhist monastery in Bodh Gaya, India through Antioch University's Buddhist Studies Program. As a graduate student, he spent months doing field research in South Asia through UCSB's Center for Sikh and Punjab Studies.Dean Soni is currently a University Fellow at USC Annenberg's Center on Public Diplomacy and an Adjunct Professor at the USC School of Religion. He is the author of Natural Mystics: The Prophetic Lives of Bob Marley and Nusrat Fateh Ali Khan (Figueroa Press, 2014) and his writings have appeared in the Washington Post, Huffington Post, Crosscurrents, Jewish Journal, and Harvard Divinity Bulletin. He produced the critically acclaimed graphic novel Tina's Mouth: An Existential Comic Diary by Keshni Kashyap, which is currently being adapted as a feature length film. He also produced and hosted his own radio show on KPFK-Pacifica that showcased music from South Asia and its diaspora. In 2009, he was one of the organizers of the historic Concert for Pakistan, a benefit concert at the United Nations General Assembly Hall featuring Salman Ahmad, Sting, Outlandish, Jeff Skoll, Deepak Chopra, and Melissa Etheridge.Dean Soni is a member of the State Bar of California, the American Academy of Religion, and the Association for College and University Religious Affairs. He is on the advisory board for the Center for Muslim-Jewish Engagement, Journal for Interreligious Dialogue, Hindu American Seva Charities, Future45, and the Parliament of the World's Religion. Prior to joining USC, Dean Soni spent four years teaching in the Law and Society Program at UCSB. Born in India and raised in Southern California, he has family on five continents and they collectively represent every major religious tradition in the world. About the Thrive CenterLearn more at thethrivecenter.org.Follow us on Instagram @thrivecenterFollow us on X @thrivecenterFollow us on LinkedIn @thethrivecenter About Dr. Pam KingDr. Pam King is Executive Director the Thrive Center and is Peter L. Benson Professor of Applied Developmental Science at Fuller School of Psychology & Marriage and Family Therapy. Follow her @drpamking. About With & ForHost: Pam KingSenior Director and Producer: Jill WestbrookOperations Manager: Lauren KimSocial Media Graphic Designer: Wren JuergensenConsulting Producer: Evan RosaSpecial thanks to the team at Fuller Studio and the Fuller School of Psychology & Marriage and Family Therapy.

Today, we bring you a special episode of Crosscurrents. It's an audio tour of some of the institutions that have lasted, impacted, and changed San Francisco over time.

In this episode, we bring you a deep and reflective conversation from Theology Beer Camp focusing on the interlocking crises of democracy and religion in America. The panel took place on the Theology Nerd stage and was moderated by previous podcast guest, Aaron Stauffer from Wendland-Cook Program in Religion & Justice  at Vanderbilt University and features esteemed scholars Robert C. Jones, Diana Butler Bass, and Gary Dorrien. They explore various dimensions of liberal democracy, social democracy, and the historical and present impacts of religion and race on American politics. The discussion delves into personal histories, the influence of the black social gospel, and practical steps for communities and churches to combat current socio-political challenges, particularly emphasizing community organizing and educational initiatives. If you want to get info, updates, and access to pre-sale tickets for Theology Beer Camp 2025 you can signup here. For information on Wendland-Cook's Solidarity Circles, a program to build virtual peer-networks for faith leaders, organizers, clergy, and members of the community to build grassroots solidarity, head over here. Previous Podcast Conversations Theology for Action with Aaron Stauffer Theological Ethics & Liberal Protestantism with Gary Dorrien James Cone and the Emergence of Black Theology with Garry Dorrien Truth & Kindness in the Public Square with Diana Butler Bass (a bunch more are linked there) Aaron Stauffer is the Director of Online Learning and Associate Director of the Wendland-Cook Program at Vanderbilt University Divinity School. He earned his PhD in social ethics at Union Theological Seminary in the City of New York and has organized with the Industrial Areas Foundation in San Antonio, Texas and Religions for Peace. His work has appeared in Tikkun, Sojourners, The Other Journal, Political Theology, and CrossCurrents, as well as other scholarly and popular publications. Diana Butler Bass, Ph.D., is an award-winning author, popular speaker, inspiring preacher, and one of America's most trusted commentators on religion and contemporary spirituality. Gary Dorrien is Reinhold Niebuhr Professor of Social Ethics at Union Theological Seminary and Professor of Religion at Columbia University. He is also the author of Anglican Identities: Logos Idealism, Imperial Whiteness, Commonweal Ecumenism, Social Ethics in the Making: Interpreting an American Tradition, American Democratic Socialism and In a Post-Hegelian Spirit: Philosophical Theology as Idealistic Discontent. You won't want to miss his upcoming theological memoir Over from Union Road My Christian-Left-Intellectual Life. Robert P. Jones. Is the president and founder of Public Religion Research Institute (PRRI) and the author of three books best-selling books, The Hidden Roots of White Supremacy and the Path to a Shared American Future , White Too Long: The Legacy of White Supremacy in American Christianity, The End of White Christian America . _____________________ Join my Substack - Process This! Join our upcoming class - THE RISE OF BONHOEFFER, for a guided tour of Bonhoeffer's life and thought. Go with me to Berlin to spend a week in Bonhoeffer's House! Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we're launching a new series by KALW's own Angie Coiro: "Book It!" In the series, we'll hear from Bay Area authors about stories set in California across time and genre. In this episode, Noir author Scott Phillips talks about his new book set in the earliest days of Hollywood.

In this episode, we are joined by social ethicist Dr. Aaron Stauffer to guide us through the intersection of theology and community organizing. Aaron, a coordinator for the Wendland-Cook Program in Religion & Justice and author of Listening to the Spirit, explores the intertwining of theology, activism, and justice. Discover how faith has historically inspired activism and can energize current movements. The dialogue delves into sacred values, community organizing, and the transformation of religious and political landscapes. Topics include bipartisan politics, military spending, foreign policy, and the role of unions like the UAW. Reflect on the impact of historical social movements, the military-industrial complex, and theological perspectives on democracy and class solidarity. Learn about upcoming events like Theology Beer Camp and the concept of Solidarity Circles to build supportive networks of change-makers. This episode is a compelling blend of faith, practical efforts for social change, and community values. Aaron Stauffer is the Director of Online Learning and Associate Director of the Wendland-Cook Program at Vanderbilt University Divinity School. He earned his PhD in social ethics at Union Theological Seminary in the City of New York and has organized with the Industrial Areas Foundation in San Antonio, Texas and Religions for Peace. His work has appeared in Tikkun, Sojourners, The Other Journal, Political Theology, and CrossCurrents, as well as other scholarly and popular publications. About Solidarity Circles Building Solidarity by Deep Transformation Faith leaders, clergy, & organizers today feel more isolated than ever. We are over-resourced and under-connected. We need spaces and networks to organize together. Solidarity Circles are built to meet this need. These are virtual peer-networks for faith leaders, organizers, clergy, and members of the community who realize that the solidarity economy is essential for the flourishing of life and our faith communities. Solidarity circles are one way the Wendland-Cook Program is seeking to revitalize and build the church and Christian theology in positive ways. We believe that this work is deeply connected to the mission and vocation of Christian churches. Broadly understood, the cooperative and solidarity economy are ways of addressing longstanding economic inequalities within our society, including white supremacy and gender and sex inequities. We're so excited about the work we can do together. INFO HERE Watch the conversation on YouTube _____________________ Join my Substack - Process This! Join our upcoming class - THE GOD OF THE BIBLE: An Absolutely Clear and Final Guide to Ultimate Mystery ;) Come to THEOLOGY BEER CAMP. Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Crosscurrents, we hear why the Oakland A's plan to move to Las Vegas has some skeptics. It's the next episode of Foul Ball. Then, we meet Uncuffed Producer Greg Eskridge the morning of his release. And, we hear a poem on police brutality from KALW's open mic night.

The Bayview-Hunters Point Coastline is currently being developed into a chain of parks. Today on Crosscurrents, how Free swim lessons are connecting kids with water. Then, we break down the stereotypes about Black people and swimming. And, a Burning Man artist talks about his time at Black Rock city.

In this episode of Crosscurrents, we hear how tending to our mental health can be tough when it feels like the world is on fire. Today, we dig into the psychological impacts of climate change. Then, the history of one local wildlife haven. It's a conversation and a story about taking care of ourselves and the natural world.

Today on Crosscurrents, we learn how cement and concrete produce almost as much carbon dioxide as cars. We bring you a story that exlpores the climate issues with our most used building material. Then, we learn how high school suspension rules in California have changed to protect students.

In today's episode of Crosscurrents, we hear how some residents in West Marin are fighting to keep the lights off. But in order to succeed they will need more than just the North Star to navigate through all the municipal red tape. It's part two of a special story from our friends at the Nocturne podcast.

Lauren Rhoades talks with author Gerry Wilson, whose new novel That Pinson Girl follows a young mother in a rural North Mississippi community, against the backdrop of the deprivation of World War I and the 1918 influenza epidemic. A seventh generation Mississippian, Gerry Wilson grew up in the red clay hills of the north. Her short story collection, Crosscurrents and Other Stories, was nominated for the Mississippi Institute of Arts and Letters Fiction Award. On the Arts Hour, Gerry talks about her journey to becoming a writer, her years as a high school English teacher, and, of course her new novel. If you enjoyed listening to this podcast, please consider contributing to MPB. https://donate.mpbfoundation.org/mspb/podcast. Hosted on Acast. See acast.com/privacy for more information.

Contrasting macro-economic indicators plus geo-political concerns are tugging commodities generally higher… but new money is only following part of the trade. Find out why.     

Episode 121 Crosscurrents in Early Electronic Music of Canada, Part 2   Playlist   Track Time Start Time Introduction –Thom Holmes 04:32 00:00 1.             John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active. 02:30 04:32 2.             John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 04:08 07:00 3.             John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 03:32 11:03 4.             Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University's own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976. 11:20 14:34 5.             Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 04:53 25:48 6.             Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes. 10:08 30:38 7.             Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada. 17:21 40:34 8.             Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 07:55 57:54 9.             David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen's University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen's University Electroacoustic Music Facility. 10:17 1:05:48 10.         Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s. 16:02 1:16:04 11.         Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis. 11:24 1:32:04 12.         Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time. 11:09 1:43:18 13.         Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music. 10:22 1:54:13 14.         Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.” 16:01 2:04:22 Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane's studio in Scarborough, Ontario. Voice, Richard Margison. 11:46 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Today we bring you a very special episode of Crosscurrents. First, we hear how the coastal town of San Pippo sees climate change as a glass half full. Then, we bring you practical advice on combating airline anxiety. And, we have conversation with the very first user of the new Google Brain.

Scripture Reference: http://www.biblegateway.com/passage?version=ESV&search=Mark%2014:12-26

Since 9/11, Muslims have occupied the U.S. public and political spheres as threats to national security, as victims of hate crimes, as targets of torture and war, and as a community to be included in diversity initiatives. This insightful panel will explore Muslim inclusion and representation in a variety of contexts, including education, politics, and the entertainment industry. Shafiqa Ahmadi is an associate professor of Clinical Education at the Rossier School of Education and the co-director for USC's Center for Education, Identity, and Social Justice. She is an expert on diversity and legal protection of underrepresented students, including female Muslims, and is the co-editor of Islamophobia in Higher Education: Combating Discrimination and Creating Understanding. Maytha Alhassen holds a PhD in American Studies and Ethnicity from USC. She is the writer of the report, Haqq and Hollywood: Illuminating 100 Years of Muslim Tropes and How to Transform Them, and producer and writer of the Golden Globe and Peabody­–winning Hulu series Ramy. Evelyn Alsultany is the author of Broken: The Failed Promise of Muslim Inclusion and Arabs and Muslims in the Media: Race and Representation after 9/11. She is an associate professor of American Studies and Ethnicity at USC, has served as a consultant for Hollywood studios, and co-authored the Obeidi-Alsultany Test with criteria to help Hollywood improve representations of Muslims. Hajar Yazdiha is an assistant professor of Sociology, faculty affiliate of the Equity Research Institute, and a 2022–23 Ford Foundation Fellow at the USC Dornsife School of Letters, Arts, and Sciences. She is an expert on the racial politics of inclusion and exclusion and is the author of The Struggle for the People's King: How Politics Transforms the Memory of the Civil Rights Movement. Moderator: Varun Soni is the Dean of Religious Life at USC, University Fellow at USC Annenberg's Center on Public Diplomacy, and an adjunct professor at the USC School of Religion. His writings have appeared in the Washington Post, Huffington Post, Crosscurrents, Jewish Journal, and Harvard Divinity Bulletin.

Episode 120 Crosscurrents in Early Electronic Music of Canada, Part 1 Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 10:36 00:00 1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records. 2:12 10:36 2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film. 5:07 12:36 3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 17:34 4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:50 19:14 5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 21:04 6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 2:21 22:56 7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International). 8:47 25:18 8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys. 3:08 34:04 9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds. 15:59 37:12 10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada. 5:47 53:10 11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.” 11:23 59:02 12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape. 2:49 1:10:24 13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine's Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo '67 World Exposition in Montreal. 2:34 1:13:12 14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project. 3:46 1:15:46 15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.   1:19:28 16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work. 4:17 1:21:20 17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University. 5:21 1:25:34 18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine's equipment, this work explores sound densities and glissandi. 6:07 1:30:56 19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau's and the electronic sounds were composed using Le Caine's Polyphonic Synthesizer. 4:21 1:37:02 20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine's Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation. 4:09 1:41:18 21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 1:45:22   Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

EPISODE 306 - Gerry Wilson - That Pinson Girl - Historical Fiction and a class on Writing Your StoryA seventh generation Mississippian, Gerry Wilson grew up in the red clay hills of the north. Her novel, THAT PINSON GIRL, is forthcoming from Regal House Publishing February 6, 2024. Her debut short fiction collection, Crosscurrents and Other Stories (Press 53 2015), was nominated for the Mississippi Institute of Arts and Letters Fiction Award. A story, “Life Line,” was a finalist in december magazine's Curt Johnson Prose Award for Fiction and was published in december in the spring of 2023. Her short fiction has been published in numerous other journals.Gerry has a new Substack publication, “Stories I'm Old Enough to Tell,” where she writes about her journey to publication and reveals tidbits about That Pinson Girl you won't find anywhere else!A literary novel that resonates with issues of race and class, THAT PINSON GIRL pits a white teenage mother and a biracial sharecropper against prejudice and hatred in Mississippi during World War I.“That Pinson Girl is a beautiful novel about the destructive power of dark secrets. Gerry Wilson's prose shines as she breathes life into her characters and into the north Mississippi landscape.” — Tiffany Quay Tyson, award-winning author of The Past is Never and Three Rivers“Devastating and beautifully written, Gerry Wilson's That Pinson Girl is at once a heart-rending tragedy and a testament to the indomitable human spirit.” — Clifford Garstang, author of Oliver's Travels and The Shaman of Turtle Valley.“In Gerry Wilson's gripping debut novel, 1918 in North Mississippi becomes tangible again; here are the red hills, the suck of winter mud, the scrabble of subsistence living, and the intricately crossed lines of race and kin.” — Katy Simpson Smith, author of The Everlasting, Free Men, The Story of Land and Sea.https://gerrygwilson.com/___https://livingthenextchapter.com/Join award-winning, indie author, Dianne Burckhardt, as she chats with fellow authors and industry insiders around the world about their work, inspirations, greatest challenges, and triumphs. https://www.burckhardtbooks.com/podcastSupport the showhttps://livingthenextchapter.com/Want to support the show and get bonus content?https://www.buzzsprout.com/1927756/subscribe

Brent has presented their research at museums, cultural centers, and universities across Asia, Europe, and North America. Recent books include Religion and Film: Cinema and the Re-Creation of the World, A History of Religion in 5 ½ Objects, and the co-edited Routledge Handbook of Material Religion. They are the Executive Director of  the Association for Public Religion and Intellectual Life, otherwise known as APRIL, editor of the 70-year-old journal CrossCurrents, and Board Member of the Interfaith Coalition of Greater Utica, NY.​ In this episode, Brent and I discussed the profound interplay between spirituality and tangible objects. We explore how material culture has shaped and continues to influence religious practices, rituals, and beliefs. Brent offers valuable insights into the historical significance of religious artifacts, shedding light on their role in preserving and transmitting spiritual traditions. 

Buckle up queers and prepare for a new episode of Q4Q! In this episode, Haley is joined by Esther Bley of @QueerAnimation to share some stories of cults, queer communes, and personal ads from people searching for a little bit more than a partnership. Will you decide to worship at the shrine of Pussy, or become a husband of Christ in Boston's gayest monastery? The possibilities are endless.  Follow Esther's work on Instagram @QueerAnimation. Explore the Queer Animation website.Buy a Queer Animation button! Listen to us on Spotify, Stitcher, Apple Podcast, or wherever you listen to your tunes!Interested in being on the show? Contact us at Q4QPodcast@gmail.com or find us on Twitter @Queerpersonals and Instagram @Queerpersonalspodcast.Cover art by Bekah Rich. Music by Kaz Zabala.Sources: ROBINOU. “QUEER COMMUNAL KINSHIP.” In Queer Communal Kinship Now!, 79–148. Punctum Books, 2023. http://www.jstor.org/stable/jj.2353823.7. Accessed November 2023.Mack Moore, “What is the difference between a cult and a commune?” Quora comment, ca. 2019. Accessed November 2023.Elizabeth Yuko, Cult or Commune? How Utopian Communities Turn Dangerous, Rolling Stone, November 10, 2016. Accessed November 2023.Stephen Vider,  “The Ultimate Extension of Gay Community”: Communal Living and Gay Liberation in the 1970s, Gender & History. Volume 27, Issue 3. November 2015. Accessed November 2023. Kaliflower Commune - Wikipedia Radical Faeries - Wikipedia Faeriefilm by Eugene Salandra that you can watch on Queer AnimationLavender Hill: A Love StoryProducer/Writer: Austin Bunn | Cinematographer/Editor: Bob HazenGorsline, Robin Hawley. “Queering Church, Churching Queers.” CrossCurrents 49, no. 1 (1999): 111–14. http://www.jstor.org/stable/24460524.Charles Manson's Hollywood, Part 8: Sharon Tate and Roman Polanski — You Must Remember ThisAds:Outweek (NYC), 26 December 1990Gay Community News (Boston, MA) 1974GAY (Houston, TX) 19 July 1971 The Atlanta Barb (Atlanta, GA) April 1976RFD Issue 73 Spring 1993Just Out (Eugene, OR) 30 March 1984Sentinel USA (San Fran, CA) - 11 Oct 1984Support the show

This story originally aired on October 23, 2019 and it most recently aired for the October 25, 2023 episode of Crosscurrents.

In this episode Kate is joined by historian Dr. Bruce Dorsey. Bruce is a professor of history at Swarthmore College. In 2002, he published his first book, Reforming Men and Women: Gender in the Antebellum City, and he is also the co-editor of the book Crosscurrents in American Culture. His new book is called Murder in a Mill Town: Sex, Faith, and the Crime that Captivated a Nation. In it, Bruce tells the story of the death of factory worker Sarah Cornell, the trial of the Methodist preacher who was accused of her murder, and the public frenzy over the trial and its aftermath. I was thrilled to have the chance to talk with Bruce about how a historian tackles true crime, and our conversation covers how this book originated in a college course, as well as the challenge of weaving historical analysis a gripping drama.

Episode 107 Crosscurrents in Early Electronic Music of Norway Playlist Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15 Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27 Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09 Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20 Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05 Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54 Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05 Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26 Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03 Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16 Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07 Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Today we're launching a new Crosscurrents series: Elements. It's a collection of stories about the four most elemental ingredients of life—air, water, earth, and fire—and how they're being reshaped by climate change. The first story takes us the front lines of California's water war. And we'll learn how the original vision for BART still impacts commuters today.

In this episode, a significant drop in sales following pushback against LGBT-themed merchandise. Let Biden linger on, then drop the nuclear bomb. The media is losing its pull on swaying hearts and minds.

Episode 103 Crosscurrents in Early Electronic Music: Japan Playlist Experimental Music of Japan (1968 Victor) Album produced and recorded at the NHK Electronic Studio and supervised by K. Akiyama and W. Uenami. The tracks have been slightly reordered to represent the correct chronology of the works. Toshiro Mayuzumi and Makoto Moroi, “Variations Sur” (1956) from (1968 Victor). On this album, this piece was called the first work of electronic tape music produced in Japan. Not so. I know of five earlier works (by the NHK Studio engineers, Mayuzumi, and Shibata) dating back to 1954-1956. This work is also known as “Variations on the Numerical Principle of Seven” and actually dates to 1956, unlike what the liner notes tell us. I have two of those works in the archive and will feature them in a future episode. 14:54 Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958) from Experimental Music Of Japan (1968 Victor). 3:22 Joji Yuasa, “Projection Esemplastic (For White-Noise)” (1964) from Experimental Music Of Japan (1968 Victor). 7:40 Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965) from Experimental Music Of Japan (1968 Victor). 9:53 Toshi Ichiyanagi, “Situation (For Biwa, Koto, Violin, Double Bass, Piano and Multiplier)” (1966) from Experimental Music Of Japan (1968 Victor). 6:31 Toshiro Mayuzumi, “Campanology (For Multi-Piano)” (1967) from Experimental Music Of Japan (1968 Victor). 8:01   Group Ongaku (2011 Seer Sound Archive) Remastered at Inoue Onkyo Kikaku by Kazuya Sakagami, Yukio Fujimoto. Group Ongaku, “Automatism” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno's house. This is the recording of a live performance for which the players used a piano, a pedal organ, a cello, alto saxophone and various everyday objects such as a vacuum cleaner, radio, an oil drum, dolls, and a set of dishes. The music was spontaneously created and recorded in real-time. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 26:20 Group Ongaku, “Object” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 7:34 Group Ongaku, “Metaplasm 9-15” Parts 1 and 2 (1961) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on September 15, 1961, at Sogetsu Kaikan Hall, Tokyo. Performers: Cello, Mikio Tojima; Cello, Drums, Tape, Shukou Mizuno; Guitar, Genichi Tsuge; Piano, Chieko Shiomi; Saxophone, Tape, Yasunao Tone; Violin, Saxophone, Tape, Takehisa Kosugi. Part 1, 14:16; Part 2, 11:26. Opening background music, Makoto Moroi, “Shōsanke” for electronic sounds and Japanese traditional instruments (1968) from Experimental Music Of Japan '69 (no. 2) (1969 Victor). Issued also as part of the Prospective 21e siècle series, both Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa Box-Set and self-contained Japanese Electronic Music LP. 13:20. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Episode 101 Crosscurrents in Early Electronic Music in Italy—Part 2 Playlist Pietro Grossi, Studio Di Fonologia Musicale Di Firenze (S 2F M) Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961) (1961 RAI). Pietro Grossi began experimenting with electronic sound while visiting the RAI in the early 1960s. During this time, he became fascinated with algorithmic manipulations of sine waves and produced the piece Progetto 2-3 (1961) which mathematically managed the slowly intersecting trajectories of six audio signals. This is an excerpt from the original 30-minute work. 2:56 Pietro Grossi, S2 F M: A1, “Primavera,” “Estate,” Autunno,' “Inverno,' “Alba,' “Tramonto,' “Notte,' “Temporale,' “Arcobaleno,” “Suspense N. 1,” “Suspense N. 2,” “Suspense N. 3,” “Suspense N. 4” and “Thrilling” from Electronic Soundtracks (1965 Cooper Recordes). Works composed at the Studio di Fonologia Musicale (S 2F M) in Florence. This is the first example of broadcast library music that Grossi was engaged in for many of the following years, presumably to keep his S2FM Studio funded. 9:24 Pietro Grossi, “Battimenti A Due Frequenze” (1965) from Battimenti (2003 Ants). From the inside cover: "94 sets of beats with 2, 3, 4, 5 frequencies taken from a catalogue of sound events that I and my collaborators have created in the electronic music studio S 2F M around the year 1965. These sound events were meant to be used for various compositional purposes. Each set of beats lasts approximately 30 seconds; they are arranged as follows: 10 sets with two frequencies, 25 with three frequencies, 31 with four frequencies, 28 with five frequencies. Listening at low level is suggested. P.G." Interestingly, this experiment in four parts required about 54 minutes to hear in total. This part is the shortest. 5:50 Pietro Grossi, “Collage” (1968) from Musicautomatica (2003 Die Schachtel). A change of pace from other works at this studio, this collage piece is an electroacoustic work largely based on naturally occuring sounds that have been distorted and modified. 13:52 Pietro Grossi, “Citta' Sommersa,” from Atmosfera & Elettronica (1972 Lupus records). Another broadcast library album of interesting, electronic atmospheres. 2:59 Studio Di Fonologia Musicale Di Firenze, “Mixed Paganini,” “Permutations Of Five Sounds,” “Continuous,” (1967) from GE-115 - Computer Concerto. Imagine hyour surprise if you were a recipient of this 7-inch disc that was distributed in 1967 as a New Year's gift by Olivetti company. “Transcriptions for the central processor unit of a GE-115 computer of short excerpts of Paganini & Bach music scores and original works as well.” I chose to present side 2 of the disc which features early computer works with a flare for the rapid-fire articulation of notes by the computer. These examples vary significantly from the more traditional classical arrangements found on side 1. Realized at Studio di Fonologia musicale di Firenze (Italy). 5:04 Enore Zaffiri, Studio di Musica Elettronica di Torino (SMET) Enore Zaffiri, “Musica Per Un Anno”(1968, excerpt) from Musica Per Un Anno (2008 Die Schachtel). Early work from this studio was mostly abstract and experimental. This piece is a terrific representation. All of the frequencies, their amplitude and durations were determined based on the mathematical analysis of 12 geometric figures derived around the 12 hours on a clock face. From the liner notes: “This electronic music is intended as a sound track for ambients. It develops over a duration of one year's time. The sound events change imperceptibly but continuously, in relation to the months, days, hours and minutes. Every instant has its unique music, which merges with the light, and the air of the ambient.” The original is 60 minutes long. 13:41 Lorenzo Ferrero, “Immigrati” (1971) from Musica Elettronica - Computer Music (1972 Compagnia Editoriale Pianeta). The third major Italian electronic music was the Studio Di Musica Elettronica located in Torino and founded in 1964 by Enore Zaffiri. This piece was recorded in 1971 after they had acquired and EMS Synthi. 6:22 Teresa Rampazzi, Gruppo Nuove Proposte Sonore (NPS), Padua Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. The reverberation of this work was created by putting a loudspeaker in a stairwell. There is also the unwanted thud of a door still in the work. 5:46 Gruppo NPS (Rampazzi, Marega, Mazurek), “Modulo 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. Experiments on signal impulses and their changing attacks and decay. of 3:48 Gruppo NPS (Rampazzi, Marega), “Freq. Mod. 2” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Short bands of frequencies modulated by low-level signals abd brief, “violent impulses.” 6:26 Gruppo NPS (Rampazzi, Gracis), “Insiemi” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). A more lyrical, rather than systematic composition process is shown in this work. Adjectives such as calm, cathartic, and conflict were used to describe the outcome. 7:33 Opening background music: Pietro Grossi, “Unicum” from Musicautomatica (2003 Die Schachtel), excerpt.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Explaining how crosscurrents in financial markets are impacting how institutional investors allocate assets, Elizabeth Burton, client investment strategist in the Client Solutions Group in Goldman Sachs Asset Management, joins our latest episode of The Markets, a new weekly podcast from Goldman Sachs Exchanges.

Episode 100 Crosscurrents in Early Electronic Music: Italy—Part 1 Playlist Berio, Maderna, Nono, Zuccheri, RAI Studio di Fonologia Musicale (RAI), Milan Luciano Berio, “Mutazioni” (1955) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). The first complete tape work by Berio at the newly founded RAI studio, which he was running with composer Bruno Maderna. Sound engineering by Marino Zuccheri. Berio and Maderna kept an open mind about the music that would be produced under its roof. They did not align themselves aesthetically with either the musique concrète approach taken in Paris or the serialist, rules-based composing style of Cologne. “Bruno and I immediately agreed,” explained Berio, “that our work should not be directed in a systematic way, either toward recording acoustic sounds or toward a systematic serialism based on discrete pitches.”[1] As a consequence, Alfredo Lietti Marino Zuccheri, engineers for the studio, filled it with equipment that appealed to a wide spectrum of compositional needs. In 1956, studio no. 3 at RAI had a custom-built cabinet with six vertical racks consisting of audio generators (9 sine wave oscillators, 1 white noise generator, 1 pulse generator), sound modifiers (plate reverb, octave filter, high pass filter, low-pass filter, variable band-pass filter, third-octave filter, ring and amplitude modulators), and a mixing panel. Several tape recorders were available mix and match sounds. You can almost sense the excitement of the creation of these foundational works as each composer brought their own individualism to the sound a translated that into electronic music. 3:36 Berio & Maderna, “Ritatto di Città (poema radiofonico)” (1955) (1955 RAI). File from the RAI Archives. This is an excerpt from a radiophonic production that was 26' long. 6:05 Bruno Maderna, “Notturno” (1956) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). Maderna's first official solo tape work produced at the RAI studio. From an original disc released by the RAI in 1956. 3:24 Luciano Berio, “Perspectives” from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). An eight-part work of experiments in transforming musical sounds and rhythms with electronic manipulation. 6:36 Bruno Maderna, “Música su Due Dimensioni” from História da Música Eletroacústica (1958). 7:10 Luciano Berio, “Momenti”(1960) from Images Fantastiques (Electronic Experimental Music) (1968 Limelight). This release was an American collection of European electronic music released on the Limelight label, a subsidiary of Philips. Although released a few years after “Momenti” was available elsewhere, this was an album that captivated my imagination at the time. You hear Berio's innate sense for fashioning unique sounds and rhythms with this sound material, adding some reverb to give it depth, producing audio that is reminiscent of natural sounds, but transformed to give it an other-worldly quality. 7:02 Bruno Maderna, “Dimensioni II (Inventione su Una Voce)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Anyone familiar with Italian new music will know the name of Cathy Berberian. She was an American operatic mezzo-soprano and for a time (1950-64) was married to Luciano Berio. She was a kind of muse for the modern composers at the Milan studio, lending her incredible vocal capabilities to tracks that could then be transformed into electronic music. One such famous piece, not included here because it is so familiar, is “Thema (Omaggio a Joyce)” by Berio. Instead, I wanted to feature another tape piece, this one by Maderna, because he not only transforms Berberian's voice using electronic techniques but allows her to express herself as well in some unmodified sections. This marks a period where Maderna was longer magnetic tape pieces, ten minutes or more each. Unlike his shorter, more frenetic works, these longer pieces gave him time to develop themes, apply long silences, and structure his works around variations on his audio materials. 10:52 Luigi Nono, “Omaggio a Vedova” (1960) (1976 Wergo). A magnetic tape work by another outstanding contributor to electronic music in Italy, Luigi Nono. Like Berio, Nono went on to be better known for his instrumental and vocal compositions. This work is an homage to artist Emelie Vedova. Note that we feature another homage to Vedova from 1967 later in the podcast, “Parete 1967 _1” by Marino Zuccheri. 4:52 Niccolò Castiglioni, “Divertimento” (1960) from Elektron 3 (1967 Sugar Music). Produced at the Studio di Fonologia Musicale di Milano. Castiglioni was an Italian composer, born in Milan who later came to the United States to teach composition at the University of Michigan. This work sounds a bit like chirping insects and is the only tape piece he produced at the RAI. 2:38 Bruno Maderna, “Le Rire” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Another long-form tape piece by Maderna. The voices heard and processed are those of Maderna, Cathy Berberian, and the sound designer Marino Zuccheri. The sounds in the beginning are modulated by sine waves and filters, plus some occasional ambient sounds like footsteps and rain. The second part of the work, beginning around the 11-minute mark, switches to more traditional musique concrete sounds reminiscent of drums, flutes, as well as white noise. 15:53 Luigi Nono, “La Fabbrica Illuminata” for voice and magnetic tape (1964) from Luigi Nono La Fabbrica Illuminata (1968 Wergo). Nono was also expanding his use of electronic sounds and wrapping them in vocal music. This work combines sounds created at the RAI with vocals written for a choir ( Chor Der RAI Mailand) and sopranos (Carla Henius). Marino Zuccheri helped Nono with the tape music. 16:28 Jon Hassell, “Music for Two Vibraphones” (1965) (1965 RAI). Yes, this is the Jon Hassell, the American composer and trumpeter. I know he is American, but I couldn't resist including this brief track that he recorded while in Milan in 1965. To my ears, this has an especially digital sound, especially when you consider how time consuming it must have been to assemble the opening sequence using tape editing. It is also a work of contrasts, with the explosive opening section giving way to about a minute of extremely quiet, almost ambient sound to close the work. 2:43 Marino Zuccheri, “Parete 1967 _1” (1967) from Parete '67 Per Emilio Vedova (2018 Die Schachtel). The sound mixer and designer at the RAI studio, Zuccheri often appears as a credit on works created in the studio. Working as a sound technician after World War II, Zuccheri was transferred to the RAI headquarters in Milan where he met Luciano Berio. He was instrumental in developing the system and layout of the Studio di Fonologia Musicale, where he worked until 1983. His close collaboration with the composers working at the Studio, above all Berio, Maderna and Nono, gave rise most of their notable tape pieces. Visitors, such as John Cage, were quick to acknowledge his steady hand as chief orchestrator of sound and engineering at the studio. He was often asked to provide electronic music for broadcast and film productions, of which this is one, a collaboration with Emilio Vedova for the preparation of the Italian pavilion of the Montreal Expo. 15:03 Luigi Nono, “Contrappunto Dialettico Alla Mente” (For Magnetic Tape)(1968) from Roland Kayn / Luigi Nono – Cybernetics III / Contrappunto Dialettico Alla Mente (1970 DGG). Another one of Nono's exquisite works combining vocals and electronic music on magnetic tape, recorded at RAI. In this work you can see how Nono complements the sound palette of the usual RAI sounds with sounds that are uniquely presented by human voices. Chorus, Coro Da Camera Della RAI; Conductor, Nino Antonellini; Soprano Vocals, Liliana Poli; Other Voices, Cadigia Bove, Elena Vicini, Marisa Mazzoni, Umberto Troni. 19:48 Opening background music: Bruno Maderna, “Serenata III” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). 11:20 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.   [1] Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997), 48

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Episode 97 Crosscurrents in Elektronische Musik from Germany Playlist Josef Anton Riedl, “Studie 1b, 1a” (1951) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Early example of German tape composition, categorized as musique concrète as it includes more than purely electronic sounds, but the edited and processed sounds of human voices and instruments (a harp, string bass) as well. But it's the vocal utterances and the way they were edited for effect with unpredictable silences that makes this work stand out for me. Riedl completed this after visiting and hearing musique concrète in France. After that, the Cologne studio came into existence and provided a new means to create electronic music not with microphones, but directly through electronic signals on tape. Riedl switched from making musique concrète to elektronische music. Realization by Riedl in association with the Studio für elektronische Musik des Westdeutschen Rundfunks, Köln (WDR, West German Radio in Cologne). 5:34 Karlheinz Stockhausen, “Étude” (1952) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). Realized by Stockhausen during a stay to ORTF, Paris, where he learned the basics of musique concrète, which is how he categorized the piece before working purely electronic music at WDR. 2:56 Karlheinz Stockhausen, “Studie I” (1953) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). One of two purely electronic “studies” composed by Stockhausen at the WDR. His serialist approach dictated all aspects of the sound and he composed the works using a graphical approach to depict the shapes and values of the volume, duration, pitch, and timbres of the sound. “Studie I” is among the first works of electronic music composed entirely for sine waves. Although the means for creating “Studie I” are readily available today using computer synthesis, its composition in 1953 required much manual intervention and ingenuity by Stockhausen. “Studie I” was a completely serialized composition in which the composer applied the mathematical analysis of tones and timbres to the way in which he generated, shaped, and edited sounds for a tape composition. With electronic tone generators and tape recorders at his disposal, Stockhausen felt that it was possible to “compose, in the true sense of the word, the timbres in music,” allowing him to synthesize from base elements such as sine waves the structure of a composition, its tone selection, and all of the audio dynamics such as amplitude, attack, duration, and the timbre of the sounds. He approached the composition by first recording a series of electronic tones that met certain pitch and timbral requirements that he prescribed and then using serial techniques to devise an organizational plan that determined the order and duration of the sounds as he edited them together. 9:23 Karlheinz Stockhausen, “Studie II” (1954) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). The second of two purely electronic “studies” composed by Stockhausen at the WDR. For “Studie II,” Stockhausen extended his experiments with sine waves begun on “Studie I” by exploring the use of attack and decay characteristics as elements of composition. “Studie II” is one of the first post-war tape works to have a written score, albeit a graphic one in which overlapping translucent geometric shapes are used to denote the occurrence of a tone of a given amplitude in a given frequency with specific attack and decay characteristics. For “Studie II,” Stockhausen defined a set of frequencies based on the same ratio, resulting in an 81-tone scale of tones divided into one-tenth octave steps. The loudness and attack characteristics of the tones were divided into five stages. Tones based on such equal divisions of the frequency spectrum proved to be more harmonic when mixed. Stockhausen recorded short passages of the given tones and spliced them together in a loop that could be played repeatedly. These loops were then played through a reverberation system and then recorded to provide the final material with which the composer worked. Stockhausen's extensive use of reverberation added body and a noise quality to the sounds that embellished the raw sine tones. Using serial techniques to determine how to edit the material together, Stockhausen varied the attack characteristics and then also played some of the sounds backward to create a ramping decay that would abruptly cut off. His application of attack and decay characteristics in five prescribed stages of amplitude resulted in passages that were highly articulated by cascading, irregular rhythms. 2:59 Herbert Eimert, “Fünf Stücke” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization, H. Schütz, Herbert Eimert. Produced in the WDR studios, Cologne. Like Pierre Schaffer in France, Eimert had a background in creating music and sound for radio. He was one of the founding directors of the Cologne studio. Of the works included here, this one is a good example of his serialist approach that incorporated constantly changing combinations of defined sounds. 12:31 Gottfried Michael Koenig, “Klangfiguren II” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig. Produced in the WDR studios,Cologne. Koenig was with the WDR Studio for ten years from 1954 to 1964. There he experienced the fundamental aspects of creating works with electronic sound devices, most of which had never been intended to make music. His work led him directly to computer music composition in the 1960s. In “Klangfiguren II” “every sound goes through several working steps, and both the original sound and the various intermediate results of the transformation process are heard.” 10:13 Karlheinz Stockhausen, “Gesang Der Jünglinge” (1955/56) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by Gottfried Michael Koenig, Karlheinz Stockhausen. Produced in the WDR studios, Cologne. “Gesang der Jünglinge” was begun three years before Varèse completed “Poème électronique.” Like the Varèse work, “Gesang der Jünglinge” was produced using a host of electronic music production techniques cultivated earlier at the WDR studios. Stockhausen's approach was to fuse the sonic components of recorded passages of a youth choir with equivalent tones and timbres produced electronically. Stylistically, Stockhausen avoided the choppy, sharply contrasting effects that were so evident in many early magnetic tape pieces, instead weaving his sound sources together into a single, fluid musical element. He practiced his newly formed principles of electronic music composition, setting forth a plan that required the modification of the “speed, length, loudness, softness, density and complexity, the width and narrowness of pitch intervals and differentiations of timbre” in an exact and precise manner. The piece was painstakingly crafted from a visual score specifying the placement of sounds and their dynamic elements over the course of the work 13:03 Hermann Heiss, “Elektronische Komposition 1” (1956) from Zeitgenössische Musik In Der Bundesrepublik Deutschland 3 (1950-1960) (1982 Deutscher Musikrat). Realization by H. Schütz, Hermann Heiss. Produced in the WDR studios,Cologne.One does not often hear the name Heiss in relation to electronic music, although he went on the direct the Studio für Elektronische Komposition at the Kranichstein Music Instutute. At the time of this composition, he was focused on adapting electronic sounds to serial composition, for which he thought they were ideally suited. 5:11 Herbert Eimert, “Selection I” (1959) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). For electronic and concrete sounds. 10:03 Herbert Eimert, “Sechs Studien” from Epitaph Für Aikichi Kuboyama (2005 Creel Pone). “Sechs Studien” was composed 1962 & realized by Leopold von Knobelsdorff and released in 1962 on the Wergo label. For electronic and concrete sounds. Interestingly, Eimert was also branching out with the addition of keyboards and what sounds like a theremin (although it might have been an Ondes martenot). The WDR studio had a keyboard instrument built by Harald Bode in 1953, the Melochord, along with a a Monochard made by Friedrich Trautwein. 17:48 Karlheinz Stockhausen, “Kontakte”(1959-60), parts 1 and 2 from the album Gesang Der Jünglinge / Kontakte (1962 Deutsche Grammophon). Composed and realized by Karlheinz Stockhausen. Produced in the WDR studios,Cologne. This work was adapted for phonograph from a 4-track original tape composition. Given that the album could only hold about 25 minutes of sound per side, they divided this piece in two and presented it as parts 1 and 2. I've joined the two parts together for the podcast. Note the experiments in sound movement between the speakers, a facet of electronic music about which Stockhausen was captivated. Around this time, he began using contraptions invented for the Cologne studio that would, for example, rotate a loudspeaker in space from which fixed microphones could pick up fluctuating signals based on the frequency of the speaker rotation. He would eventually use this same technique with live performances and 4 or more speakers to enable the sound to, in effect, rotate around the audience. By the time her wrote the liner notes for this recoding in 1962, he had “publicly performed” the work “more than thirty times in all large European cities as well as in Canada, the USA, and Brazil, and broadcast by most radio stations in both versions” (stereo and radio mixes). Stockhausen's sound palette had also grown more sophisticated by this point and contained many seemingly organic elements that stood out from the earlier, purely electronic music output of the WDR. It is also one of his last electronic works to exploit “total serialism” in which he painstakingly composed around the parameters of sound to “bring all properties” such as timbre, pitch, intensity, and duration under a single control." In 1981, music scholar David Toop looked back on this work and noted that Kontakte was really the culmination of Stockhausen's attempts to apply serialism technique to electronic music and succeeded only at the broadest level. Many other composers by this time had discovered that the fundamental nature of electronic music was to deal with the basic elements of sound and calling it serialism seemed quite meaningless. After all, the structures and tonalities were only as interesting as the listener found them to be. In his case, Stockhausen's uniquely vibrant and organic music, tinged with introspection and shocking contrasts, provided an emotional impact that serialism had never intended. Don't miss hearing the sequence beginning around 17 minutes in that presents a sequence of pulsing electronic tones that are sped up, at first, to sound like a smooth waveform but then lowered in frequency so that you hear the component particles and beats that comprise the faster tone. This was quite a trick using tape manipulation, probably requiring several playbacks of the sound at different speeds and then some eloquent mixing to join the pieces together. 34:33 Mauricio Kagel, “Transicion I” (1958) from Panorama Électronique: Electronic Experimental Music (1968 Limelight). This is one of several reissues of the work that was originally released by Philips (who owned Limelight, its US label). I have several versions of this work and this was in the best shape. Realization by Gottfried Michael Koenig, Mauricio Kagel. Produced in the WDR studios, Cologne. “Transicion I” for electronic sounds (1958) was composed when Kagel first traveled to Cologne, where he remained for the rest of his career. Clearly influenced by the Cologne school of serialism, “Transicion II” was characterized by an exploration of the many aural possibilities of his sound sources set to an arrhythmic, seemingly formless sequence of sonic exclamations without pattern. These works were similar in effect to some of Stockhausen's instrumental pieces of the same period, but radically different from the German's evolving approach to methodical tape composition. 12:49 Opening background music: Four short sections of “Kontakte” (1959-60) from Elektronische Musik 1952-1960 (1991 Stockhausen Verlag). These are not presented in their original order, but comprise Struktur parts 11, 12, 13a and 13b. the CD release on Stockhausen Verlag presents “Kontakte” not a one uniform track but as a set of parts originally created and edited together by Stockhausen. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Episode 96 Crosscurrents of Musique Concrète Playlist Pierre Henry, “Final Du Concerto Des Ambiguités (Final Of The Ambiguities Concerto)” (1950) from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, tape editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 3:15 Pierre Henry, “Expressionisme (1951) Musique Sans Titre – 5e et 6e Mouvements (Untitled Music – 5th and 6th Movements)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Early piece of musique concrete during a time of transition at the RTF, when the composers were moving from using turntables and disc lathes to magnetic tape as a composition medium. This work has evidence of both. Composition, sound editing, and audio production by Pierre Henry. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:59 Philippe Arthuys, “Boîte À Musique (Musical Box)” from 1er Panorama De Musique Concrète (1956 Ducretet Thomson). Composition, sound editing, and audio production by Philippe Arthuys. Work realized in the studios of Radiodiffusion-Télévision Française (RTF). Published with funds supplied by Conseil international de la musique (UNESCO). 2:53 Mireille Kyrou, “Étude I” (1960) from Musique Concrète (1964 Philips). Composition, sound editing, and audio production by Mireille Kyrou. Realized by the "Groupe de recherches musicales du Service de la recherche de la radiodiffusion-télévision française", directed by Pierre Schaeffer. Kyrou is the rare example of a woman composer using the French studio. This is her only work released on record. However, according to Hugh Davies' International Electronic Music Catalog, I find several other compositions dating from this period that, hopefully, will one day be released by the GRM. There were three additional works from 1960-61, all done for film, totaling in time to about 31 minutes. 5:09 Henri Pousseur, “Trois Visages De Liège” (1961) from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). This is a reissued version of Pousseur's work from 1961 and originally released on a Columbia disc in 1967. But this version is several minutes longer than that release. This album also features a bonus track of sound elements used for the work before being fully composed. Composition, tape editing, and audio production by Henri Pousseur. Pousseur was Belgian and worked in the Studio de Musique Electronique de Bruxelles in a musique concrète style. 20:32 Bernard Parmegiani, “Danse” (1961) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Bernard Parmegiani. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. Parmegiani was one of the GRM's most prolific composers, working on individual works but also numerous pieces for stage, dance, and, most importantly film and commercials, producing early music videos, soundtracks, and commercials for companies like Renault. His music was inventive and imaginative, and he became a chief craftsman of electronic music for decades. Until 1992, he produced most of his music at GRM, but was frequently on commission to work at institutions in other countries. In 1992, Parmegiani left the GRM and set up his own studio in Saint-Rémy-de-Provence. 4:08 Luc Ferrari, “Tautologos I” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings realized in the studios of Gravesano (directed by Hermann Scherchen). Reissue of 1964 release. Composition, tape editing, and audio production by Luc Ferrari. 4:19 Philippe Carson, “Turmac” (1961) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by Philippe Carson. 9:43 Luc Ferrari, “Tête Et Queue Du Dragon” (Second Version) (1962) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by Luc Ferrari. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 9:07 François-Bernard Mâche, “Terre De Feu (Second Version)” (1963) from Musique Concrète (1969 Candide). Composition, tape editing, and audio production by François-Bernard Mâche. Compositions realized in the studios of Groupe de Recherches Musicales, O.R.T.F., Paris, France. 6:52 François Bayle, “Vapeur” (1964) from Musique Expérimentale 2 (1972 BAM) Recordings made by Le Groupe de Recherches Musicales du Service de la Recherche de l'O.R.T.F. Reissue of 1964 release. Composition, tape editing, and audio production by François Bayle. 4:44 Bernard Parmegiani, “Récession” (1966) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for theatre. 2:25 Bernard Parmegiani, “La Ville En Haut De La Colline II” (1968) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 1:30 Bernard Parmegiani, “Outremer” (1968) and “Trois Canons En Hommage À Galilée”(1969) from Arlette Sibon-Simonovitch Avec Le Concours De Sylvio Gualda Œuvres De: Parmegiani, Mestres-Quadreny – Espaces Sonores N°1 (1975 La Voix De Son Maître). Ondes Martenot, Arlette Sibon-Simonovitch. Composition, tape editing, and audio production by Bernard Parmegiani. Work for Ondes Martenot and four tracks of magnetic tape. 21:02 Bernard Parmegiani, “Je Tu Elles” (1969) from Bernard Parmegiani – Mémoire Magnétique, Vol 1. (Compilation De Bandes Magnétiques Inédites (1966-1990) (2018 Transversales Disques). Composition, tape editing, and audio production by Bernard Parmegiani. First release of this track, created for film. 2:59 Roger Roger, “Le Type Beurré” from Musique Idiote (1970 Neuilly). Another experiment with the Moog Synthesizer by composer Roger Roger, maker of broadcast library music. 1:38 Roger Roger, “La Nana Siphonée” from Musique Idiote (1970 Neuilly). Enter the Moog Synthesizer. Here are some early works for Moog by composer Roger Roger, maker of broadcast library music. 1:39 Opening background music: Henri Pousseur, “Éléments De Trois Visages De Liège” from Early Experimental Electronic Music 1954-1961 (2018 Fantôme Phonographique). Composition, tape editing, and audio production by Henry Pousseur. 3:10   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Originally Recorded on April 24th, 2022 How did Burritos have an impact on Kristee's recovery journey? Listen and find out... Kristee Ono is a San Francisco Bay Area Comedian and the host of Into the Fold on CrossCurrents. A journey of self discovery through burritos. Click the link to check out the 1st episode! https://www.kalw.org/arts-culture/2022-04-07/into-the-fold-episode-1-the-life-changing-magic-of-eating-burritos Instagram - @rabidpixie Por*Ass Podcast Theme Song by Inappropriate Things Instagram - @Porasspodcast Twitter - @Porasspodcast www.venmo.com - @BMEREcovery Want a personal video message? Get me on Cameo! - https://www.cameo.com/veeporras Subscribe on Spotify for access on exclusive episode content! https://podcasters.spotify.com/pod/show/porasspodcast/subscribe pay pal - https://www.paypal.com/paypalme/VeronicaPorras Leave a Tip Buy Me A Coffee -https://www.buymeacoffee.com/porasspodcast Leave a Tip On my GoodPods page and be added to my GoodPods Private Chat Group - Follow me on the Goodpods podcast app rate and comment on individual episodes chat with me and with other fans! https://goodpods.app.link/UzMxr9Duhkb Riverside Referral Link - Looking for a platform to record, stream, create clips of your content? Use my referral link to sign up when you subscribe to an upgraded account --- Send in a voice message: https://podcasters.spotify.com/pod/show/porasspodcast/message

Earlier this month, KALW's podcast The Spiritual Edge released its latest season. It's called “A Prayer for Salmon." It's about the Winnemem Wintu and their fight to protect their sacred sites and return salmon to waters above the Shasta dam. We're airing episodes on Crosscurrents every Thursday. In episode 4, an elder remembers indigenous life back before the Shasta dam was built. Then, the legality of a proposal to raise the dam's water levels is challenged.

Household debt on the rise. What the auto market is telling us. Persistent grocery inflation. Real estate reality.The Fed and the too hot or too cold debate. Market prediction??!!? Walmart and Home Depot numbers. Biden trip to the Ukraine. It is not legal for the United States to default on our debt.

Title: CrossCurrents: GratitudeText: Philippians 4:4-9Old Town Community Church faithfully serves the community of Alexandria, VA.Visit oldtown.cc/connect for more information and how to get involved with our church.

Resources Mentioned in this Episode: Campbell-Reed, Eileen. “State of Clergywomen in the U.S.: A Statistical Update.” Eileen R. Campbell-Reed. 2018. https://eileencampbellreed.org/state-of-clergy/ Campbell-Reed, Elieen. “No Joke! Resisting the “Culture of Disbelief” That Keeps Clergy Women Pushing Uphill.” CrossCurrents, Issue 1 vol. 69, 2019. https://www.academia.edu/56422748/No_Joke_Resisting_the_Culture_of_Disbelief_That_Keeps_Clergy_Women_Pushing_Uphill

Old Town Community Church faithfully serves the community of Alexandria, VA.Visit oldtown.cc/connect for more information and how to get involved with our church.

On this episode of Crosscurrents, we hear from recent Oakland School for the Arts graduate and Minions superfan Elizabeth Truong. She brings us along with her and her family on their recent trip to watch Minions: The Rise of Gru at the movies as she explores how theaters have changed during the pandemic. Then, San Leandro City Manager Fran Robustelli speaks on a new financial incentive helping the city retain its police force.

We are increasingly confident that the global economy will avoid a recession. This owes largely to improvements in the US where a resilient labor market looks set to combine with falling inflation to boost spending. By contrast, surging inflation in Europe—which surprised to the upside this week—is expected to spark a recession. And in China, headwinds are building and we lower the outlook. Against this backdrop, the Fed and ECB are still focused on getting rates above or at least back to neutral respectively. Speakers: Bruce Kasman Joseph Lupton This communication is provided for information purposes only. Institutional clients please visit www.jpmm.com/research/disclosures for important disclosures. © 2022 JPMorgan Chase & Co. All rights reserved.

In this week's show, Prof. Wolff talks about the effect of Ukraine sanctions on inflation, Musk as economic dictator, Idaho progressives' impressive gains, and offers a practical response to shootings. In the second half of the show, Wolff interviews media host Krystal Ball on US politics.    

John Rubino, Founder of the Dollar Collapse website joins us to discuss inflation and central bank hawkishness now spreading around the world. We all have...

A new sweeping exhibit at the Metropolitan Museum of Art showcases the work of painter Winslow Homer, with a particular focus on his depictions of conflict from the mid 19th to early 20th century. Curators Stephanie Herdrich and Sylvia Yount join us to discuss the exhibit, Winslow Homer: Crosscurrents, which is up at the Met through July 31.

David Riley reflects on the past month's risk markets, the outlook for China and the US Federal Reserve, near-term concerns about the risks to growth, and the shifting narratives on growth and inflation.

The global recovery is experiencing a fading of the supply shocks that damped growth last year but now facing a new resiliency test in the form of Omicron. We expect industry to weather the storm better than services, a view supported so far by the December PMIs, and for the economy as a whole to fare better than prior COVID waves. Central banks are keeping their eyes on normalization, and we now see the Fed hiking in March and beginning balance sheet roll-off in July.   Speakers: Bruce Kasman Joseph Lupton This  was recorded on January 7, 2022. This communication is provided for information purposes only. Institutional clients please visit www.jpmm.com/research/disclosures for important disclosures. © 2021 JPMorgan Chase & Co. All rights reserved.

This episode features a conversation between Damon Francis, MD, Medical Director of the Homeless Health Center in the Alameda Health System as well as Chief Clinical Officer of Health Leads, and Noha Aboelata, MD, Chief Executive Officer and co-founder of the Roots Community Health Center in Oakland, California. This is the last in a series of six Coffee & Science events on topics related to Alignment and Advocacy, which are both about what health care can do at the community level to address social conditions. This conversation takes a deep dive into Clean 360, an innovative social enterprise launched by Roots to provide employment and skill-building opportunities to formerly incarcerated community members in order to improve their health and well-being. In this thought-provoking conversation, Drs. Francis and Aboelata discuss how Roots came to develop a soap and bath products factory; Dr. Aboelata's inspiring vision for how community health centers can help address community needs; and ideas for how other types of health care organizations can use their procurement dollars to help improve economic and health outcomes in their communities.Recommended references: Clean 360 online store Gottlieb L, Razon N, Aboelata N. How do Community Health Centers Pay for Social Care Programs? SIREN. 2019. Roots Community Health Center. Emancipators Initiative (webpage). Drummond T. “Out of prison, soapmaking offers a clean start”. Crosscurrents, KALW 91.7 FM. 2016. Metzl JM, Roberts DE. Structural Competency Meets Structural Racism: Race, Politics, and the Structure of Medical Knowledge. AMA J Ethics. 2014.

This week on The Op-Ed Page with Elisa Camahort Page: Available anywhere you listen to podcasts, so please share, subscribe, rate and review!! 1. My town's racist housing past Opportunity Housing in San Jose FAQs: https://www.sanjoseca.gov/home/showdocument?id=61872 Highest city salaries in San Jose: https://sanjosespotlight.com/who-tops-the-list-of-highest-paid-san-jose-employees/ Redlining on Wikipedia: https://en.wikipedia.org/wiki/Redlining San Jose's racist housing past: https://sanjosespotlight.com/san-jose-council-examines-housing-segregation/ 2. Elisa's Origin Story Part #3: Commodities Robert Glazer's newsletter about a CEO who asked his employees what they wanted/needed/thought!: https://www.robertglazer.com/friday-forward/remote-work-future/ 3. Quick Takes My newsletter on knowing that I'm not for everybody. And everybody isn't for me. Spoiler alert: You're not for everybody either!: https://elisacp.substack.com/p/who-are-you-really-for My interview on KALW's Crosscurrents: https://www.kalw.org/arts-culture/2021-06-03/blogher-co-founder-elisa-camahort-page-on-where-business-politics-and-tech-meet-in-her-career Texas Teen switches out valedictory speech to address Texas's anti-abortion laws: https://www.teenvogue.com/story/texas-valedictorian-graduation-speech-abortion-rights TV mentioned: Mare of East Town: https://www.hbo.com/mare-of-easttown SNL's “Murder Durder” skit: https://www.youtube.com/watch?v=qaKZi6p6sxg Broadchurch (UK version): https://en.wikipedia.org/wiki/Broadchurch Raya and the Last Dragon: https://movies.disney.com/raya-and-the-last-dragon Pose Season 3: https://www.harpersbazaar.com/culture/film-tv/a36304421/how-to-watch-pose-season-3/ Visible: Out on Television: https://www.glaad.org/blog/visible-out-television-docu-series-tracing-history-lgbtq-representation-television-debuts-apple Girls5Eva on Peacock (free version): https://www.peacocktv.com/stream-tv/girls5eva Rutherford Falls, also on Peacock!: https://www.peacocktv.com/stream-tv/rutherford-falls Where to find me: My website: https://elisacp.com Sign up for my new newsletter, This Week-ish with Elisa Camahort Page: https://elisacp.substack.com New Calendly: schedule a session with me!: https://calendly.com/elisacp Thanks to Ryan Cristopher for my podcast music: https://music.apple.com/us/artist/ryan-cristopher/1479898729 Road Map for Revolutionaries by me, Carolyn Gerin and Jamia Wilson: https://roadmapforrevolutionaries.com Social media handles: Twitter: @ElisaC @OpEdPagePodcast Insta: @ElisaCP TikTok: @ElisaCP Please share, subscribe, rate and review!