Podcasts about disney hall

What if your voice held more power than you realized? Not just in how you speak or sing, but what you manifest in your life?In this episode, I'm joined by professional singer and teacher Kristin Toedtman for a soulful conversation about expression, alignment, and the long game of following what lights you up.If you've been putting pressure on your dreams to pay the bills right away, or feeling like you need to rush your creative journey...this episode is for you!IN THIS EPISODE YOU'LL HEAR ABOUT:The ancient, communal roots of singing and how reclaiming your voice can be a radical act of healing and joy.A fresh perspective on balancing your dreams with your day job—without losing momentum.Living in integrity to your values and saying yes to what truly lights you up. How the way you speak - and sing - could shape your reality more than you realize!One simple vocal exercise to reconnect with your body, breath, and inner power.MORE ABOUT KRISTEN TOEDTMAN:Kristen Toedtman is a professional singer, songwriter, and choir director with over 20 years of experience performing, recording, and teaching. She's sung at Carnegie Hall, Disney Hall, the Hollywood Bowl, and on soundtracks like Wicked, Frozen, and Star Wars: Rise of Skywalker. Her original songs blend healing and heart, and she's performed nationwide both solo and with bands. Kristen has directed choirs in diverse settings—from city halls to shelters—and is currently working on a new record of healing songs, set to release in 2026. Her music is available on all streaming platforms.STAY CONNECTED WITH KRISTEN:INSTAGRAM: @kteddlesWEBSITE: kristentoedtman.comMORE ABOUT GINA CASBARRO:Gina Casbarro is a certified Life Designer®  coach and feng shui expert who empowers her clients to blaze their own path and design the life and space of their dreams. Gina's passion for coaching began as a manager at lululemon where she spent more than eight years coaching hundreds of people to develop as leaders and crush their goals. Her love of nature, symbolism, and intuition led her to feng shui. She now weaves these passions together to support her clients in aligning their mindset, their lifestyle, and their environment with their truest goals and values.LOOKING FOR 1:1 SUPPORT?Book a free Clarity Call here to see how coaching can support you: https://ginacasbarro.com/claritycallSTAY CONNECTED WITH GINA:Website: https://ginacasbarro.comInstagram: @gina_casbarroTOOLS TO HELP YOU FOLLOW YOUR SPARK:Download Gina's Top 15 Transformational Tools and join the email list here: https://www.ginacasbarro.com/transformational-toolsMusic: https://www.purple-plan

Chatting With Sherri welcomes back award winning composer; David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer's Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group's 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio series, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David  produced and composed for Space Command, a series of epic adventures set in a hopeful future, and producing Augmented Reality experiences. And his latest project is the soundtrack album to Space Command, recorded with symphony orchestra, choir, and cool electronics - available everywhere!  

In the second episode of the 2024 Season of Young Artists Spotlight, Dr. Thomas Loewenheim leads the FOOSA Philharmonic in Dmitri Shostakovich's cinematic Symphony No.11 at Disney Hall in Los Angeles.

Putting on a new record can feel like an instant sonic vacation for your mind - or maybe it's the best type of time travel? This week we take a trip to the teaming clubs of Bogotá and Cali Colombia (or shall we say, Colombia came to a movie studio conference room here in LA) to talk to multi-lingual lead singer Catalina García who for the last fourteen years has led adored jazzy roots-pop icons Monsieur Periné along with master instrumentalist Santiago Prieto.  It's heady times for the band: their newest LP Bolero Apocalíptico was just crowned best alternative music album at the Latin Grammys and I was able to catch up with Catalina the night before her performance at Disney Hall with the LA Philharmonic and Gustavo Dudamel. While her infectious laugh and the band's often nostalgic and cheerful sounds may lean one way - listen closer and the new LP dives into some serious subjects that hit close to home for Catalina - like the desperation of climate change, government sponsored violence and poverty.  Harnessing her love of cumbia, swing, bossa nova, and folk styles from across Latin American, Catalina  sings in Spanish, French, Portuguese and English depending on the mood and with her work in Monsieur Periné, she's been able to collaborate with some of the brightest lights in Latin music such as Ana Tijoux, Vanesa Martin, Vicente Garcia and more. Take a listen to “Cumbia Valiante” featuring Tijoux which touches on the massive protests against corruption that she and her family have participated in in her native Colombia.  While the world was shut down over the pandemic - an unexpected surprise happened for the band. An older jazzy song of theirs "Nuestra Canción” (a fan favorite) from their 2015 record Caja De Música somehow became a Tik-Tok sensation, rising to the top of the music chart and was then streamed over 150 million times. If you're in a bad mood? Put that one on ASAP.  Indeed, the group rarely comes to California - but when asked about her favorite all time show - Garcia mentions playing at sunset at the Santa Monica pier many years before. Truly the amount of travel she and her bandmates have undertaken across three continents is staggering - and there are many more stories to come. 

Following Lillian Disney's $50 million gift to construct a new concert hall in Los Angeles, a competition is set up to find its architect. The process will pit world renowned architects against outsider, Frank Gehry. But through a vision to create a "living room for the city," Gehry will rise above the rest, defying the odds and getting the commission of a lifetime. For more from the world of architecture visit archbydesign.com.

There are architects and then there are starchitects–the rock stars of the architecture world. They are architects whose ambitious vision and unyeilding determination drove them to rise above the rest to become that of legend. They're innovative, inspiring, brash and sometimes notorious. While their designs and personalities are some times controversial, you can't deny their impact in redefining architecture. From All Things Architecture, join Steve Park for a podcast series that explores the personal struggles and the triumphant of the world's most incredible architects. The special four-part series begins October 23, 2023 exploring the incredible story of Frank Gehry's struggle to get the Walt Disney Concert Hall built.

We are delighted to kick off our new season of LLChat with our series, French Musicians, Composers, and Discoveries. Our guest, Renée Anne Louprette, is an internationally renowned organist associated with distinguished music programs in New York City, the Arts at Trinity Wall Street, the Church of St. Ignatius Loyola. She is Assistant Professor of Music at Bard College. She has directed the organ program at Rutgers University, served as a faculty member at the Manhattan School of Music, and is director of the National Competition in Organ Improvisation for the American Guild Organists. Louprette has performed with the Mostly Mozart Festival Orchestra, Voices of Ascension, Clarion Music Society, American Symphony Orchestra, Los Angeles Dance Project, Disney Hall in Los Angeles, and the Oratorio Society of New York. She was awarded a Premier Prix - mention très bien from the Conservatoire National de Région de Toulouse, France and a Diplôme Supérieur in organ performance from the Centre d'Etudes Supérieures de Musique et Danse de Toulouse. We are grateful to our magnificent team of hosts, Dr. Peter Schulman and Alexis Osipovs.

In which we talk about a man who visited Disneyland for almost 3,000 consecutive days as well as The Biden's ordering the same meal at a restaurant.

LA Phil Principal Pianist/Keyboardist talks about her unique experience of recording the piano solos for Steven Spielberg's The Fabelmans, including the original score by John Williams Hosted by Maurizio Caschetto John Williams has written solo parts spotlighting specific instrumentalists both in his film scores and works for the concert hall. While it's not rare to see such superstar musicians as Itzhak Perlman, Yo-Yo Ma or Anne-Sophie Mutter as the featured soloist and the dedicatee of a piece, Williams has often used the talents of some of the best musicians of the Los Angeles area, including distinguished members of the Los Angeles Philharmonic. It's the case of Joanne Pearce Martin, the Principal Keyboardist and Pianist of the LA Phil, who recently had the honour to be the featured piano soloist on the soundtrack for Steven Spielberg's acclaimed The Fabelmans, performing both the piano solos from the classical repertoire as heard in the film and John Williams' Academy Award-nominated original score. In this conversation, Joanne talks about her experience of playing for John Williams and Steven Spielberg on The Fabelmans, sharing stories and insights about her unique collaboration with both the director and the composer during the creation of the film's soundtrack. She also talks about her experience playing under John Williams at the Hollywood Bowl and at the Disney Hall with the LA Phil many times over the years and also as rehearsal pianist, giving her own perspective on the Maestro's musicianship as a composer and conductor. Learn more at https://thelegacyofjohnwilliams.com/2023/02/24/legacy-conversations-joanne-pearce-martin/(opens in a new tab)

CHRISTINE EBERSOLE, is currently celebrating her new album After the Ball from Club44 Records, has captivated audiences throughout her performing career. Recognized with a string of honors that includes two Tony Awards, she has appeared in twenty Broadway and Off-Broadway productions, as well as gracing television series and specials, films, concerts, recordings and opera. It was for her “dual role of a lifetime” as Edith Beale and Little Edie Beale in Grey Gardens that Ebersole won her second Tony Award for Best Leading Actress in a Musical, as well as virtually every available Off-Broadway honor. Other memorable New York roles include her Tony-winning turn as Dorothy Brock in the hit revival of 42nd Street, her Tony-nominated portrayal of Elizabeth Arden opposite Patti LuPone in War Paint, her Tony- and Outer Critics Circle-nominated appearance in Dinner at Eight, her Obie-winning and Drama Desk-nominated appearance in Alan Bennett's Talking Heads, her performance as Guinevere alongside Richard Harris and Richard Burton in Camelot, and her leading roles in Oklahoma!,On the Twentieth Century, Steel Magnolias, The Best Man, and the revival of Noël Coward's Blithe Spirit. In 2018 she made her operatic debut under James Conlon's leadership as the Old Lady in Francesca Zambello's production of Candide at LA Opera. Recently starring as Lucille Dolittle, a role based on Lucille Ball, in Paul Thomas Anderson's Oscar-nominated Licorice Pizza, Ebersole has appeared in numerous feature films. Previous film credits include The Wolf of Wall Street, Amadeus, Black Sheep, Dead Again, Folks!, Ghost Dad, My Girl 2, Richie Rich, Tootsie, True Crime, and The Big Wedding, which features her account of her original song “Gently Down the Stream.” Since launching her TV career alongside Eddie Murphy as a regular cast member of “Saturday Night Live,” Ebersole has also accrued a long list of television credits. Currently starring in Chuck Lorre's hit CBS sitcom “Bob Hearts Abishola,” she recently portrayed Estelle Schneider in the award-winning Netflix series “The Kominsky Method,” and has appeared on “American Horror Story,” “Blue Bloods,” “Madam Secretary,” “Murphy Brown,” “Pose,” “Search Party,” “The Colbert Report,” “Unbreakable Kimmy Schmidt,” “Will & Grace” and Gypsy, in which she played Tessie Tura to Bette Midler's Mama Rose. Ebersole has performed at some of the nation's foremost concert halls, including New York's Carnegie Hall, L.A.'s Disney Hall, Boston's Symphony Hall and the Kennedy Center in Washington, DC. Her concert highlights include appearances in San Francisco Symphony's tribute to Leonard Bernstein, concert versions of The Grapes of Wrath at Carnegie Hall and of A Little Night Music with the Boston Pops, and Gershwin at 100: A Celebration at Carnegie Hall and The Rodgers & Hart Story: Thou Swell, Thou Witty, both of which were filmed for broadcast on PBS TV. A celebrated recording artist, her discography includes Christine Ebersole: Live at the Cinegrill, In Your Dreams, Sunday in New York, Christine Ebersole Sings Noël Coward, and Strings Attached. www.christineebersole.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chatting With Sherri welcomes back award winning composer; David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer's Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group's 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio series, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David  produced and composed for Space Command, a series of epic adventures set in a hopeful future, and producing Augmented Reality experiences. And his latest project is the soundtrack album to Space Command, recorded with symphony orchestra, choir, and cool electronics - available everywhere! David will be composing the music for our newest Sherri's Playhouse radio play Cyrano, coming in November!

Chatting With Sherri welcomes back award winning composer back David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer's Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group's 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio series, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David  produced and composed for Space Command, a series of epic adventures set in a hopeful future, and producing Augmented Reality experiences. And his latest project is the soundtrack album to Space Command, recorded with symphony orchestra, choir, and cool electronics - available everywhere! David will be composing the music for our newest Sherri's Playhouse radio play Cyrano, coming in November!

We've had our eye on this one from its premiere at Sundance (!). Now, Adamma Ebo's mockumentary, starring Sterling K. Brown and Regina Hall, has hit theaters and Peacock, with a period in its title and a lot more than pearl Prada on its mind.Later, we'll nominate mockumentaries to the Hall of Excellence.What's GoodAlonso - Gratitude for the people in his life that let him rest and recuperate Drea - Justice for Selena Gomez's deadpan on OMITBAngelique - Fall Festival SeasonIfy - A/C scienceITIDICThat Famous Nicole Kidman AMC Ad is Getting a SequelLast Saturday was “National Cinema Day” in the USChris “Ludacris” Bridges and Lil Rel Howery Are Making a Christmas Movie for Disney+Hall of Excellence Nominees - Vote on FacebookWaiting for Guffman (1996)Popstar: Never Stop Never Stopping (2016)Drop Dead Gorgeous (1999)The Other Side of the Wind (2018, technically)Staff PicksSupport the Girls (2018)A Face in the Crowd (1957)The Best Man (1999)The House (2022)Other Honk for Jesus linksEbo's short film versionAngelique's interview with the castEveryPlateGet your first box for just $1.49 per meal by going to EveryPlate.com and entering code maxfilm149. With:Ify NwadiweDrea ClarkAlonso DuraldeAngelique JacksonProduced by Marissa FlaxbartSr. Producer Laura Swisher

The Wire places Sara Schoenbeck in the "tiny club of bassoon pioneers" at work in contemporary music today, while the New York Times has called her performances "galvanizing" and "riveting.” She has performed with or been a member of Anthony Braxton's 12+1(tet) and Tri-Centric Orchestra, Wayne Horvitz's Gravitas Quartet, Harris Eisenstadt's Golden State, Wavefield Ensemble, SEM Ensemble, Wet Ink, Marty Ehrlich's Duende Winds, Nels Cline's Lovers, Adam Rudolph's Organic Orchestra, and the Michael Leonhart Orchestra. She has worked with many of creative music's luminaries including Roscoe Mitchell, Henry Threadgill, Butch Morris, Yusef Lateef, Wadada Leo Smith, George Lewis, and Pamela Z. She can be heard on music and film recordings including Matrix 2 and 3, Spanglish and Dahmer. She has performed at major venues throughout North America and Europe. A partial list includes Carnegie Hall, Lincoln Center Out of Doors, the Kitchen, Iridium, Disney Hall, Redcat, the Kennedy Center, the Free Music Festival in Antwerp Belgium, Biennale Musica in Venice Italy, the American Festival of Improvised Music, MicroFest, SXSW, New Orleans, Newport, Berlin, Victoriaville and Ottawa Jazz Festivals; the Vancouver International Jazz Festival, Angel City Jazz Festival in Los Angeles; San Francisco, Saalfelden and Tempere Jazz festivals. Sara received her BFA from the San Francisco Conservatory of Music and MFA from the California Institute of the Arts. Sara has been adjunct faculty at California Institute of the Arts, Citrus College, and Pasadena Conservatory and has given master classes at Amherst College, Hampshire College, Cornish College, University of Denver, and Western Washington University. She is currently on faculty at Brooklyn Conservatory of Music and Packer Collegiate Institute. In this episode, I speak to Sara about her musical journey, how her career developed and took off, and the inspiration behind her recent self-titled album release, she gives me some practical tips on how to become a better improviser and how to approach free improvisation, tips on creativity, her main musical influences, the challenges of working as a female musician, tips for young musicians and she fills me in on the jazz/music scene in New York, and which jazz clubs I should visit in New York. Listen to her album here: https://open.spotify.com/album/6SMnwqkm8odd2KXNaUqku9?si=3JzotXziSY6u_InOokxYfA Find out more about Sara: https://www.saraschoenbeck.com LOR podcast is being sponsored by Baron Cane, use the coupon code "legendsofreed", to enjoy free shipping on Barton Cane. https://www.bartoncane.com/

Gloria Allred discusses the SCOTUS leak, her representation of the original Roe plaintiff and the future of choice. Tennessee State Representative Mark Hall discusses requiring drunk drivers to pay support towards victims' children. Florida Senator Tina Polsky weighs in on the state’s attempt to strip Disney of its self-government status. Leonard Firm divorce attorney Katie […]

✨This is about the healing and humanizing powers of classical music. I spoke with Dustin Seo, a classically trained cellist and Artistic Director of Street Symphony, a Los Angeles based non-profit that brings classical music to homeless communities to build connection and human dignity.  ❤️‍ Street Symphony was founded in 2011 by Vijay Gupta, A highly accomplished and renowned violinist with The Los Angeles Philharmonic. Gupta believed the act of making and performing music was a deeply spiritual practice - one that had the power to heal audiences and musicians alike. In 2007, Gupta was one of the youngest violinists to join the Los Angeles Philharmonic, but his path in music took an unexpected turn when he met Nathaniel Ayers — a Juilliard School-trained double bassist whose crippling schizophrenia ended his professional career and left him homeless. Gupta said the following about Ayers: “[Nathaniel] had a more encyclopedic knowledge of music than my professors at Yale. This was his oxygen, this was his survival. A lot of people on Skid Row turned to self-medicating with drugs, but Nathaniel turned to music.” After building a relationship and musical exchange with Ayers, Gupta wanted to do more and bring classical music down from the elite stage of the Disney Hall, to Skid Row, one of the largest and most disenfranchised homeless communities in America. So he founded Street Symphony, to bridge this gap.  ✨ Dustin spoke to me about the work of Street Symphony, and he also happened to played cello for me, which was a treat! He has a totally different perspective on the power and mission of classical music outside the concert halls and his stories of healing and solace from the hard hit Skid Row community were absolutely heart-rending.  We talked about :Music as an equalizing space for human connection, a purveyor of dignity and strength. What music can do when it seems that nothing can help.The role of music in bridging the gap between homeless communities and the rest of the worldThe contrast between the gilded image of classical music and its potential as a measure for social justice.   

The Florida Senate has voted to rescind Disney World's special district status. The House is expected to follow suit. What does this monumental political maneuver mean for central Florida? It's episode #234 of The ANEZ SEZ podcast...

Trevor Lawrence Jr. was born to Lynda Laurence (formerly of the Supremes) and Trevor Lawrence (Writer/Producer/ Saxophonist). Both of Trevor's parents were original members of Stevie Wonder's Wonderland band which brought you: Songs in The Key Of Life, Inner Visions and other Classic American Music History. After Stevie Wonder, Lynda Laurence went on to become a Supreme on Motown. She joined the group when Diana Ross left and Jean Terrell took the lead spot. (Floy Joy)   Trevor comes from a musical family. Trevor's grandfather Ira Tucker is credited as one of the forefathers of gospel music and has won a Grammy (1974) with the group, which he was with for over 60 years, The Dixie Hummingbirds. Trevor's aunt Sundray Tucker aka “aunt Sandra” also sang with Stevie Wonder and countless others including Patti LaBelle.   “TrevBeats” (a name given to Trevor when he shot the pilot to his cooking & music show Beats & Eats w/ Cedric the Entertainer) began playing the drums at age 2. “I couldn't sit and play so I had to stand up for the first couple of years,” says Trev.” Music is all I know, and a little about cooking.”   By the age of 18 and a senior Trevor graduated from Hamilton with two scholarships one from Capitol Records (the Nat King Cole Scholarship) and the other the Lieber and Stoller Award from ASCAP. Trevor attended USC for 2 and half years and then transferred to Cal Arts and then transferred to the real world.   “The most important thing that happened to me in my first year of college was that producer Greg Porree' (father of Justin poree' of Ozomatli, Trevor used to give Justin Drum lessons) called me for my first real record date with an artist named Vinx on Sting's Pangea record label. I played on two or three songs and that really changed my life. I decided that I really wanted to get into the art of recording. I started collecting snares and before I really had a set of decent recording drums Harvey Mason used to let me use his drumset to record, which was awesome.”   Trevor went on to record with artists like “Macy Gray, Boys II Men, Dr. Dre, Peter Himmelman and a host of others before getting a very interesting call. “One Day I was at my Dad's studio working with him on a movie(To Sir With Love II with Sidney Portier) and I got a call from at the time A&R at A&m records Junior Regisford I picked up the phone and he said “Hi Trev hold on someone wants to speak to you” he clicked over and on three-way he had Terri Lewis from Jimmy Jam and Terri Lewis. I nearly fell over. I had played on a record for Jimmy and Terri and they liked it and had a new group coming out named SOLO that was going on tour so in 24 hours I left warm Los Angeles in February and flew to Freezing Minneapolis where I rehearsed and learned about being on the road for the first time. We opened for Michael Bolton in Europe for a month and then we hit America with R. Kelly, LL Cool J and Xscape. It was an introduction to Sheds(large concert venues) crowds, tour busses, and everything I ever dreamed Touring would be.   I worked and worked and tried to build up my body of work and my name and here I am today still learning a lot. In 2004 I went on tour to Europe with Macy Gray, played on Stevie Wonders A Time To Love Album, played on Ashanti's 3rd album (I also played on her first album) and went To Africa back to back with Stevie wonder and Stanley Clarke a week apart. It's weird how life is. I have pictures of Stevie holding me as a Baby and I worked with him 30 years later than my parents did.   In 2001 I met super producer 7 Aurelius who is responsible for a great number of hits with artists like Ashanti, JaRule, Eve, and Jennifer Lopez. I worked with 7 for several years and we did Lionel Richie's album Just For You(2004) together and I co- wrote 4 songs on that one. And 7 is also the reason I met and co-wrote a song on Mariah Carey's album Charmbracelet. “We had a Sound” together and also we have a great chemistry in the studio.   After touring the world with Stevie wonder and doing the Live 8 concert for over a Million people in Philadelphia, I continued doing studio work with Scott Storch, Mike Elizondo and many others in Los Angeles. I got a call from a friend of mine, Terrace Martin who put me in touch with Snoop's camp. I toured the world with Snoop and now my drum kits from those tours are on display at Hard Rock in Las Vegas and India.   In 2008, after Snoop I began doing more session with Dr. Dre. I started with him on and off in '94 and did SNL with him in '96 and '98. Those sessions ended up with me joining the Aftermath Family and Production Team. I went on to have over 30 releases with Dre and we are still working strong today with some great things in store. Along the way I have been fortunate to work with Hans Zimmer on “Man of Steel” as well as many other Producers on records and Movies like “American Hustle” and even the most recent “Halo 5” video game.   I ended up getting involved in the Music Software business with a great company called MVP Loops. We successfully launched several software titles and have many more to come. Now in 2016 I have become co-owner of the Parent Company VIP Loops. The journey has been long and it still feels like it has just begun. I thank all of the companies that support me.”   Some Things That Came Up:   -Filming “Crossroads” in Nashville   -The Super Bowl Rehearsals   -Playing with Dr. Dre, 50 Cent, Snoop Dogg   -Picking the kit for the Super Bowl   -Rehearsing at The Hangar in Santa Monica with full production and SoFi   -“Bel-Air” tv show watch party   -Playing/songwriting with Marian Carey, Eminem, Lizzo, Ed Sheeran, Bruno Mars, Alicia Keys, Pati Austin, Quincy Jones, Natasha Bedingfield, Everest, Ashanti, Lionel Richie and many others.   -Relationships in action. The live room to the control room. Show your worth.   -Jazz Roots and having a super musical family   -Producing Snoop's Record, Super Bowl, LeAnn Rimes, Herbie Hancock at Disney Hall all in ONE week.   -Working with Herbie Hancock on and off for 12 years   -Put out the right energy for great things to happen   -Travel changes you as a human. Making memories.   -NFTs. Gorden Campbell. Taku Hirano. NAMM   -Book: “Musicians Guide to Endorsements Vol 1 and 2” on Amazon.   -Collecting Sneakers and Firearms   -Gun Safety and Compliance   -The Clap Stack and Copyright Law   -Kanye's Streaming Device and Netflix Special   -Snoop's likable brand   -7 Income sources   -Hamilton High School in Culver City   -Hans Zimmer “Superman” Sessions   -“Hidden In Plain Sight” Solo Record inspired by Civil Rights Leader John Lewis   -RQOTD   -Las Amigos Restaurant in Gallatin, TN   -Meeting each other at The Grammy Awards 2012   Follow:   www.trevorlawrencejr.com   Instagram: @trevorlawrencejr   Twitter: @trevbeats Trevor Lawrence Jr.   The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your Kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich's exact gear at www.lessonsquad.com/rich-redmond   Follow Rich:   @richredmond   www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy   www.jimmccarthyvoiceovers.com

Chatting With Sherri welcomes back award winning composer back David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer's Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group's 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio series, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars, and he serves on the Board of the National Association of Composers. David is currently producing and composing for Space Command, a series of epic adventures set in a hopeful future, and producing Augmented Reality experiences. And his latest project is the soundtrack album to Space Command, recorded with symphony orchestra, choir, and cool electronics - available everywhere SOON!

WWE has signed a streaming deal with Disney, marking the first agreement of this kind between the two sides. A WWE Hall Of Famer and some other former WWE stars are rumoured for tomorrow's WWE Royal Rumble 2022. Plus win tickets to CATCH-PRO Wrestling's "Monday Night CATCH-PRO" event at The Bread Shed In Manchester next Monday night. Tom Campbell takes a look at all the latest wrestling news from WWE, AEW, IMPACT Wrestling, New Japan and around the wrestling world. Get the most up-do-date wrestling news from Cultaholic.com or our social platforms.Watch us: Youtube.com/Cultaholic | Twitch.tv/CultaholicSupport us: Patreon.com/Cultaholic | CultaholicShop.comFollow us: Twitter.com/Cultaholic | Facebook.com/Cultaholic | Instagram.com/CultaholicWrestling See acast.com/privacy for privacy and opt-out information.

We've been building up to it for months and have finally made it to one of our favorite shows we do each year. That's right! It's time for our 3rd Annual Hyperion Adventures Disney Hall of Fame Induction Ceremony. This is always a lot of fun and the best thing about it is that the new inductees were all chosen by you! Find out which Disney Films, Characters, Songs, and Attractions you voted in to this year's class. As always, thank you so much for your input! Once we wrap up our 3rd Annual Hyperion Adventures Disney Hall of Fame Induction Ceremony, it's time for the Disney Stories of the Week. This episode, those include new details about this year's ultimate Disney fan event, including the price of tickets. We also share what bands will be rocking the stage at Epcot this Spring. As always, we wrap it all up with tips that might help you on your next vacation. Thanks for listening and voting! Cheers!

Andrew Lippa Award-winning composer of The Addams Family, Big Fish, The Wild Party, and many other musicals joins me for the podcast. In addition to his incredible talent and many accomplishments, he was also the Oberon to my Titania, the Brack Weaver to my Jennie Parsons, and the Ralph Rackstraw to my Josephine. My high school leading man joins me to talk about arts education, creativity, and the work of the arts. Here's more about Andrew. And really, go listen to the episode. It's incredible! About Andrew Andrew Lippa's “Unbreakable” had its world premiere with The San Francisco Gay Men's Chorus on June 22nd and 23rd, 2018 with 300 artists onstage, including Mr. Lippa. It is now available for purchase and streaming. He conducted the Royal Philharmonic Orchestra in a new production of his “A Little Princess” in concert in London at the Royal Festival Hall in May, 2018 to a sold-out crowd of nearly 3,000 people. His hit song “Evil Like Me” appears in Disney's “Descendants”. Written for Kristin Chenoweth, that soundtrack hit #1 on the “Billboard 200” album chart, #1 on the iTunes and Billboard soundtrack charts. “Evil Like Me” was certified gold in 2017. His epic oratorio for men's chorus, orchestra and soloists, I Am Harvey Milk has seen over 30 productions including Disney Hall and Lincoln Center.  Andrew's new musical, The Man in the Ceiling, released a world premiere studio album in May of 2019.   Broadway credits include: Music and lyrics for Big Fish directed and choreographed by Susan Stroman; the Tony-nominated music and lyrics for the Broadway musical The Addams Family (directed by Jerry Zaks) as well as the music for Aaron Sorkin's Broadway play The Farnsworth Invention (directed by Des McAnuff). Other musicals include the Drama Desk award winning musical The Wild Party (book/music/lyrics); A Little Princess (music); john & jen (music/book); Asphalt Beach (music and lyrics); Life of the Party (a compendium of Mr. Lippa's works); and You're A Good Man, Charlie Brown (additional music/lyrics and arrangements).  Awards include Tony and Grammy nominations; shared Emmy for Nickelodeon's “The Wonder Pets”; SFGMC Vanguard Award; The Drama Desk Award; The Outer Critics Circle Award. A graduate of the University of Michigan, Mr. Lippa serves as president of the board of The Dramatists Guild Foundation (dgf.org).andrewlippa.com 

She knew and her parents knew that this is who she was, music was her thing and they were going to help her stay focused which has been a huge blessing in her life. After being diagnosed with ADHD she was angry and her grandmother got behind her, got her the electric guitar she had always wanted and encouraged her that no one can ever define who you are except yourself. In this episode we discuss co-writing, all areas of music and development and whether we really can change who we are, or not? As a coach and songwriter to the core, Francesca and Rae Leigh discuss her life long journey and how she is working tirelessly to support others in the industry. With a background and formal education in opera and "the classics", Francesca is equally comfortable on stage at The House of Blues as she is at Disney Hall. Teaching, coaching writing and using takelessons.com to work with people from all over the world she is making waves in the world of music that most of us would never know. Working with a choir that started to support people homeless and living on the streets Francesca work with them weekly bringing hope love and community to a space where it can be rare. The Choir just this year auditioned on America's Got Talent and Terry Alan Crews the host of the show was so moved by their performance and original song that Francesca helped them with that he hit the Golden Buzzer. A moving moment to see that there really is power in numbers. See the Americas Got Talent full audition here: https://www.youtube.com/watch?v=-tAyPwL-JCI Connect with Francesca: Get a lesson through Take Lessons Website Facebook Spotify YouTube Twitter Support the podcast and buy the team a coffee HERE

The Hollywood Bowl is reopening this summer. Gustavo Dudamel will conduct many of the classical concerts. Artists like Christina Aguilera, Flying Lotus, and Kool and the Gang will also perform. There’ll be five free concerts for frontline workers. KCRW’s World Festival returns too. Shows in May and June will be socially distanced, then in July, capacity will likely expand to 67% of the venue’s 17,500 seats, says LA Phil CEO Chad Smith. People must wear masks when entering and exiting. Those who haven’t been fully vaccinated — but can show a negative COVID-19 test — will be seated in special sections.

Chatting With Sherri welcomes back award winning composer, producer, educator, and host; David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer’s Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group’s 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio program, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David is currently producing and composing for Space Command, a series of epic adventures set in a hopeful future, and producing Virtual Reality experiences. And his latest hosting duties is his new show; "SOUNDS FANTASTIC" on scifi.radio, coming soon!   

Eli Broad, the billionaire philanthropist, contemporary art collector and entrepreneur who co-founded homebuilding pioneer Kaufman and Broad Inc. and launched financial services giant SunAmerica Inc., died Friday in Los Angeles. He was 87. It was Broad who provided much of the money and willpower used to reshape Los Angeles’ once moribund downtown into a burgeoning area of expensive lofts, fancy dining establishments and civic structures like the landmark Walt Disney Concert Hall. He opened his own eponymous contemporary art museum and art lending library, the Broad, in 2015 in the city’s downtown next to Disney Hall. “Eli Broad, simply put, was L.A.’s most influential private citizen of his generation,” Los Angeles Mayor Eric Garcetti said on Twitter. “He loved this city as deeply as anyone I have ever known.” As a young accountant in the 1950s, Broad saw opportunity in the booming real estate market. He quit his job and partnered with developer Donald Kaufman and began building starter homes for first-time buyers eager to claim their slice of the American Dream. The company eventually became KB Home, one of the most successful home developers in the nation. Nearly 30 years later, Broad spotted opportunity once more and transformed the company’s insurance arm into a retirement savings conglomerate that catered to the financial needs of aging baby boomers. In the process, Broad became one of the nation’s wealthiest men, with a financial net worth estimated by Forbes magazine Friday at $6.9 billion. He also gained a reputation for being a driven, tenacious dealmaker. Today on AirTalk, we remember Broad. Do you have thoughts or memories to share? Leave them in the comments below or call 866-893-5722.  With files from the Associated Press GUESTS: Zev Yaroslavsky, director of Los Angeles Initiative at the UCLA Luskin School of Public Affairs; former L.A. County supervisor and city councilmember; he tweets @ZevYaroslavsky Fernando Guerra, professor of political science and Chicana/o Latina/o studies and director of the Center for the Study of Los Angeles at Loyola Marymount University; emeritus member of the KPCC Board of Trustees Adolfo Guzman-Lopez, reporter at KPCC; he tweets @AGuzmanLopez

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

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

After weeks and months of collecting your nominations, the voting is complete and the time has come to announce the results. Yep! It's our 2nd Annual Hyperion Adventures Disney Hall Of Fame Induction Ceremony. This has been an amazing process and we're very excited to share the list of our new inductees that have been selected by you! We couldn't do this without you. Thank you so much for your input on this and so many other shows. Once we wrap up our 2nd Annual Hyperion Adventures Disney Hall Of Fame Inductions Ceremony, it's time for the Disney Stories of the Week. This episode, those include a fantastic Walt Disney World ticket offer for those residing in the Sunshine State. Michelle also passes along some important information for those who have a Disney Cruise sailing in their future. As always, we wrap it all up with tips that might help you on your next vacation. Thanks for listening! Cheers!

Listen to the incredible journey and wisdom of Randi Driscoll, an award winning singer/songwriter and actress.  Randi’s original song “What Matters” has been featured in several stage productions, films and documentaries, and proceeds from the song support the Matthew Shepard Foundation, an anti-hate charity. The choral version of Randi’s song has been performed by over fifty choirs internationally, and has been featured at New York’s Carnegie Hall and the Disney Hall in California. A film about the making of Randi's song "What Matters" has earned several awards and the song itself was named one of the top Pride Anthems, by the Advocate Magazine. Most recently Randi’s original song “No Song” won best Adult Contemporary in the Song of the Year contest. Randi's original music is a blend of piano driven singer/songwriter music with elements of pop, country and jazz. Her music has been featured in film, television, and a commercial directed by Spike Lee, in which Randi also appeared. Her performance credits include appearances at Lincoln Center, Place des Arts (Montreal), The Japan Center for the Arts, The Ford Theatre and numerous universities, performance halls, nightclubs and cabarets. Randi studied theatre and music at the University of San Diego, and her theatrical credits include most recently appearing alongside Bradley Whitford and Mary McDonnell in the Broad Stage's "Laramie Project; Epilogue" (Romaine Patterson). Randi has appeared in several San Diego film and stage productions, and has worked as a teaching artist and director for San Diego Junior Theatre, CYT,  The Musician's Institute (Los Angeles), The Performer's Academy (OC) and Wingspan Arts, (NYC). Randi has shared the stage with a wide range of artists, including Pat Benatar, Dar Williams, Bruce Hornsby, Bonnie Raitt, Anthony Rapp (Rent), Max Von Essen (An American in Paris), Jason Mraz, and Dave Koz. Randi has released seven solo studio albums and has participated in or performed on, over fifty more, for various artists and bands, including musician and MLB coach,  Tim Flannery, Gospel artist, Shyla Nibbe, Journalist and performer, Jamie Reno,  and several recordings with prominent choirs. Randi’s first solo release, "Climb" on East River Records, was recorded at Studio West and produced by Jon Mathias. Since that time, Randi's cds have been released independently, on her own label, Dramatique Records.  Randi’s most recent release, "Glass Slipper” is a collection of original songs, produced by Noah Heldman and Grammy winner Larry Mitchell. The CD features a duet with People Magazine's up and coming country artist, Aaron Parker, and a wide range of musical guests, including Grammy award winning cellist, Dave Eggar. In July of 2018, Randi, her husband Andrew, and their daughter, Skyler Faith, relocated to Nashville TN. Randi continues to tour year round, and is currently finishing her forthcoming CD, produced by Dean Miller, and featuring some of Nashville’s finest musicians. Her new songs have awarded her several notable mentions; including; Winner, of "The Top Writer” series, Nashville TN, (2019) Best Love Song, Betty Lou’s Songwriter night ( Happy Hour in Heaven) Nashville, TN, 2018 and a weekly finalist for Nashville’s Rising Star competition, 2017. Connect with Randi:   www.randidriscoll.com instagram.com/randidriscoll

Andrew Lippa Award-winning composer of The Addams Family, Big Fish, The Wild Party, and many other musicals joins me for the podcast. In addition to his incredible talent and many accomplishments, he was also the Oberon to my Titania, the Brack Weaver to my Jennie Parsons, and the Ralph Rackstraw to my Josephine. My high school leading man joins me to talk about arts education, creativity, and the work of the arts. Here's more about Andrew. And really, go listen to the episode. It's incredible! About Andrew Andrew Lippa's “Unbreakable” had its world premiere with The San Francisco Gay Men's Chorus on June 22nd and 23rd, 2018 with 300 artists onstage, including Mr. Lippa. It is now available for purchase and streaming. He conducted the Royal Philharmonic Orchestra in a new production of his “A Little Princess” in concert in London at the Royal Festival Hall in May, 2018 to a sold-out crowd of nearly 3,000 people. His hit song “Evil Like Me” appears in Disney's “Descendants”. Written for Kristin Chenoweth, that soundtrack hit #1 on the “Billboard 200” album chart, #1 on the iTunes and Billboard soundtrack charts. “Evil Like Me” was certified gold in 2017. His epic oratorio for men's chorus, orchestra and soloists, I Am Harvey Milk has seen over 30 productions including Disney Hall and Lincoln Center.  Andrew's new musical, The Man in the Ceiling, released a world premiere studio album in May of 2019.   Broadway credits include: Music and lyrics for Big Fish directed and choreographed by Susan Stroman; the Tony-nominated music and lyrics for the Broadway musical The Addams Family (directed by Jerry Zaks) as well as the music for Aaron Sorkin's Broadway play The Farnsworth Invention (directed by Des McAnuff). Other musicals include the Drama Desk award winning musical The Wild Party (book/music/lyrics); A Little Princess (music); john & jen (music/book); Asphalt Beach (music and lyrics); Life of the Party (a compendium of Mr. Lippa's works); and You're A Good Man, Charlie Brown (additional music/lyrics and arrangements).  Awards include Tony and Grammy nominations; shared Emmy for Nickelodeon's “The Wonder Pets”; SFGMC Vanguard Award; The Drama Desk Award; The Outer Critics Circle Award. A graduate of the University of Michigan, Mr. Lippa serves as president of the board of The Dramatists Guild Foundation (dgf.org).andrewlippa.com 

About this Performance: British-born Wayne Marshall is a triple threat, appearing around the world as an organist, pianist, and conductor. His abilities in jazz as well as classical music make him particularly well suited for the glittering improvisations on Bernstein and Beethoven that will bookend his Disney Hall recital. “…sheer technical bravado… breathtaking speeds…stunning virtuosity…such brilliant playing.” (Gramophone)   Artists: Wayne Marshall, organ   Program: Wayne MARSHALL Improvisation on themes of Bernstein, “Homage à Lenny” DUPRÉ Symphonie-Passion, Op. 23 George C. BAKER Deux Evocations WIDOR Organ Symphony No. 6 in G minor, Op. 42 No. 2 Andrew AGER Toccata & Fugue MESSIAEN Les mages & Dieu parmi nous from La Nativité du Seigneur Wayne MARSHALL Improvisation on themes of Beethoven

Chatting With Sherri welcomes back award winning composer, producer, educator, and host; David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer’s Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group’s 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio program, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David is currently producing and composing for Space Command, a series of epic adventures set in a hopeful future, and producing Virtual Reality experiences.  

Find out about Southern California's busiest organist, Dr. Jung-A Lee. She is a church organist, concert organist, symphony organist, accompanist/artist-in-residence for the Pacific Chorale, and college teacher. Hear her fascinating journey from South Korea to Canada to the US as she studied organ at some of the finest and most prestigious universities. Enjoy music from Harvard University Chapel to Disney Hall as Dr. Lee tells of her performances on organs literally all over the world. In 2009 she founded Music Mission International to promote the organ. She is a brilliant young artist with a fascinating story. Tune in!MUSIC: "Thee, God" Ned Rorem Memorial Church, Harvard University. Jung-A Lee, organistMUSIC: "For Mortal Flesh is as the Grass" (Requiem) Johannes Brahms Pacific Choral Festival Chorus, Jung-A Lee, organistMUSIC: Sinfonia from Cantata No. 29 Johann Sebastian Bach, Jung-A Lee, organist from her DVD "Beauty in the Wind"MUSIC: "Amazing Grace/How Great Thou Art" Jung-A Lee with David Washburn trumpet, recorded at St. Andrew Presbyterian Church in Newport Beach on the CD Precious Lord.MUSIC: Final (Symphonie No. 1) Louis Vierne Jung-A Lee, organist on the Rosales/Glatter-Goetz Organ in Disney Hall, Los Angeles, from her CD Amazing Grace.Original air date: November 11, 2017

After 2 months of accepting your nominees and votes, it's all come down to this. We start the new decade by announcing our inaugural class of the Hyperion Adventures Disney Hall of Fame. Find out what Disney live-action and animated films and characters you deemed worthy of making this illustrious list. We think you'll be thrilled for many that made it into our Hall of Fame. Once we announce all our new Hyperion Adventures Disney Hall of Fame inductees, we move on to take one last look at the year that was. We share our 5 Favorite Disney Moments from 2019. Check it out and find out if some of our top events match yours. Next, it's time to share the Disney Stories of the Week. This episode, those include the record-breaking box office numbers from Walt Disney Studios. We also discuss the new BBQ restaurant coming to Epcot and the iconic character it's based on. We wrap it all up with tips that might help you on your next vacation. Thanks for listening! Cheers!

Violinist Johnny Lee is Akiko's mirror image on stage at Disney Hall: he sits fourth chair second violin, while she's fourth chair first violin. But they have something else in common too. Both went to Harvard, where there is no music performance major. Akiko thought she'd be a lawyer, Johnny a doctor (or was he just pretending?), but they both found their way back to the violin by the time they graduated. The Stand Partners have logged thousands of hours of "unofficial" conversation with Johnny, so we're excited to present him on the podcast. Here's Johnny's path to the LA Phil and beyond! Transcript [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I'm Nathan Cole.  [00:00:04] AT: I'm Akiko Tarumoto.  [00:00:18] NC: And we are thrilled to be here with our great friend on we've been trying to get on this podcast actually ever since we started this show. Good friend Johnny Lee, violinist with us in the LA Phil. Frequent hanger outer here at the Cole-Tarumoto residence. You've got a heavy dose of the kids tonight. You got to experience dinner, TV watching time, bedtime.   [00:00:43] AT: You missed violin practice time though. Lucky you.   [00:00:47] JL: I have my wine. So it's fine.  [00:00:49] AT: That's actually how we got you here. We bribed you with food and drink.  [00:00:51] NC: That's true. Johnny showed up wearing his Stand Partners for Life t-shirt, which made all of us happy, especially Hannah noticed it right away. If you too would like a snazzy Stand Partners for Life t-shift, go to standpartnersforlife.com/shirts. That's shirt, plural, and guys and gals designs. But thank you so much for being here, Johnny.  [00:01:12] AT: Yay!  [00:01:13] NC: Yay! There are a few reasons to get you here. One, we talk about the orchestra all the time, and LA Phil life all the time. But in addition to that, you and Akiko have some real similarities, I guess besides the fact that Akiko is 4th chair first violin. Johnny, 4th chair second violin. [00:01:34] AT: He's my mirror.  [00:01:34] NC: That's right. We do since first and second, mostly sit across the stage from each other. Here in L.A. Not Akiko's favorite setup at the moment. [00:01:44] AT: I think everybody is tired hearing my opinion on where the violin should sit.   [00:01:49] NC: But you do get to mirror each other across the stage quite often. The bigger similarity is that you both went to the same school for undergrad and you actually overlapped. [00:01:58] AT: We went to school in Boston.  [00:02:00] JL: Cambridge.  [00:02:02] NC: They went to Harvard. I get to hear about it a lot. No! You guys are good about it. Actually, tonight I really do want to hear about it in quite some detail. But, yeah, neither of you went to conservatory for undergrad. So that's something that I know a lot of. You guys out there have asked about just the difference between going to conservatory, not going to conservatory, at least for undergrad. Yeah, the different paths that people take to get to the LA Phil. Johnny, if you would back us up from Harvard, from Cambridge, and tell us a little bit about where you're from, how you got started on the instrument and all that, and then we'll get to  get to school days.  [00:02:41] JL: Yeah. I mean, I grew up in Cleveland, Ohio. So I was at the Cleveland Institute of Music for prepschool – Not prepschool. Preparatory program, age 7 I would say. So I started when I was 5, but started at CIM at 7. But that was of course because my parents were Korean immigrants and they just wanted us to play violin. Us being me and my two older brothers just to put on our college application. [00:03:10] AT: So were you all at –  [00:03:11] JL: Yeah. So would have lessons on Friday after school. My mom would drive us all there. She'd take notes during lessons. Then on the way home we'd get KFC as a reward.  [00:03:24] NC: I thought you were going to say on the way home you'd get yel...

Violinist Johnny Lee is Akiko's mirror image on stage at Disney Hall: he sits fourth chair second violin, while she's fourth chair first violin. But they have something else in common too. Both went to Harvard, where there is no music performance major. Akiko thought she'd be a lawyer, Johnny a doctor (or was he just pretending?), but they both found their way back to the violin by the time they graduated. The Stand Partners have logged thousands of hours of "unofficial" conversation with Johnny, so we're excited to present him on the podcast. Here's Johnny's path to the LA Phil and beyond! Transcript [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I’m Nathan Cole.  [00:00:04] AT: I’m Akiko Tarumoto.  [00:00:18] NC: And we are thrilled to be here with our great friend on we’ve been trying to get on this podcast actually ever since we started this show. Good friend Johnny Lee, violinist with us in the LA Phil. Frequent hanger outer here at the Cole-Tarumoto residence. You’ve got a heavy dose of the kids tonight. You got to experience dinner, TV watching time, bedtime.   [00:00:43] AT: You missed violin practice time though. Lucky you.   [00:00:47] JL: I have my wine. So it’s fine.  [00:00:49] AT: That’s actually how we got you here. We bribed you with food and drink.  [00:00:51] NC: That’s true. Johnny showed up wearing his Stand Partners for Life t-shirt, which made all of us happy, especially Hannah noticed it right away. If you too would like a snazzy Stand Partners for Life t-shift, go to standpartnersforlife.com/shirts. That’s shirt, plural, and guys and gals designs. But thank you so much for being here, Johnny.  [00:01:12] AT: Yay!  [00:01:13] NC: Yay! There are a few reasons to get you here. One, we talk about the orchestra all the time, and LA Phil life all the time. But in addition to that, you and Akiko have some real similarities, I guess besides the fact that Akiko is 4th chair first violin. Johnny, 4th chair second violin. [00:01:34] AT: He’s my mirror.  [00:01:34] NC: That’s right. We do since first and second, mostly sit across the stage from each other. Here in L.A. Not Akiko’s favorite setup at the moment. [00:01:44] AT: I think everybody is tired hearing my opinion on where the violin should sit.   [00:01:49] NC: But you do get to mirror each other across the stage quite often. The bigger similarity is that you both went to the same school for undergrad and you actually overlapped. [00:01:58] AT: We went to school in Boston.  [00:02:00] JL: Cambridge.  [00:02:02] NC: They went to Harvard. I get to hear about it a lot. No! You guys are good about it. Actually, tonight I really do want to hear about it in quite some detail. But, yeah, neither of you went to conservatory for undergrad. So that’s something that I know a lot of. You guys out there have asked about just the difference between going to conservatory, not going to conservatory, at least for undergrad. Yeah, the different paths that people take to get to the LA Phil. Johnny, if you would back us up from Harvard, from Cambridge, and tell us a little bit about where you’re from, how you got started on the instrument and all that, and then we’ll get to  get to school days.  [00:02:41] JL: Yeah. I mean, I grew up in Cleveland, Ohio. So I was at the Cleveland Institute of Music for prepschool – Not prepschool. Preparatory program, age 7 I would say. So I started when I was 5, but started at CIM at 7. But that was of course because my parents were Korean immigrants and they just wanted us to play violin. Us being me and my two older brothers just to put on our college application. [00:03:10] AT: So were you all at –  [00:03:11] JL: Yeah. So would have lessons on Friday after school. My mom would drive us all there. She’d take notes during lessons. Then on the way home we’d get KFC as a reward.  [00:03:24] NC: I thought you were going to say on the way home you’d get yel...

Violinist Johnny Lee is Akiko's mirror image on stage at Disney Hall: he sits fourth chair second violin, while she's fourth chair first violin. But they have something else in common too. Both went to Harvard, where there is no music performance major. Akiko thought she'd be a lawyer, Johnny a doctor (or was he just pretending?), but they both found their way back to the violin by the time they graduated. The Stand Partners have logged thousands of hours of "unofficial" conversation with Johnny, so we're excited to present him on the podcast. Here's Johnny's path to the LA Phil and beyond! Transcript [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I’m Nathan Cole.  [00:00:04] AT: I’m Akiko Tarumoto.  [00:00:18] NC: And we are thrilled to be here with our great friend on we’ve been trying to get on this podcast actually ever since we started this show. Good friend Johnny Lee, violinist with us in the LA Phil. Frequent hanger outer here at the Cole-Tarumoto residence. You’ve got a heavy dose of the kids tonight. You got to experience dinner, TV watching time, bedtime.   [00:00:43] AT: You missed violin practice time though. Lucky you.   [00:00:47] JL: I have my wine. So it’s fine.  [00:00:49] AT: That’s actually how we got you here. We bribed you with food and drink.  [00:00:51] NC: That’s true. Johnny showed up wearing his Stand Partners for Life t-shirt, which made all of us happy, especially Hannah noticed it right away. If you too would like a snazzy Stand Partners for Life t-shift, go to standpartnersforlife.com/shirts. That’s shirt, plural, and guys and gals designs. But thank you so much for being here, Johnny.  [00:01:12] AT: Yay!  [00:01:13] NC: Yay! There are a few reasons to get you here. One, we talk about the orchestra all the time, and LA Phil life all the time. But in addition to that, you and Akiko have some real similarities, I guess besides the fact that Akiko is 4th chair first violin. Johnny, 4th chair second violin. [00:01:34] AT: He’s my mirror.  [00:01:34] NC: That’s right. We do since first and second, mostly sit across the stage from each other. Here in L.A. Not Akiko’s favorite setup at the moment. [00:01:44] AT: I think everybody is tired hearing my opinion on where the violin should sit.   [00:01:49] NC: But you do get to mirror each other across the stage quite often. The bigger similarity is that you both went to the same school for undergrad and you actually overlapped. [00:01:58] AT: We went to school in Boston.  [00:02:00] JL: Cambridge.  [00:02:02] NC: They went to Harvard. I get to hear about it a lot. No! You guys are good about it. Actually, tonight I really do want to hear about it in quite some detail. But, yeah, neither of you went to conservatory for undergrad. So that’s something that I know a lot of. You guys out there have asked about just the difference between going to conservatory, not going to conservatory, at least for undergrad. Yeah, the different paths that people take to get to the LA Phil. Johnny, if you would back us up from Harvard, from Cambridge, and tell us a little bit about where you’re from, how you got started on the instrument and all that, and then we’ll get to  get to school days.  [00:02:41] JL: Yeah. I mean, I grew up in Cleveland, Ohio. So I was at the Cleveland Institute of Music for prepschool – Not prepschool. Preparatory program, age 7 I would say. So I started when I was 5, but started at CIM at 7. But that was of course because my parents were Korean immigrants and they just wanted us to play violin. Us being me and my two older brothers just to put on our college application. [00:03:10] AT: So were you all at –  [00:03:11] JL: Yeah. So would have lessons on Friday after school. My mom would drive us all there. She’d take notes during lessons. Then on the way home we’d get KFC as a reward.  [00:03:24] NC: I thought you were going to say on the way home you’d get yel...

Chicago Symphony cellist Brant Taylor may have been our very first special guest here at the Stand Partners, but so far we've been missing the perspective of his partner Roderick Branch. Roderick is a musician, though his day job (and sometimes into the night job) is as a partner at a giant law firm. Roderick is what you'd call an extremely savvy listener, otherwise known as a superfan. So today Akiko, Brant, and I talk with Roderick, to remember just who it is we're playing for. Roderick elaborates on the dynamics between orchestra and audience in the context of different halls around the world. We speak about the room for error in a magical rendition, the performer as an audience member, and how the level of familiarity with an orchestra affects our experience of it. We also get into the pros and cons of designs, histories, and acoustics of different halls. Next, we share many stories about what made a particular concert life-changing, and then weigh up the various traits of our favorite conductors. Finally, our pet peeves about off-putting audience or performer behavior take center stage. Key Points From This Episode Performers and audience members might feel differently about the quality of a symphony. The distance of a performer or observer from the orchestra changes how it sounds. Minor mistakes are less meaningful when there is great spirit in a performance. The mood of an audience member might change their experience of a performance. Live symphonies sound different to recorded and mastered ones. The way a musician reacts to something unexpected is an indicator of how prepared they are. Experiencing different hall acoustics is neither good or bad but special. Sometimes one has to try to be less critical to have a good time. Knowing the orchestra might change the experience of watching them for better or worse. Knowing who is playing could change whether Roderick goes to a concert or not. Disney Hall's modernity compared to the sense of history of Symphony Center. The acoustics of Disney hall are like a soft focus lens, while Chicago Hall is less forgiving. Less forgiving acoustics can be liberating because it allows for powerful playing. Hearing the same orchestra playing in different halls is a good way of seeing their difference. Great conductors bring out aspects in a symphony not heard before. The respect the orchestra has for a good conductor is palpable in their body language. It is difficult to be fully present as a musician in every performance. Several stories of the most life-changing performances the group have ever seen. Barenboim, Boulez, Haitink and Muti compared by Roderick. Off-putting performer behavior: not looking engaged and talking during the applause. Off-putting audience behavior: humming, cellphones, leaving too early, coughing. Links Brant Taylor Roderick Branch Chicago Symphony Orchestra Bartok Concerto For Orchestra LA Philharmonic Disney Concert Hall Symphony Center Orchestra Hall Daniel Burnham  The Burnham Plan of Chicago Barbara Walter Milli-Vanilli Musikverein Carnegie Hall Concertgebouw Severance Hall Riccardo Muti Krassimira Stoyanova Pierre Boulez  Ben Molar Daniel Barenboim Ma Vlast The Moldau Bernard Haitink Shakespeare Beethoven 9 Verdi: Requiem The Hollywood Bowl Jumbotron Anne-Sophie Mutter “If you're performing a string quartet or a solo piece, the way you react to things that don't go totally as planned is the biggest indicator of how well prepared something is.” — @ Akiko Tarumoto [0:12:07] “If you listen to the concert with your music critic hat on, that detracts from the enjoyment of the experience.” — @ Roderick Branch [0:18:10] “It's actually an interesting hobby to hear an orchestra you know well, play in different halls. It's the best way to figure out exactly how much d...

Chicago Symphony cellist Brant Taylor may have been our very first special guest here at the Stand Partners, but so far we've been missing the perspective of his partner Roderick Branch. Roderick is a musician, though his day job (and sometimes into the night job) is as a partner at a giant law firm. Roderick is what you'd call an extremely savvy listener, otherwise known as a superfan. So today Akiko, Brant, and I talk with Roderick, to remember just who it is we're playing for. Roderick elaborates on the dynamics between orchestra and audience in the context of different halls around the world. We speak about the room for error in a magical rendition, the performer as an audience member, and how the level of familiarity with an orchestra affects our experience of it. We also get into the pros and cons of designs, histories, and acoustics of different halls. Next, we share many stories about what made a particular concert life-changing, and then weigh up the various traits of our favorite conductors. Finally, our pet peeves about off-putting audience or performer behavior take center stage. Key Points From This Episode Performers and audience members might feel differently about the quality of a symphony. The distance of a performer or observer from the orchestra changes how it sounds. Minor mistakes are less meaningful when there is great spirit in a performance. The mood of an audience member might change their experience of a performance. Live symphonies sound different to recorded and mastered ones. The way a musician reacts to something unexpected is an indicator of how prepared they are. Experiencing different hall acoustics is neither good or bad but special. Sometimes one has to try to be less critical to have a good time. Knowing the orchestra might change the experience of watching them for better or worse. Knowing who is playing could change whether Roderick goes to a concert or not. Disney Hall’s modernity compared to the sense of history of Symphony Center. The acoustics of Disney hall are like a soft focus lens, while Chicago Hall is less forgiving. Less forgiving acoustics can be liberating because it allows for powerful playing. Hearing the same orchestra playing in different halls is a good way of seeing their difference. Great conductors bring out aspects in a symphony not heard before. The respect the orchestra has for a good conductor is palpable in their body language. It is difficult to be fully present as a musician in every performance. Several stories of the most life-changing performances the group have ever seen. Barenboim, Boulez, Haitink and Muti compared by Roderick. Off-putting performer behavior: not looking engaged and talking during the applause. Off-putting audience behavior: humming, cellphones, leaving too early, coughing. Links Brant TaylorRoderick BranchChicago Symphony OrchestraBartok Concerto For OrchestraLA PhilharmonicDisney Concert HallSymphony CenterOrchestra HallDaniel Burnham The Burnham Plan of ChicagoBarbara WalterMilli-VanilliMusikvereinCarnegie HallConcertgebouwSeverance HallRiccardo MutiKrassimira StoyanovaPierre Boulez Ben MolarDaniel BarenboimMa VlastThe MoldauBernard HaitinkShakespeareBeethoven 9Verdi: RequiemThe Hollywood BowlJumbotronAnne-Sophie Mutter “If you’re performing a string quartet or a solo piece, the way you react to things that don’t go totally as planned is the biggest indicator of how well prepared something is.” — @ Akiko Tarumoto [0:12:07] “If you listen to the concert with your music critic hat on, that detracts from the enjoyment of the experience.” — @ Roderick Branch [0:18:10] “It’s actually an interesting hobby to hear an orchestra you know well, play in different halls. It’s the best way to figure out exactly how much difference the hall can make for, better or worse, in the way that something sounds.” — @ Brant Taylor [0:24:54] “I think I was probably looking down at the stage just taking in and basking in the g...

Chicago Symphony cellist Brant Taylor may have been our very first special guest here at the Stand Partners, but so far we've been missing the perspective of his partner Roderick Branch. Roderick is a musician, though his day job (and sometimes into the night job) is as a partner at a giant law firm. Roderick is what you'd call an extremely savvy listener, otherwise known as a superfan. So today Akiko, Brant, and I talk with Roderick, to remember just who it is we're playing for. Roderick elaborates on the dynamics between orchestra and audience in the context of different halls around the world. We speak about the room for error in a magical rendition, the performer as an audience member, and how the level of familiarity with an orchestra affects our experience of it. We also get into the pros and cons of designs, histories, and acoustics of different halls. Next, we share many stories about what made a particular concert life-changing, and then weigh up the various traits of our favorite conductors. Finally, our pet peeves about off-putting audience or performer behavior take center stage. Key Points From This Episode Performers and audience members might feel differently about the quality of a symphony. The distance of a performer or observer from the orchestra changes how it sounds. Minor mistakes are less meaningful when there is great spirit in a performance. The mood of an audience member might change their experience of a performance. Live symphonies sound different to recorded and mastered ones. The way a musician reacts to something unexpected is an indicator of how prepared they are. Experiencing different hall acoustics is neither good or bad but special. Sometimes one has to try to be less critical to have a good time. Knowing the orchestra might change the experience of watching them for better or worse. Knowing who is playing could change whether Roderick goes to a concert or not. Disney Hall’s modernity compared to the sense of history of Symphony Center. The acoustics of Disney hall are like a soft focus lens, while Chicago Hall is less forgiving. Less forgiving acoustics can be liberating because it allows for powerful playing. Hearing the same orchestra playing in different halls is a good way of seeing their difference. Great conductors bring out aspects in a symphony not heard before. The respect the orchestra has for a good conductor is palpable in their body language. It is difficult to be fully present as a musician in every performance. Several stories of the most life-changing performances the group have ever seen. Barenboim, Boulez, Haitink and Muti compared by Roderick. Off-putting performer behavior: not looking engaged and talking during the applause. Off-putting audience behavior: humming, cellphones, leaving too early, coughing. Links Brant TaylorRoderick BranchChicago Symphony OrchestraBartok Concerto For OrchestraLA PhilharmonicDisney Concert HallSymphony CenterOrchestra HallDaniel Burnham The Burnham Plan of ChicagoBarbara WalterMilli-VanilliMusikvereinCarnegie HallConcertgebouwSeverance HallRiccardo MutiKrassimira StoyanovaPierre Boulez Ben MolarDaniel BarenboimMa VlastThe MoldauBernard HaitinkShakespeareBeethoven 9Verdi: RequiemThe Hollywood BowlJumbotronAnne-Sophie Mutter “If you’re performing a string quartet or a solo piece, the way you react to things that don’t go totally as planned is the biggest indicator of how well prepared something is.” — @ Akiko Tarumoto [0:12:07] “If you listen to the concert with your music critic hat on, that detracts from the enjoyment of the experience.” — @ Roderick Branch [0:18:10] “It’s actually an interesting hobby to hear an orchestra you know well, play in different halls. It’s the best way to figure out exactly how much difference the hall can make for, better or worse, in the way that something sounds.” — @ Brant Taylor [0:24:54] “I think I was probably looking down at the stage just taking in and basking in the g...

Today we're joined by our good friend and LA Phil principal cello, Robert deMaine. Bob tells us about his childhood, his musical family and an early teacher who gave him a complete musical education, including piano and composition. He also unpacks how he fell out of love with the cello during his teen years and took an extended break from playing. Eventually he found his way back and went on a tear, pursuing a solo career and at the same time winning principal jobs in Hartford, Detroit, and finally Los Angeles. Bob doesn't hold back as he discusses anxiety, negative self-talk, and the long road toward mastery of an instrument. Key Points From This Episode: Different orchestral seating arrangements Bob's upbringing, important places and inspiration from his family Having and then losing the best music teacher in the world The difference between relative pitch and perfect pitch Disasters in ice cream shops and disasters on stage Bob's early jobs in music and testing boundaries with senior musicians The Detroit Symphony and the strike that ended with Robert moving to LA Bob's audition for the LA Phil and the hand problem he had leading up to it The steps toward improvement and how they widen as you grow as a musician Differences between teaching and coaching; bringing out the best in students Recreating sounds, learning accents and the power of cultivating the ear The event that precipitated Bob's performance anxiety, and the way through it Upcoming projects for Bob, including his Tweetables: “I grew up playing on my mother's cello, and my sister played the cello that my mother played when she was a child, and it was a real beater.” — @robertdemaine [0:06:35] “I don't think I would have played as well as I did had it not been exactly that way. So much of it has to do with just timing.” — @robertdemaine [0:39:15] “I've never really separated how one prepares for a symphony concert versus how one prepares for a concerto.” — @robertdemaine [0:39:51] Links Mentioned in Today's Episode: Robert deMaine on Twitter Robert deMaine Strings Magazine Mariano Rivera Leonard Rose Janos Starker Eastern Music Festival Juilliard Curtis Central State University Eastman Good Will Hunting Dexter Days of Wine and Roses Irving Klein Competition Paul Paray George Szell Neeme Jarvi Joseph Silverstein Sliding Doors The Matrix Goofus and Gallant Fear and Loathing in Las Vegas Guido Lamell Anthony Bourdain Now Hear This Handel Joe Rogan  Mash Taxi Transcript EPISODE 32 [INTRO] [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I am thrilled to be here not only with Akiko. [00:00:07] AT: Hello. [00:00:07] NC: But our good friend and close colleague, Bob deMaine, principal cello here at the L.A. Phil, and actually we're right here in Disney Hall, the bowels of the hall. [00:00:16] BD: Our home away from home. [00:00:18] NC: Yeah. [INTERVIEW] [00:00:32] BD: Thanks for having me on. I feel like I'm sort of your honorary stand partner, because I sit next to you in the orchestra. [00:00:37] NC: Yeah. Actually – I mean, yeah, the usual. If everybody's there, we've got Martin, and then I'm sitting second right next to him, and then on my other side is you. When I first came to the orchestra, they had the violas where you are instead. So principal viola was on my other side. [00:00:53] BD: The viola was there? [00:00:55] NC: They did. [00:00:55] BD: That's something I've never seen before. [00:00:58] AT: Wrong seating number two. [00:00:59] BD: That's right. Isn't that David Sanders, like his lingo from Chicago or something? [00:01:04] AT: I think we're currently in wrong seating number four. [00:01:06] BD: I like right seating number one. I mean, cello is on the left. [00:01:10] NC: The outside. [00:01:10] BD: Yeah,

Today we're joined by our good friend and LA Phil principal cello, Robert deMaine. Bob tells us about his childhood, his musical family and an early teacher who gave him a complete musical education, including piano and composition. He also unpacks how he fell out of love with the cello during his teen years and took an extended break from playing. Eventually he found his way back and went on a tear, pursuing a solo career and at the same time winning principal jobs in Hartford, Detroit, and finally Los Angeles. Bob doesn't hold back as he discusses anxiety, negative self-talk, and the long road toward mastery of an instrument. Key Points From This Episode: Different orchestral seating arrangementsBob's upbringing, important places and inspiration from his familyHaving and then losing the best music teacher in the worldThe difference between relative pitch and perfect pitchDisasters in ice cream shops and disasters on stageBob's early jobs in music and testing boundaries with senior musiciansThe Detroit Symphony and the strike that ended with Robert moving to LABob's audition for the LA Phil and the hand problem he had leading up to it The steps toward improvement and how they widen as you grow as a musician Differences between teaching and coaching; bringing out the best in students Recreating sounds, learning accents and the power of cultivating the ear The event that precipitated Bob's performance anxiety, and the way through it Upcoming projects for Bob, including his Tweetables: “I grew up playing on my mother's cello, and my sister played the cello that my mother played when she was a child, and it was a real beater.” — @robertdemaine [0:06:35] “I don’t think I would have played as well as I did had it not been exactly that way. So much of it has to do with just timing.” — @robertdemaine [0:39:15] “I’ve never really separated how one prepares for a symphony concert versus how one prepares for a concerto.” — @robertdemaine [0:39:51] Links Mentioned in Today’s Episode: Robert deMaine on TwitterRobert deMaineStrings MagazineMariano RiveraLeonard RoseJanos StarkerEastern Music FestivalJuilliardCurtisCentral State UniversityEastmanGood Will HuntingDexterDays of Wine and RosesIrving Klein CompetitionPaul ParayGeorge SzellNeeme JarviJoseph SilversteinSliding DoorsThe MatrixGoofus and GallantFear and Loathing in Las VegasGuido LamellAnthony BourdainNow Hear ThisHandelJoe Rogan MashTaxi Transcript EPISODE 32 [INTRO] [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I am thrilled to be here not only with Akiko. [00:00:07] AT: Hello. [00:00:07] NC: But our good friend and close colleague, Bob deMaine, principal cello here at the L.A. Phil, and actually we’re right here in Disney Hall, the bowels of the hall. [00:00:16] BD: Our home away from home. [00:00:18] NC: Yeah. [INTERVIEW] [00:00:32] BD: Thanks for having me on. I feel like I’m sort of your honorary stand partner, because I sit next to you in the orchestra. [00:00:37] NC: Yeah. Actually – I mean, yeah, the usual. If everybody's there, we've got Martin, and then I'm sitting second right next to him, and then on my other side is you. When I first came to the orchestra, they had the violas where you are instead. So principal viola was on my other side. [00:00:53] BD: The viola was there? [00:00:55] NC: They did. [00:00:55] BD: That’s something I’ve never seen before. [00:00:58] AT: Wrong seating number two. [00:00:59] BD: That’s right. Isn’t that David Sanders, like his lingo from Chicago or something? [00:01:04] AT: I think we’re currently in wrong seating number four. [00:01:06] BD: I like right seating number one. I mean, cello is on the left. [00:01:10] NC: The outside. [00:01:10] BD: Yeah, the outside. [00:01:12] AT: Everybody wants the outside. [00:01:13] BD: So much more room over there. I don’t care how it sounds.

Today we're joined by our good friend and LA Phil principal cello, Robert deMaine. Bob tells us about his childhood, his musical family and an early teacher who gave him a complete musical education, including piano and composition. He also unpacks how he fell out of love with the cello during his teen years and took an extended break from playing. Eventually he found his way back and went on a tear, pursuing a solo career and at the same time winning principal jobs in Hartford, Detroit, and finally Los Angeles. Bob doesn't hold back as he discusses anxiety, negative self-talk, and the long road toward mastery of an instrument. Key Points From This Episode: Different orchestral seating arrangementsBob's upbringing, important places and inspiration from his familyHaving and then losing the best music teacher in the worldThe difference between relative pitch and perfect pitchDisasters in ice cream shops and disasters on stageBob's early jobs in music and testing boundaries with senior musiciansThe Detroit Symphony and the strike that ended with Robert moving to LABob's audition for the LA Phil and the hand problem he had leading up to it The steps toward improvement and how they widen as you grow as a musician Differences between teaching and coaching; bringing out the best in students Recreating sounds, learning accents and the power of cultivating the ear The event that precipitated Bob's performance anxiety, and the way through it Upcoming projects for Bob, including his Tweetables: “I grew up playing on my mother's cello, and my sister played the cello that my mother played when she was a child, and it was a real beater.” — @robertdemaine [0:06:35] “I don’t think I would have played as well as I did had it not been exactly that way. So much of it has to do with just timing.” — @robertdemaine [0:39:15] “I’ve never really separated how one prepares for a symphony concert versus how one prepares for a concerto.” — @robertdemaine [0:39:51] Links Mentioned in Today’s Episode: Robert deMaine on TwitterRobert deMaineStrings MagazineMariano RiveraLeonard RoseJanos StarkerEastern Music FestivalJuilliardCurtisCentral State UniversityEastmanGood Will HuntingDexterDays of Wine and RosesIrving Klein CompetitionPaul ParayGeorge SzellNeeme JarviJoseph SilversteinSliding DoorsThe MatrixGoofus and GallantFear and Loathing in Las VegasGuido LamellAnthony BourdainNow Hear ThisHandelJoe Rogan MashTaxi Transcript EPISODE 32 [INTRO] [00:00:00] NC: Hi and welcome back to Stand Partners for Life. I am thrilled to be here not only with Akiko. [00:00:07] AT: Hello. [00:00:07] NC: But our good friend and close colleague, Bob deMaine, principal cello here at the L.A. Phil, and actually we’re right here in Disney Hall, the bowels of the hall. [00:00:16] BD: Our home away from home. [00:00:18] NC: Yeah. [INTERVIEW] [00:00:32] BD: Thanks for having me on. I feel like I’m sort of your honorary stand partner, because I sit next to you in the orchestra. [00:00:37] NC: Yeah. Actually – I mean, yeah, the usual. If everybody's there, we've got Martin, and then I'm sitting second right next to him, and then on my other side is you. When I first came to the orchestra, they had the violas where you are instead. So principal viola was on my other side. [00:00:53] BD: The viola was there? [00:00:55] NC: They did. [00:00:55] BD: That’s something I’ve never seen before. [00:00:58] AT: Wrong seating number two. [00:00:59] BD: That’s right. Isn’t that David Sanders, like his lingo from Chicago or something? [00:01:04] AT: I think we’re currently in wrong seating number four. [00:01:06] BD: I like right seating number one. I mean, cello is on the left. [00:01:10] NC: The outside. [00:01:10] BD: Yeah, the outside. [00:01:12] AT: Everybody wants the outside. [00:01:13] BD: So much more room over there. I don’t care how it sounds.

Alex sits down with writer and producer, Disney Hall, to discuss her love for film, redefining self-care, and telling real stories. Learn more about your ad choices. Visit podcastchoices.com/adchoices

T.J. Troy, Erin Barnes, and Nick Terry are all percussionists in the Los Angeles-based contemporary music ensemble Partch. Partch is a Grammy Award winning ensemble that specializes in the music and instruments of the American Maverick composer Harry Partch. Partch’s work combined music and theatre with complex microtonal systems, often performed on custom-made instruments. The Partch ensemble has performed internationally from the Disney Hall in LA to a tour of Japan.0:00 Intro and hello - the new record3:20 Becoming so interested in Partch and joining this ensemble? 6:40 TJ's introduction to Partch through Michael Udow9:44 Describing Harry Partch's music16:25 Audience questions, interaction, and education 19:30 instruments  29:50 Diamond Marimba 34:35 The sheet music 45:15 Any unperformed Partch works that you have premiered? 47:20 Partch's rhythm? 55:21 Casey: Sound - # Carbonfeed 1:02:15 Casey: this day in music: Cage "Empty Words", Bruckner Watch here. Listen below.If you cannot see the audio controls, your browser does not support the audio element

Chatting With Sherri welcomes award winning composer, producer, educator, and host; David Raiklen! David Raiklen is an American composer best known for the science fiction series Space Command and for the Emmy winning Mia, A Dancer’s Journey. David was mentored by Oscar winner John Williams and Pulitzer Prize winner Mel Powel. Dr. Raiklen studied at USC, UCLA, and CalArts and later taught at those universities. He has worked for the major studios including Sony, Fox, Disney, Sprint, Mattel, Warner Bros and PBS, plus many independent productions. His projects have starred Elliott Gould, Doug Jones, Blythe Danner, and Martin Sheen. David made the New York Film Critics Top Ten with the documentary Heist, the short list for an Academy Award® for Worth, and Mia, A Dancer's Journey won the Emmy. An oratorio for the Lewis and Clark Bicentennial titled Discovery, a mixed reality giant projection event for the Center Theater Group’s 50th anniversary, episodes of Star Trek Continues, and a violin concerto for festival darling Worth. David Raiklen compositions have been performed at the Hollywood Bowl and Disney Hall. He was also host of a successful radio program, Classical Fan Club, where guests include Yo-Yo Ma and John Williams; and was host and leader of The Academy of Scoring Arts seminars. David is currently producing and composing for Space Command, a series of epic adventures set in a hopeful future, and producing Virtual Reality experiences.  

photo by Alan Kimara Dixon Laurel Jenkins’ choreography emerges from rigorous experimentation and interdisciplinary dialogues in the realms of contemporary dance, opera, music and theater. She engages with the choreographic process as a radical space for reimagining our collective human experience. Her work has been presented by Lincoln Center, Disney Hall, REDCAT, Automata, the Getty Center, Show Box LA, Danspace, Berlin’s Performing Presence Festival, and Tokyo’s Sezane Gallery. She recently choreographed Bernstein’s MASS with the LA Phil and the Mostly Mozart Festival Orchestra. In addition, she has choreographed for LA Contemporary Dance Company, The Wooden Floor, California State University, Long Beach, and the University of Nebraska-Lincoln. Jenkins was a member of the Trisha Brown Dance Company from 2007-2012, and developed original roles in Brown’s final works. Jenkins also danced in New York with Vicky Shick and Sara Rudner. She performed the role of Ismene in Peter Sellars’ staging of Oedipus Rex conducted by Esa-Pekka Salonen. This spring she will perform solos by Merce Cunningham in Los Angeles as a part of the Night of 100 Solos: A Centennial Event. Jenkins is the recipient of a Vermont Arts Council Grant, an Asian Cultural Council Grant, holds a BA from Sarah Lawrence, and an MFA from UCLA. She is currently an Assistant Professor of Dance at Middlebury College in Vermont. The book mentioned in the interview is RIE Manual: Resources for Infant Educarers edited by Magda Gerber, Mothering from your Center: Tapping into your Body's Natural Energy for Pregnancy, Birth, and Parenting by Tami Lynn Kent Nmon Ford, the Celebrant, and dancers in Lincoln Center’s production of Leonard Bernstein’s MASS at the 2018 Mostly Mozart Festival. © Richard Termine. Mostly Mozart Festival Orchestra Music Director Louis Langrée and the orchestra and cast of Lincoln Center’s production of Leonard Bernstein’s MASS. © Richard Termine.

Happy New Year and new season of Stand Partners for Life! In this episode, we take a look back at resolutions we've made about our playing... and not all of them stuck! From scale practice to solo Bach, counting rests to keeping a practice journal, each of us had critical moments in our violin past where we made fateful decisions. Which ones made a lasting impact? Transcript Nathan Cole: Hello and welcome back to Stand Partners for Life. I am Nathan Cole. Akiko Tarumoto: I am Akiko Tarumoto. Nathan Cole: Well, since this is the new year, happy new year and happy second season of Stand Partners for Life! We released our first 15 episodes last year and had a blast doing it, and kind of took a long summer break that extended into the holidays. Now we're ready to get going again, so this is the perfect day to get back into the spirit of podcasting. Akiko Tarumoto: Yes, get back into the swing of thinking about music. Nathan Cole: Tomorrow we actually go back to work after our holiday break, that being the LA Philharmonic. Actually if you were with us last season, you'll know that we spend our days and many of our nights with the LA Phil at Disney Hall here in Los Angeles. If you're joining us, this is what we call "The secrets of the symphony from two violinists who live together, play together and work together", because we are married with three young kids here in the house, who should all be sleeping. Although, I sort of hear that they're not. Akiko Tarumoto: It might be our neighbors. Nathan Cole: Are they out reveling? Akiko Tarumoto: Yeah, I think it makes more sense that kids would be up acting rowdy because they're not even four. In the case of the neighbors, they don't have that excuse, because I think that guy's in his 20s. Nathan Cole: They do have a hot tub. Akiko Tarumoto: They do, well yeah or something, a trampoline. Nathan Cole: We give you an inside look at the symphony and the life of, well, the life with the violin. In that spirit we're not going to give you a whole bunch of new year's resolutions exactly. My idea anyway was that we'd talk today about some playing resolutions, practicing resolutions that we'd made over the course of our lives and see what stuck and what didn't. I did want to … Akiko Tarumoto: What stuck and what stunk. Nathan Cole: Okay, that's good, that's better. I wanted to thank each and every one of you for listening and especially those of you who have gone and left us a rating or a review on iTunes. It's the best way for us to get found and hopefully enjoyed by other listeners like you. If you have a moment and can go to standpartnersforlife.com, you'll see how you can visit iTunes and just take those 60 seconds to leave us a review. I read all of them. I don't think you read any of them, right? Akiko Tarumoto: No, I can't handle the truth. Nathan Cole: Well what I was going to say is that so many of the reviews, I've told you this a couple times, but they really feel like people go out of their way to mention that really enjoy the commentary. Especially Akiko's! What they'll say is, "I especially like hearing what Akiko has to say." I try not to take that personally. Akiko Tarumoto: Well I get to be the person who sort of riffs off of you, I think you're the straight man, so it's not entirely fair probably. Nathan Cole: I think people trust you, they know you speak the truth. Akiko Tarumoto: Well thank you, I appreciate it. Nathan Cole: We read them all. Well anyway, I read all of them and I pass them along to Akiko. Akiko Tarumoto: He doesn't pass on the bad stuff. Nathan Cole: Here we are, we've got our resolutions. I just remembered -- I said I wasn't going to do this, but I think one of my only resolutions I thought of for the new year as far as music is to play our kids more concerts.

Happy New Year and new season of Stand Partners for Life! In this episode, we take a look back at resolutions we've made about our playing... and not all of them stuck! From scale practice to solo Bach, counting rests to keeping a practice journal, each of us had critical moments in our violin past where we made fateful decisions. Which ones made a lasting impact? Transcript Nathan Cole: Hello and welcome back to Stand Partners for Life. I am Nathan Cole. Akiko Tarumoto: I am Akiko Tarumoto. Nathan Cole: Well, since this is the new year, happy new year and happy second season of Stand Partners for Life! We released our first 15 episodes last year and had a blast doing it, and kind of took a long summer break that extended into the holidays. Now we're ready to get going again, so this is the perfect day to get back into the spirit of podcasting. Akiko Tarumoto: Yes, get back into the swing of thinking about music. Nathan Cole: Tomorrow we actually go back to work after our holiday break, that being the LA Philharmonic. Actually if you were with us last season, you'll know that we spend our days and many of our nights with the LA Phil at Disney Hall here in Los Angeles. If you're joining us, this is what we call "The secrets of the symphony from two violinists who live together, play together and work together", because we are married with three young kids here in the house, who should all be sleeping. Although, I sort of hear that they're not. Akiko Tarumoto: It might be our neighbors. Nathan Cole: Are they out reveling? Akiko Tarumoto: Yeah, I think it makes more sense that kids would be up acting rowdy because they're not even four. In the case of the neighbors, they don't have that excuse, because I think that guy's in his 20s. Nathan Cole: They do have a hot tub. Akiko Tarumoto: They do, well yeah or something, a trampoline. Nathan Cole: We give you an inside look at the symphony and the life of, well, the life with the violin. In that spirit we're not going to give you a whole bunch of new year's resolutions exactly. My idea anyway was that we'd talk today about some playing resolutions, practicing resolutions that we'd made over the course of our lives and see what stuck and what didn't. I did want to … Akiko Tarumoto: What stuck and what stunk. Nathan Cole: Okay, that's good, that's better. I wanted to thank each and every one of you for listening and especially those of you who have gone and left us a rating or a review on iTunes. It's the best way for us to get found and hopefully enjoyed by other listeners like you. If you have a moment and can go to standpartnersforlife.com, you'll see how you can visit iTunes and just take those 60 seconds to leave us a review. I read all of them. I don't think you read any of them, right? Akiko Tarumoto: No, I can't handle the truth. Nathan Cole: Well what I was going to say is that so many of the reviews, I've told you this a couple times, but they really feel like people go out of their way to mention that really enjoy the commentary. Especially Akiko's! What they'll say is, "I especially like hearing what Akiko has to say." I try not to take that personally. Akiko Tarumoto: Well I get to be the person who sort of riffs off of you, I think you're the straight man, so it's not entirely fair probably. Nathan Cole: I think people trust you, they know you speak the truth. Akiko Tarumoto: Well thank you, I appreciate it. Nathan Cole: We read them all. Well anyway, I read all of them and I pass them along to Akiko. Akiko Tarumoto: He doesn't pass on the bad stuff. Nathan Cole: Here we are, we've got our resolutions. I just remembered -- I said I wasn't going to do this, but I think one of my only resolutions I thought of for the new year as far as music is to play our kids more concerts.

Vi fortsætter vores AFDELING Q TEMA og snakker om anden film i rækken "Fasandræberne"!FilmHulen anmelder i denne tid filmatiseringerne af Jussi Adler Olsens krimiromaner over Afdeling Q. Filmatiseringen består af Nikolaj Lie Kaas (Carl Mørck) og Fares Fares (Assad).(Vi skal advare mod spoilers)Skal den på loftet som "VHS-Bånd på loftet", "Bare-Stream-Den", "Køb den på Blu-Ray" eller i "Hall of Fame?"_________________________________________________________________Mange tak, fordi du ser eller hører med!Vi (Morten Jørgensen og Lars Aabom) er meget beæret over din opmærksomhed, og håber du finder podcasten spændende og informativ._________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video produced by LAME PRODUCTIONSArtwork and design by Lars Tobiesen AabomTitel soundtrack by Kai Engel.Sound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"Hall of Fame" melody by Tuudurt

Fifteen years ago, in the fall of 2003, the Frank Gehry-designed Walt Disney Concert Hall opened in downtown Los Angeles after a protracted struggle over money, design, and politics. WNYC's Sara Fishko was in LA for the hall's debut - and returned with this Fishko Files. (Produced in 2003) Fishko Files with Sara Fishko Assistant Producer: Olivia BrileyMix Engineer: Wayne ShulmisterEditor: Karen Frillmann

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh's life, he has performed violin solos to a packed Carnegie Hall, something I can't boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I'm fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He's been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It's great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you've spent so much of your life in those clubs performing, writing, but what's not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn't sure how to tell my parents to start off a five year old with lessons. He wasn't going to do it. There was a Suzuki teacher, one in Indianapolis, and that's who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80's. Hugh Fink: You are right. I started in the late '60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that's extraordinary. Hugh Fink: It was extraordinary. I didn't have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn't speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Some people were just born to do what they do, and Hugh Fink was born to be funny. Or was he born to play the violin? Because even though comedy has set the course of Hugh’s life, he has performed violin solos to a packed Carnegie Hall, something I can’t boast about! Hugh is one of a very few comics who has been able to fuse his musical life with his stage persona, much like the late great Jack Benny, whose violin I’m fortunate to play. Ever since he was a child, Hugh loved getting up in front of people and performing, no matter what form it took. Eventually, he discovered that not only could he create material for himself, but he had a talent for writing material that would suit any number of other talented performers! And that was the key that unlocked doors throughout show business, most notably at Saturday Night Live, where Hugh enjoyed a seven-year tenure and wrote more opening monologues than any other SNL writer. Hugh and I talk about growing up alongside Joshua Bell (and later using him in a wicked stage act with Tracy Morgan), how stand-up relates to musical performance, and how TV shows get made. Of course I also sit back and listen to behind-the-scenes tales from SNL! Transcript Nathan Cole: Hi and welcome back to Stand Partners for Life. This is Nathan Cole and today with me, really excited to have as my guest, Hugh Fink, comic, writer, violinist. He’s been gracious enough to join me here at Disney Hall for a change.  Welcome to Stand Partners For Life, Hugh. Hugh Fink: Thank you. It’s great to be here, Nathan, instead of taping a podcast at a smoke filled comedy club, to be in a classy concert hall. I like it. Nathan Cole: We try to keep it classy here at Disney most of the time. Well, we can just jump right into that. I mean, you’ve spent so much of your life in those clubs performing, writing, but what’s not usual for a comic is that you have a serious history as a violinist. We were talking about that just a bit ago, you and I, but give us the quick version of your violin life, because that was either came before or maybe concurrently with your life in comedy. Hugh Fink: Sure. My parents were classical music lovers. My dad was the Attorney for the Indianapolis Symphony, the Musicians Union. As a very young kid I would be taken to these concerts at the orchestra and I loved it. I guess I told my parents at age four or five that I wanted to study violin. They were not so sure about that because they knew it was a tough instrument. They already owned a piano, but they were friends with the concertmaster of the Indianapolis Symphony at the time, Eric Rosenblith. He had known a little about this new Suzuki method, although he was not a proponent of it at all because he was like a pupil of Carl Flesch or some of these old- Nathan Cole: Old school. Hugh Fink: He was super old school, but he wasn’t sure how to tell my parents to start off a five year old with lessons. He wasn’t going to do it. There was a Suzuki teacher, one in Indianapolis, and that’s who I studied with. Nathan Cole: This would have been not so long I bet, after the method really took hold in the U.S. because I started Suzuki and that was early 80’s. Hugh Fink: You are right. I started in the late ’60s. I ended up studying Suzuki for eight years, and going to the Suzuki Summer Institute at the University of Wisconsin Stevens Point. Nathan Cole: Stevens Point. Okay. Hugh Fink: Right. Shinichi came. Nathan Cole: Wow. Hugh Fink: Yes. I actually was part of the generation where I got to see him live. Nathan Cole: Well, that’s extraordinary. Hugh Fink: It was extraordinary. I didn’t have much interaction with him, but I remember, I think he was chain smoking and he looked like a ripe old age and very Buddha-esque just this is why He didn’t speak much English either, but that was a great experience. I think what it taught me, Nathan, was beyond the violin part, to meet other young violinists who are just normal kids. It was a camp,

Johnny Cash foredag: http://www.johnnycashforedrag.dkJohnny Horsepower: https://www.johnnyhorsepower.dk_________________________________________________________________Vi har Johnny Cash entusiasten Dennis Greis Lydom på besøg, og vi snakker om Johnny Cash' vilde liv og filmen "Walk The Line"(Vi skal advare mod spoilers)Skal den på loftet som "VHS-Bånd på loftet", "Bare-Stream-Den", "Køb den på Blu-Ray" eller i "Hall of Fame?"_________________________________________________________________Mange tak, fordi du ser eller hører med!Vi (Morten Jørgensen og Lars Aabom) er meget beæret over din opmærksomhed, og håber du finder podcasten spændende og informativ._________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video produced by LAME PRODUCTIONSArtwork and design by Lars Tobiesen AabomTitel soundtrack by Kai Engel.Sound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"Hall of Fame" melody by Tuudurt

Edgar Zamora is the founder and lead designer of the highly acclaimed Revelry Event Designers, the industry’s go-to event and interior design company specializing in designing and installing private, as well as corporate events worldwide. Edgar is a “Transformer of Spaces”, having an innovative and progressive design view. As president and CEO of Revelry Event Designers, Edgar’s exquisite event furniture has transformed events such as the opening of Disney Hall, celebrity weddings including Brad Pitt/Jennifer Aniston, Shaquille O’Neal and Sofia Vergara (just to name a few) and a slew of Oscar parties including the famous post-Oscars Governors Ball. Listen along as Edgar and Andy discuss how he seamlessly translated his talent for draping mannequins to event design. Stories of his childhood inspirations and travel adventures are shared between the two. Together, they also recall the tour Andy personally received of Edgar’s venerate 125K square foot company warehouse which not only showcased the level of esteem Revelry Event Designers but also the connection Edgar has with each of his employees. Listen here for more! Links Revelry Event Designers [Website] Revelry Event Designers [Instagram] Revelry Event Designers [Facebook] Revelry Event Designers [Twitter] Revelry Event Designers [Pinterest] Revelry Event Designers [Google+] Revelry Event Designers [Linkedin]  

Dan and Maureen come together by the fire at the end of December to ring out the old year and welcome the new (DEAR GOD YES PLEASE THE NEW). They show 2017 the door with much less patience than Maureen explaining the pee tape to her mother while at the bank, which, yes, happened. This because of a truck with a window decal that decidedly did not read "potty magnet". But this episode isn't just about shedding the curse of 2017, it's also about talking about what's been learned and how it's changed the way we're thinking about 2018. Sayswhovians, we're not gonna lie: things get earnest. But why shouldn't they: we made it through 2017 and we've gotta live 2018 to the maxx. But it's not all days of future past, Trump is now officially in the Disney Hall of Presidents--perhaps the most Sayswhovian of news updates--and though Dan and Maureen have long dreaded the day that robot was turned on, it turns out that the Imagineers at Disney had something wonderful in store! They were not going down without a fight. They inspire us to go into 2018 TO THE MAXX. Oh and also: someone's getting married (hint: it's not the Trump robot)! So come sit with us and let's tell each other wonderful tales of the holiday season, SaysWhovians! GOODBYE 2017 YOU F*CKER. SHOW NOTES: Call us about your plans to live 2018 TO THE MAXX at (312) 715-7057 Sing the song of SaysWhoVille! Preorder Maureen's new book, Truly Devious and support some good indie bookstores. Your Intrepid Hosts: Maureen Johnson and Dan Sinker Our awesome theme is courtesy of Ted Leo Says Who's Logo was made by the one and only Darth

Architect Frank Gehry sits down with Joseph Giovannini to discuss projects from across his career: including his rebuff of Donald Trump's inept courtship; his on-gong engagement with the LA River Project (which Giovannini has written about for LARB); and the many hurdles he had to overcome to complete the jewel of Downtown LA, Disney Hall. This is a Master both in repose and politically engaged; reflective and yet adamant that his work serve humanity.

In this first episode of my new podcast I happened to interview Mr. Steve Vai, guitarist and composer. Support this Podcast on Patreon: https://www.patreon.com/carlking Subscribe on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-carl-king-podcast/id1202709564 Subscribe on Spotify: https://open.spotify.com/show/4VlLUSeRUrDzF1Omtu9rdp We discuss Why He Does What He Does, Music Composition, Classical Music, and his upcoming show at Disney Hall with Los Angeles Youth Symphony in March. Steve Vai's Website https://www.vai.com Steve's Blog about the Concert https://www.vai.com/american-youth-symphony-performance-at-disney-hall-la/

Tony Maglione of William Jewell College stops in to share his thoughts on building a culture of trust with your choir. Listen   Bio Conductor/Composer Anthony J. Maglione is a graduate of Westminster Choir College of Rider University, East Carolina University, and the University of California, Los Angeles. He is the Director of Choral Studies at William Jewell College where, under his direction, the Concert Choir was Runner Up (2nd Place) for the 2015 American Prize in Choral Performance, College/University Division. In addition to his responsibilities at William Jewell College, he serves as Director of the Greater Kansas City AGO Schola Cantorum, Conductor Emeritus of the Freelance Ensemble Artists of NJ, a symphony orchestra based in Central NJ and recently was appointed the Michael and Ginger Frost “Artist-in-Residence” at St. Mary’s Episcopal Church in Kansas City. An active composer, Anthony’s choral works are growing in popularity and are published on GIA’s “Evoking Sound” choral series. In the last several years his music has appeared at state and national-level conventions, on TV, in video games, and has been recorded on Gothic Records and Centaur Records. In 2014 and 2015, Anthony was honored as a Semi- Finalist and Finalist (respectively) for the American Prize in Composition, Professional Choral Division and was recently awarded the 2016-2017 William Jewell College Spencer Family Sabbatical, a year-long fully funded sabbatical in order to compose two new large-scale works for choir, soloists and chamber orchestra. Anthony has also been commissioned by the American Guild of Organists for a new work to premiere at the AGO National Conference to be held in Kansas City in 2018. Anthony has made numerous guest conducting/clinician appearances and has prepared ensembles for such esteemed conductors as James Conlon, James Jordan, David Newman, Donald Neuen, and Alex Treger. Ensembles under his leadership have performed nationally and internationally at renowned concert venues including Disney Hall in Los Angeles and Carnegie Hall in New York City. Links William Jewell Music Tony’s Facebook Tony’s Twitter Support the show on

Eric Zayne is a soul infused pop-rock musician and record producer who blends electronics to create a sound that is edgy and unique. After fleeing to Canada from the Congo as a child, Zayne started his career at 13 by playing in multiple bands in Montreal. His first major gig was a five-year tour across Asia where he played keyboards, guitar and sang in a funk band. He is now in Los Angeles, getting ready to release a new album after his breakout hits, “Maneater”, "Spin the World” and winning the John Lennon Songwriting Contest in 2015.  And we get to debut songs from teh new album...you will hear it first on Music FridayLive! Our second guest,  Jayson Won, Executive Creative Director & COO, World Arts,  is a professional drummer who branched out into the business side of music, forming his own label, a creative agency 1K Studios, which helped launch the first DVD releases for MGM, Disney, Polygram, Universal, 20th Century Fox and Paramount and developed the graphic and design concepts for iDVD and iTunes Originals. His latest adventure, World Arts, offers a platform for bands, artists, fans and the music industry to come together in new and mutually beneficial ways.   ...and a wonderful surprise, joining us at the top of the hour is Buika, a global phenomenon who fuses African, Spanish, Western music into hypnotic beats and songs.  She will be playing to a sold-out Disney Hall in L:A Saturday and we get to talk with her Friday morning. And we talk to Kawehi, who will stop by before her performance tonight at the Hotel Cafe.  

VERONIKA KRAUSAS The works of composer VERONIKA KRAUSAS are performed throughout Europe and North America, where she is recognized for her innovative use of dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera "Something novel this way comes." Since 1998 Krausas has directed, composed for, and produced multi-media events in Los Angeles that incorporate her works with dance, acrobatics and video. Her chamber opera The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold out audiences. Other productions were by Goat Hall Productions in San Francisco, Fort Worth Opera's Frontiers Festival, and New Fangled Opera in New Orleans. Her chamber orchestra work Spirals was premiered at the Darmstadt Music Festival (1996) and had a subsequent performance by the Vancouver Symphony Orchestra. The Penderecki String Quartet gave the US Premiere of midaregami, her work for string quartet and mezzo-soprano at REDCAT Theater in Los Angeles and was performed by the Opium Quartet at the Céret Music Festival. Language of the Birds, a commission for the 25th Anniversary of the San Francisco Choral Artists and the Alexander String Quartet, using text by the poet Lawrence Ferlinghetti, was premiered in 2011 in San Francisco and released on CD with Foghorn Classics. Analemma for chamber orchestra was an official selection of the US for the 2012 World Music Days in Belgium. Recent premières have included: her solo piano pieces UN-intermezzi, performed and recorded by pianist Aron Kallay with subsequent performances by Steven Vanhauwaert at the Amigos De Música de São Lourenço in Almancil Portugal, a new work for harpsichord solo l'ombre du luth (shadow of the lute) for Gloria Cheng for Piano Spheres, and a song cycle The Alchemist's Suite for bass-baritone Nicholas Isherwood and Sillages for 4 double basses on the Los Angeles Philharmonic's Chamber Music Series at Disney Hall in Los Angeles, and a Piano Spheres commission for pianist Steven Vanhauwaert at REDCAT in June 2015. She is one of six composers involved in The Industry's new mobile opera project Hopscotch, the first mobile opera premiering in Los Angeles October 31, 2015. Of Lithuanian heritage, she was born in Australia and raised in Canada. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC. She is currently a Professor in the Composition Department at the Thornton School of Music, on the advisory council of Jacaranda Music and People Inside Electronics, an associate artist with The Industry, and a pre-concert lecturer at the Los Angeles Philharmonic. http://www.veronikakrausas.com/

VERONIKA KRAUSAS The works of composer VERONIKA KRAUSAS are performed throughout Europe and North America, where she is recognized for her innovative use of dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera "Something novel this way comes." Since 1998 Krausas has directed, composed for, and produced multi-media events in Los Angeles that incorporate her works with dance, acrobatics and video. Her chamber opera The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold out audiences. Other productions were by Goat Hall Productions in San Francisco, Fort Worth Opera's Frontiers Festival, and New Fangled Opera in New Orleans. Her chamber orchestra work Spirals was premiered at the Darmstadt Music Festival (1996) and had a subsequent performance by the Vancouver Symphony Orchestra. The Penderecki String Quartet gave the US Premiere of midaregami, her work for string quartet and mezzo-soprano at REDCAT Theater in Los Angeles and was performed by the Opium Quartet at the Céret Music Festival. Language of the Birds, a commission for the 25th Anniversary of the San Francisco Choral Artists and the Alexander String Quartet, using text by the poet Lawrence Ferlinghetti, was premiered in 2011 in San Francisco and released on CD with Foghorn Classics. Analemma for chamber orchestra was an official selection of the US for the 2012 World Music Days in Belgium. Recent premières have included: her solo piano pieces UN-intermezzi, performed and recorded by pianist Aron Kallay with subsequent performances by Steven Vanhauwaert at the Amigos De Música de São Lourenço in Almancil Portugal, a new work for harpsichord solo l'ombre du luth (shadow of the lute) for Gloria Cheng for Piano Spheres, and a song cycle The Alchemist's Suite for bass-baritone Nicholas Isherwood and Sillages for 4 double basses on the Los Angeles Philharmonic's Chamber Music Series at Disney Hall in Los Angeles, and a Piano Spheres commission for pianist Steven Vanhauwaert at REDCAT in June 2015. She is one of six composers involved in The Industry's new mobile opera project Hopscotch, the first mobile opera premiering in Los Angeles October 31, 2015. Of Lithuanian heritage, she was born in Australia and raised in Canada. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC. She is currently a Professor in the Composition Department at the Thornton School of Music, on the advisory council of Jacaranda Music and People Inside Electronics, an associate artist with The Industry, and a pre-concert lecturer at the Los Angeles Philharmonic. http://www.veronikakrausas.com/

Refik Anadol sculpts with data, not stone. When he frets about permanence, he is not concerned about the effects of wind and rain on his structures, but whether his algorithms and data sources will continue to be relevant as things change around them. Refik is foremost of a new generation of 21st century artists that have begun to creatively interpret a data-driven world, using its native protocols. Originally from Istanbul but educated at UCLA, he is best known for his recent collaborations with Frank Gehry, Microsoft and the LA Philharmonic to stage an immersive orchestral performance that projection mapped the inside of the Disney Hall, based on real time musical data and the live movements of the conductor. I visited Refik in his new studio in Silverlake where we talked about computation in art, the challenge of designing algorithms that stand the test of time, the beauty of a hundred years of seismic data, and how one might make emotions visually manifest with a little help from a 48 channel EEG and a team of neuroscientists.

Refik Anadol sculpts with data, not stone. When he frets about permanence, he is not concerned about the effects of wind and rain on his structures, but whether his algorithms and data sources will continue to be relevant as things change around them. Refik is foremost of a new generation of 21st century artists that have begun to creatively interpret a data-driven world, using its native protocols. Originally from Istanbul but educated at UCLA, he is best known for his recent collaborations with Frank Gehry, Microsoft and the LA Philharmonic to stage an immersive orchestral performance that projection mapped the inside of the Disney Hall, based on real time musical data and the live movements of the conductor. I visited Refik in his new studio in Silverlake where we talked about computation in art, the challenge of designing algorithms that stand the test of time, the beauty of a hundred years of seismic data, and how one might make emotions visually manifest with a little help from a 48 channel EEG and a team of neuroscientists.

A hammer tap to the bridge — light as a dried pea — helps Curtin capture an acoustic instrument’s sound signature. In music, everything seems to have another digital life. Pianists can play with different voicings on an electric keyboard. Guitarists can filter their instrument’s signal through a pedal or amp to create various effects. Why shouldn’t violinists be able to digitally harness the sound of a Stradivarius? For starters, it takes an incredible feat of engineering to make an authentic-sounding digital violin. Radio reporter (and violinist!) David Schulman takes us to visit a top violinmaker who has been working with a physicist and two engineers to create a prototype digital violin. Inside the Episode: Scientists say the violin is one of the hardest instruments to mimic. But MacArthur Award-winning violin maker Joseph Curtin has been working for several years with physicist Gabi Weinreich, along with sound engineer John Bell and industrial designer Alex Sobolev, to create a digital violin. They say its sound will be hard to tell from a recording of a Strad. Data from 12 different locations let violinmaker Joseph Curtin digitize a violin’s sonic fingerprint. Joseph Curtin and Alex Sobolev with prototypes of the digital violin Joseph Curtin’s workbench, where he carves, builds and varnishes his acoustic instruments. Closeup of some of the pigments and syses used in varnishes for finishing acoustic instruments. Convolution Reverb samples: David Schulman plays an acoustic violin by Joseph Curtin in his workshop in Ann Arbor, Michigan The same audio, played through a digital sound map of LA’s Disney Hall captured by sound designer Peter Steinbach The same audio, played through a digital sound map of Alcatraz prison, captured by sound designer Peter Steinbach The same audio, played through a digital sound map of Egypt’s Giza Pyramid captured by sound designer Peter Steinbach — Bonus — Meet David Schulman, the reporter of this story: PRX was able to ask producer/reporter David Schulman about his experience making this audio story. He says, “The chance to do this piece brought together several things I am deeply fascinated by — music, violins, sound-rich audio storytelling, and the nature of creativity & discovery.” Something that didn’t make the final cut of the story, which sheds more light on why a digital Stradivarius is so difficult to engineer, is “Weinreich’s research has shown that a violin’s sound is in fact deeply varied in the spatial dimension, and that, with each note, the physical power and direction of the overtones changes widely  — one likely reason why it’s hard to actually record an acoustic violin well.” On convolution, the name of the technology developed for the digital Strad, David says, “With it’s potential for alternate aural realities, [convolution] is a richly metaphorical area for scientists, artists and storytellers […] Imagine a situation in which  convolution impulse maps are the most vivid documentation remaining of a ransacked temple, or a lost Stradivarius.” While he was gathering tape and doing interviews, David tells us that he was even able to play some of Curtin’s instruments, an added bonus for someone who is a musician on top of being a radio producer. Still, such an idyllic experience still was not without its challenges: “The central challenge of the piece involved using demos to link several rich — though rather technical — ideas,and to arrive at a final comparison where you’d hear the digital Strad and an actual Strad, side by side.” — This episode was reported and produced by David Schulman in 2013 for PRX’S STEM Story Project. It was hosted for this episode of Transistor by Genevieve Sponsler and mixed by Erika Lantz. Photos: David Schulman

The Amateur Traveler talks to Eric Schwartzman (author, educator and podcaster) about his hometown of Los Angeles. In this second part of a two part series of episodes Eric will give us the last two days of his sample itineraries for 4 days in the Los Angeles area. In this insider’s look at LA Eric points out the cafes, coffee shops, restaurants, hotels and movie locations that he thinks you should know about.Day 3: Hollywood – Sunset Strip, Grauman’s Chinese Theater, Roosevelt, L.A.’s best chili dog, Academy Awards theater, Sunset Grill, Hollywood Cemetary and more.Day 4: Downtown – Chinatown for dim sum, Olvera St. for Mole, Union Station for breathtaking Mission Architecture, Santee Alley and Los Angeles St. for discount children’s formal wear, Disney Hall for magnificent modern architecture and Our Lady of Angels Catholic Church.

The Amateur Traveler talks to Eric Schwartzman (author, educator and podcaster) about his hometown of Los Angeles. In this second part of a two part series of episodes Eric will give us the last two days of his sample itineraries for 4 days in the Los Angeles area. In this insider’s look at LA Eric points out the cafes, coffee shops, restaurants, hotels and movie locations that he thinks you should know about.Day 3: Hollywood – Sunset Strip, Grauman’s Chinese Theater, Roosevelt, L.A.’s best chili dog, Academy Awards theater, Sunset Grill, Hollywood Cemetary and more.Day 4: Downtown – Chinatown for dim sum, Olvera St. for Mole, Union Station for breathtaking Mission Architecture, Santee Alley and Los Angeles St. for discount children’s formal wear, Disney Hall for magnificent modern architecture and Our Lady of Angels Catholic Church.

The Amateur Traveler talks to Eric Schwartzman (author, educator and podcaster) about his hometown of Los Angeles. In this second part of a two part series of episodes Eric will give us the last two days of his sample itineraries for 4 days in the Los Angeles area. In this insider’s look at LA Eric points out the cafes, coffee shops, restaurants, hotels and movie locations that he thinks you should know about.Day 3: Hollywood – Sunset Strip, Grauman’s Chinese Theater, Roosevelt, L.A.’s best chili dog, Academy Awards theater, Sunset Grill, Hollywood Cemetary and more.Day 4: Downtown – Chinatown for dim sum, Olvera St. for Mole, Union Station for breathtaking Mission Architecture, Santee Alley and Los Angeles St. for discount children’s formal wear, Disney Hall for magnificent modern architecture and Our Lady of Angels Catholic Church.

The Amateur Traveler talks to Eric Schwartzman (author, educator and podcaster) about his hometown of Los Angeles. In this second part of a two part series of episodes Eric will give us the last two days of his sample itineraries for 4 days in the Los Angeles area. In this insider’s look at LA Eric points out the cafes, coffee shops, restaurants, hotels and movie locations that he thinks you should know about.Day 3: Hollywood – Sunset Strip, Grauman’s Chinese Theater, Roosevelt, L.A.’s best chili dog, Academy Awards theater, Sunset Grill, Hollywood Cemetary and more.Day 4: Downtown – Chinatown for dim sum, Olvera St. for Mole, Union Station for breathtaking Mission Architecture, Santee Alley and Los Angeles St. for discount children’s formal wear, Disney Hall for magnificent modern architecture and Our Lady of Angels Catholic Church.