Podcasts about eastman school

Lost At Christmas: Part 2 A vulnerable confrontation with an old crush. Based on a post by Tx Tall Tales, in 2 parts. Listen to the Podcast at My First time. Christmas What had started out with the potential for so much disappointment, my first Christmas away from home, was actually quite wonderful. The family embraced me and treated me as one of their own. Dinner was scrumptious, a Christmas ham, with the full complement of side dishes. After dinner we chatted, drank a little too much spiked eggnog, and told stories of the last few years. I sat close to Sheri when I could, beside her at the dinner table, and next to her on the couch while we had our eggnog. I tried to engage her in some quiet conversation of our own, but the setting was all wrong for that, and I eventually abandoned those attempts. It was nice enough just to be near her. Tommy's step-father Dave, insisted I call Santiago, even though I knew the price would be outrageous, and I did. I gave my family my Christmas wishes, and told them how much I missed them and was looking forward to seeing them in a couple of days. Everyone in the room took a minute to say hello and share season's greetings. I had to spend a few minutes trying to get my Mom to stop crying at the far end, before we finally were able to hang-up. The small ones had to go to bed relatively early, and so we all got to open one gift the night before, as was their tradition. I gave Tommy his gift, and his mother opened the family gift and everyone acted pleased. In turn, they had bought me a present which I opened. It was two books for the trip, and they had a card for me. Inside was $50. I was completely in shock. "Dear Steve, Your short visit was a wonderful Christmas gift to us all. Thanks so much for choosing to spend this Christmas with us. Here's some mad money for the trip home. We all love you. Dave, June, Robert, Sheri, John and Jean" I was deeply touched by the gesture. I went over and gave Tommy's Mom a big hug, thanking her for the card and books. The kids jumped up with presents of their own, and I got two new drawings for my dorm room, as well as some mystery invention from John, which was supposed to be a spy tool to stop people from breaking into my room. I thanked them profusely, and they were put to bed shortly after. Dave, Tommy and I discussed the logistics of my morning bus ride back to Charleston. It left at 7:30 am, but was only about 15 minutes away, so we figured on getting a 7:00am start. We relaxed around the fire, ruminating on the poor souls who had the job of driving that bus all day Christmas day. There was a guitar in the corner, Greg's. I was surprised he hadn't taken it with him. I went over and grabbed it, and finding it miserably out of tune, I tuned it up. "Play something Christmassy", Tommy's Mom asked, and so I played a couple of tunes. I'm a fair guitarist; I was studying guitar at the Eastman School of Music since it was convenient, and ROTC was picking up the tab, and had improved quite a bit from the days of our first band. I got rave reviews from my small audience, and took requests for a while, before we broke it up. The parents still had some work to do for the kids, and Tommy and I wanted to hit the hay early, in order to catch that 7:30 bus. More hugs and kisses all around, with a firm handshake for Dave, and I retired to my room to finish my packing. I got ready for bed, dressed in boxers and a t-shirt, laid out my clothes for the morning, and completed my packing. I had one last thing I wanted to do before hitting the sack, so I went back into the bathroom, and knocked on the opposite door into Sheri's room. I heard a muffled "Come in" or something to that effect, and opened the door to find Sheri sitting up in bed, brushing her long blonde hair. She was dressed in a nearly see-through pale green nightie that took my breath away. "Hi." I felt incredibly awkward, like I was 16 all over again. She looked up at me, giving me a quizzically upraised eyebrow. "I had a gift for you, but I felt kind of silly giving it to you out there. I hope you don't mind that I waited until now." I handed her a small leather pouch. She took it, laying her brush to the side, and opened it, pulling out a small cross. She stretched out the cord, and looked at me in surprise. "But this is your mountain cross! You always wear this!" She said, looking at me with a strange look I couldn't quite fathom. The cross was one I had found mountain climbing several years earlier. I had been in a small accident. I'd fallen into a glacier fed stream on a mountain trip, while collecting firewood in a storm. I'd almost frozen before I'd made it back to the cabin. Literally. I thought I was going to die. I was staggering the last 20 feet to the building, in a daze, when a friend returning from the outhouse ran into me, and dragged me inside to warm up. The next morning I found a small ivory cross on a rotted leather lanyard at almost the very place I had climbed out of the stream, and I had worn it for years since then. Sheri knew the story. I had told her the whole thing one evening when I had been giving her driving lessons. I don't know what had motivated me to give it to her, but I had had this urge, and I've always been a pretty impetuous person. "I just want you to have it." I explained. She patted the bed beside her for me to sit down then she handed me the cross to put around her neck and turned her back to me. I passed my hands over the head, letting the cross dangle in the valley between her breasts, and she reached back and pulled her hair up and out of the way, so I could latch the necklace on her. When I was done she turned to me, and fingering the cross she thanked me. "I got the strangest call today." She told me. "Strange how?" I asked. "Kathryn called me. We haven't talked probably in over a year, but she called me out of the blue, and we talked about nothing but you for over an hour." She said with a teasing smile. I could feel my face burning from the blush. We were real quiet for a bit. Then she spoke up softly, not looking at me at all, just looking down at her hands. "Do you remember the skating party where you asked me to skate, like 5 times?" "Do I ever! My hand was so sweaty I was embarrassed to hold yours, but didn't know how to dry it off, and I wasn't good enough a skater to make a real dance out of it." I laughed. "I thought you liked me, and were going to ask me out, but you never did. Why not?" She asked. The memory was embarrassing, and I thought about it a bit before confessing. "I had skated with Kathryn earlier in the evening, and she asked me who I liked. I told her I would answer by the end of the evening. Later, just when I was trying to get the nerve up to skate with you again, and ask you to sit by me on the Pensacola bus trip, Jack found me and told me that I had better ask Kathryn to skate. She was waiting for me to tell her something. Well, I did ask her to skate, and she reminded me of our previous conversation. I admitted that I really liked two people, you and her. Then she asked me if I minded if she 'monopolized' me for a while. I went along. You know the rest. One out-of-town bus trip; one back-row of the movie; and me completely screwing everything up." She listened without showing too much surprise. "But how come you never tried anything after that?" "God! How could I? You knew everything that had happened. Don't you remember the time I stopped by when Net was over here spending the night. Every time I passed you guys, you seemed to be laughing at me. And then when you passed me in the hall and whispered, "Oooh, I Love You," teasing me with what I'd said to Kathryn before completely blowing her off, I was just devastated. I hadn't screwed up just the one chance, but you as well." Sheri had the grace to blush from embarrassment at that. "I really didn't know much of what was going on. Kathryn just told me to go up to you and say that. I'm sorry." "Not half as sorry as I was." I told her. "You had to know how much I liked you. I was always trying to be around you and do things with you." "I didn't know how much of that was just being Tommy's sister, or what. I kept waiting for you to try something, anything, but you never did." She looked at me intensely almost with anguish. I was 16 all over again. I was still embarrassed over my ineptness around women. I had screwed things up with Kathryn. I had screwed up with Teri. And I had screwed up with Sheri. Since then I'd had more than my share of success with the young women I'd known, but all of a sudden, it was like I was a clumsy, scared virgin all over again. Sheri looked at me for a long while, then finally sighed and looked away, picking up her brush and going back to brushing her hair. "Some things will never change, I guess," she muttered, ignoring me. I started to get up, to go to my room, knowing this was neither the time, nor the place to try to start something with Sheri, but I just couldn't leave things as they were. I reached out and took the brush from her, which she relinquished slowly. I then took her by the shoulders and turned her away from me, so I could brush her hair. I brushed her hair in silence for a bit, before speaking. "For at least a year after leaving here, I would dream about you all the time. You were the girl of my fantasies. We wrote so well for a while, and I kept all your letters, reading them over and over again, looking for hidden meaning in the words, wondering if I'd ever get a chance to be with you. I still have those letters." I confessed. Several long seconds later Sheri reached down to the bottom drawer of her chest, next to the bed and opened it. She reached under her sweaters, and pulled out a pile of letters held together with a rubber-band. I recognized my writing. She turned to look at me, and her eyes glistened. I dropped the brush, leaned over and nervously kissed her, hoping beyond hope she wouldn't throw me out of her room with a ruckus. Instead she turned, and returned my kiss with a depth and passion I could only have prayed for. When we broke apart, we just looked at each other. Suddenly I couldn't help but giggle. "What?" She asked, almost crossly. "Do you remember how you thought you'd get pregnant from French kissing?" I recalled. She blushed again. "I can't believe you still remember that, you beast. How did you find that out anyway?" "Kathryn told me on the bus trip. I think she was trying to make you seem naive to me, sort of solidify her hold on me." I told her. "That Bitch! She always denied it, but I couldn't think of anyone else who knew." We laughed a bit, and gradually fell back into kissing each other. At the next break in our kissing, Sheri nailed me again. "Tommy said you did it with Angela. Was she your first?" "No. I never did do it with her. And Colleen was my first." I admitted. "Colleen? From yearbook?" "Yeah. But not until a year later. She went to Mosley with me, and we hooked up at a party. It was weird and nothing much happened of it. Three weeks later I was headed to Chile." I told her. She just shook her head at me. "Since it's time for true confessions, who was your first?" I asked teasing. "Rich? Mike?" "Oh God, no!" she laughed. "Then who?" She never answered, just turned a bright red. "Come on, fair's fair. I told you." I urged her relentlessly. She mumbled something I couldn't make out. "I can't hear you, who was it?" I teased again. She looked up, almost fiercely. "Nobody, all right?" I was stunned, and the ensuing silence seemed endless. "You're kidding me." I finally said, hardly believing. Her answer was so soft I almost missed it. "At one time I thought you'd be my first." This time when we kissed, I allowed my hands to wander, throwing caution to the wind. I cupped her perfect young breast in my hand, letting my thumb brush across her nipple, getting it hard. We were both gasping when we broke apart. "Steve?" "Yes?" "Go close your door, and turn off your light, then turn off the light in the bathroom," she said softly. I did, and she had turned down the light in her room. She was lying in the bed, the covers folded down neatly, waiting for me. She was still in her nightie. I stood beside the bed and made my commitment. I removed my shirt, and then my shorts, sporting a huge hard-on, which she stared at in wonder. I climbed into her bed completely naked. She had been laying sideways, leaning on her elbow, but as I entered the bed, she rolled onto her back, lying down, waiting for me. She was achingly beautiful in the dim light, and I was afraid I was going to come on the spot if she even touched me. I leaned over her and kissed her, but this time the kiss never stopped. I lost my soul in that kiss. I lost all track of time and presence. Our mouths stayed connected as we explored and played with our tongues, and my hands embarked on their exploration of the wonders of her body. My hands touched her all over, before finally settling in the warm crease between her legs. She had panties on, and as my fingers rubbed up and down her hidden folds, I found a small wet spot, maybe the size of a dime slowly spreading. Once I was aggressively rubbing her, sliding the material up and down, half-an inch into her by this time, the wetness enveloped the entire area. I slid my hand less than a foot up her body, and let my finger tips creep under the band of her panties. My hand slid down, the soft down of her hair like a magical lure, the gentle pressure of her panties against the back of my hand trapping me. Our kiss finally broke, and from an inch away we looked into each other's eyes as I slowly slid my middle finger between those forbidden lips, and into her. The aroma of her need assaulted me, and the quiet squish of her wetness against my finger was the ultimate aphrodisiac. I was engulfed with desire. I started to crawl over her, placing my knee between hers when she stopped me. "Wait." Then she raised her hips, and scrunched down, raised her knees, moments later passing me a small, but incredibly erotic piece of plain, white material. I was beyond reason, and I climbed between her legs. She spread them for me, seeming as eager as I. I grabbed my throbbing rod in hand, and by feel, rubbed the head up and down her moistness, adding pressure bit by bit, until I felt it settle in at the mouth of her pussy. She gave a small gasp, as the head slid in just a bit, not quite in her yet, but knowing that I was one small push from being inside. "Be gentle," she said, and I could see a hint of nervousness and fear in her eyes. I leaned over and kissed her softly, and while our lips touched, I pushed, sinking into her. At least for a bit. About halfway in I hit a barrier. I was confused at first. I pulled back and pushed again, a little harder, thinking I was sticking, and she grunted a little as if in pain. It finally sunk in. I had been with plenty of women, and several who had claimed to be virgins, but none with their cherry intact. I wasn't sure what to do. I probed again, and this time elicited a small 'ow'. What was I to do? I lay on top of her, my cock buried four inches deep in the girls of my dreams, and I was at a complete loss. Sheri shifted a bit under me, wrapped her legs around mine, and pulled me close. She whispered into my ear. "Take me." It was the sexiest thing I'd ever heard. Nervously I pulled back until I was just at the opening and I drove down hard, feeling just a pinch before my pelvis was grinding into hers. I was completely inside her. I got up on my elbows and looked down at her. I could see a single wet trail that glistened from the side of her eye to her ear. "Are you ok?" I asked her, holding myself still, deep inside of her. "Wonderful," she said softly, tilting her chin up slightly for a kiss. I accepted the offer, and kissed her gently, while I experimented with moving my cock within her incredibly tight sheath. I felt I was only moments from coming, but I couldn't resist moving my hips just a bit, exploring the feeling of being inside her. I leaned down and whispered in her ear. "I always wanted you. You knew it. I knew it. But I was afraid. I was afraid of the ribbing from your brother. Afraid of being exposed for knowing nothing about what to do with a girl. Afraid of ruining our friendship. Afraid of striking out, and you telling all the other girls, and my being the laughingstock. Afraid of so many stupid things. I was an idiot." "You weren't afraid of Kathryn," she answered softly. "She initiated it all. She pushed forward, asking to monopolize me, holding my hand. I probably never would have made the move. If I could change one thing, it would be that skating party. I should have saved that last moonlight skate for you, and asked you out. I should have told Kathryn that you were the one girl I was interested in. Who knows how things might have worked out? Plus, it wasn't as big a deal. If things didn't work out, oh well. But if I ruined things with you, it would have killed all my dreams." She was hot beneath me, her skin almost burning to my touch, I was finally moving inside of her, but I quickly had to stop, again on the verge of coming, and embarrassed at my short trigger. "Make love to me Steve," she said breathlessly. I gave a few more strokes and had to stop again. "Don't stop," she pleaded. "I'm sorry, I'm so excited I'm on the verge of coming now. If I move I won't be able to stop," I finally confessed. "Do it. Pump me, take me, come deep inside me," she answered. Those words were too much, and with a gasp I drove my cock in hard, and exploded inside her. I pulled back and slammed into her a dozen times or so, making the bed creak alarmingly as I emptied myself inside her virgin moistness. As my heart hammer away in my chest, and my breathing gasped, she gave me a small joyous laugh. "Wow, I guess you were close!" Then she gave a big hug before she pushed me off of her. She climbed over me, her hand pressed between her legs and scrambled into the bathroom, waddling inelegantly but still incredibly arousing to me. I heard her tinkle, and then return to the bed with a facecloth with which she wiped my semi-hard cock clean. Then she climbed into bed, her head on my shoulder and talked. She recounted almost ever time that we'd been together alone, all the adventures we'd had, the summer we'd learned to play tennis together, and what she'd thought might happen. We laughed a little at my ineptness and her caution as well. Then I felt her hand creep down between my legs. "Do you think we could try that again?" she asked me hesitantly. "I'm dying to, but I was afraid I might have hurt you." I laughed my foolish insecure laugh. "So hurt me," she teased, giving a tug on my cock. This time I held out a little better. I climbed between her legs again, and made love to her, still gently, still nervous. But before long I was feeling that familiar rhythm of need, and my strokes became longer and more insistent. I had to have her. I had to take her. I had to fill her deeply, completely. I sat up in the bed, discarding the covers, and raised her legs, pushing them back, and screwing her powerfully, shaking her body, crashing into her with a burning need. She was still wearing her nightie, but it had ridden up above her belly button, just a couple of inches below her breasts. I stopped my motion and whispered to her, "Rise up on your elbows." She looked at me oddly but did, raising her head a few inches off the pillow. I leaned over and lifted her nightie up above her breast, allowing me to see the objects of my desire and fantasies. "God, I've pictured those in my mind for four years, and yet never came close to imagining how perfect and beautiful they are." I said, more to myself than to her. I resumed my fucking, for that was what I was doing now, fucking her. Fucking her hard. She had her bottom lip captured between her teeth, and now she was holding her nightie in her hands, almost to her chin, allowing me an uninterrupted view of her oh-so-perfect tits. The visuals were all too much and pushed me over the edge once again. The beautiful face, the long hair arrayed across the pillow, the full breasts, bouncing a counter-beat to my pounding, her flat stomach, hollowed, and the light fur of her hair parted to allow my pole to penetrate her again and again. With a moan I came for her again, collapsing beside her, sated, and in complete serenity and joy. "I guess you really do like me," she laughed, cuddling up to my side. Then she was asking me about my afternoon meeting with Kathryn. "What did she tell you?" I asked, a little nervous. "No, you tell me what happened. I don't trust her," she insisted. I told her the whole story, including the ending. In full short-but-sweet detail. "I knew it!" She laughed. "She said you tried to come on to her, and made her grab you there, but she turned you down." "If that's how she wants to tell it that's fine by me. I owe her one; let her have it however she wants." I said "When you went to the movies, what really happened there?" she asked, with her one-track mind. I wasn't sure what her preoccupation was but I finally told her the whole scene, everything I'd done, every liberty I'd taken. At the end I waited in judgment. "She's such a liar. She said you tried to reach inside her pants but she stopped you." "Hardly, I could smell her on my fingers for day afterwards." I laughed. Sheri was lost in thought pressed up against me. My hands were idling rubbing her back, the material of her nightie soft and silky against my fingertips. "I guess there's only one thing she's done with you that we haven't done," Sheri started, and then she slid under the covers and a moment later I felt the warm wetness of her mouth enveloping me. I could see the covers moving as she used her mouth to pleasure me, taking only a few moments to make me hard, and then sucking me like there was no tomorrow. Which, in a way I guess there wasn't. I wanted to see her, so I pulled the covers back and looked down at her. She continued a few more strokes, then shifted and faced me a little more, finally lifting her eyes to watch me, watching her, suck my cock. A few more deep strokes and she pulled off with a smile. "I can see that's one thing you like," she said with a grin. "Like is an understatement." I laughed. She gave me a couple more sucks, and then she straddled me, and rose up to take me inside of her again. I wanted her so bad I could almost scream. She got me positioned right, and then slowly lowered herself the full length of my staff with one long, smooth stroke. Then, settled on my hips, my turgid meat buried in her achingly tight recess, she lifted the bottom of her nightie and pulled it up and over her head. I'd been to several strip shows before that, but never in my life had I seen anything so beautiful or so erotic. I could feel my pulse in my cock, throbbing inside her. She opened her eyes wide, and looked down between her legs. "Wow, I could feel that. At least one part of you really likes to see the girls," she laughed, holding her breasts cupped in her hands, and jiggling them for me. "You are the most beautiful thing I've ever seen." I told her. "Right, and now I guess you're going to tell me you love me, just like Kathryn." She said it with a hint of bitterness I didn't understand. "The difference is back then it was the hormones of a 16 year old talking. You on the other hand, I've loved for three years. And you know it." I said, and only as I spoke the words did I realize to my very soul, just how true it was. Sheri didn't answer. She leaned forward and rocked back and forth on my hard cock, enjoying the feeling of controlling the penetration, the pace, the timing. She paced herself to my breathing and excitement. When I started to get really excited she'd slow down and hold me, letting me ease back from the edge. When I was strong and ready, she'd ride me hard. She let my hands explore her as she did the work, and I touched her everywhere I could reach, just wallowing in the sensations. I pulled her down within reach, and tasted her nipples, playing with those perfect globes. The feel of her breasts, that impossible soft pale skin under my lips, making way to the crinkled, tougher skin, peaking to a little nub seemingly designed for me to tease and taste. Finally, after what seemed an eternity of sensual, erotic play, she laid down on me, her breasts pressed against my chest, her mouth on my neck, while she slowly rocked her hips, fucking herself gently on my rod. "Come for me Steve," she said, almost as a command. I reached down and took her full, soft ass cheeks in my hands, grasping them tight, and I held her up a bit off of me, so I could us my hips to drive in and out of her channel more completely. I was able to get a good long stroke established, and I could feel the cool air brushing against my wet shaft each time I pulled outward. We had made love for what seemed ages before she issued that first command for me to come. Now she issued another one. "Tell me again." I couldn't hold back any longer, and didn't want to. I was fucking the prettiest girl I'd ever known; The first girl that I had really badly wanted; The sweet little virgin that I had fantasized about for so long; Whose pretty face had been the image I'd been picturing as I filled enough old gym socks with cum to fill a stadium. "I love you, Sheri. I've loved you as long as I've known you." And with that I pulled her down hard on my cock, coming inside my dream girl again, and absorbing the feeling, knowing I was leaving within hours, not knowing when I'd see her again. "I love you, Steve," she said, I could feel her tears rolling down the side of my face. I looked up to see the sky lightening with the coming dawn, and thought to myself, "That's another one you've got up on Kathryn." I disentangled myself from her limbs and kissed her. "I have to go. Tommy's going to be looking for me any minute." Somehow we had spent the entire night reminiscing, sharing and making love. It was so difficult, but I tore myself from her arms, tucked her in bed, and kissed her goodnight. "Get a couple of hours of sleep; I'll be able to sleep on the bus." I told her. She was still wearing the cross I'd given her. She held it now. "Thanks for the Christmas present." She said with a small sad smile. I kissed her again, and retreated to the bathroom for a quick shower and shave. Back in my room, I dressed, and found a present waiting for me on my suitcase. A 8 by 10 picture of Sheri, as beautiful as I'd ever seen her, with a small inscription on the back. "Merry Christmas. Don't forget about me. Love, Sheri" I had just finished putting it away when Tommy knocked on my door, dragging me out to breakfast, and then off to the bus. The rest of that trip was uneventful; I made it home OK, picked up some presents in Panama, saw some old friends, and made it back to college in one piece. But I'll always recall that first Christmas away from home, and the greatest Christmas present I ever received. Not my first erector set, or the 114 piece Lincoln Log tube. Not my first really Cool bicycle, a purple spider bike with banana seat, big handle bars and a three speed shifter on the bar. Not my first electric guitar, a Fender, and amp, which I think my parents had some second thoughts about. No, Sheri's was the nicest gift I ever received, and probably ever will receive, for Christmas. "Thanks" just doesn't seem to say enough. Based on a post by Tx Tall Tales, in 2 parts, for Literotica

Lost At Christmas: Part 2 A vulnerable confrontation with an old crush. Based on a post by Tx Tall Tales, in 2 parts. Listen to the Podcast at My First time. Christmas What had started out with the potential for so much disappointment, my first Christmas away from home, was actually quite wonderful. The family embraced me and treated me as one of their own. Dinner was scrumptious, a Christmas ham, with the full complement of side dishes. After dinner we chatted, drank a little too much spiked eggnog, and told stories of the last few years. I sat close to Sheri when I could, beside her at the dinner table, and next to her on the couch while we had our eggnog. I tried to engage her in some quiet conversation of our own, but the setting was all wrong for that, and I eventually abandoned those attempts. It was nice enough just to be near her. Tommy's step-father Dave, insisted I call Santiago, even though I knew the price would be outrageous, and I did. I gave my family my Christmas wishes, and told them how much I missed them and was looking forward to seeing them in a couple of days. Everyone in the room took a minute to say hello and share season's greetings. I had to spend a few minutes trying to get my Mom to stop crying at the far end, before we finally were able to hang-up. The small ones had to go to bed relatively early, and so we all got to open one gift the night before, as was their tradition. I gave Tommy his gift, and his mother opened the family gift and everyone acted pleased. In turn, they had bought me a present which I opened. It was two books for the trip, and they had a card for me. Inside was $50. I was completely in shock. "Dear Steve, Your short visit was a wonderful Christmas gift to us all. Thanks so much for choosing to spend this Christmas with us. Here's some mad money for the trip home. We all love you. Dave, June, Robert, Sheri, John and Jean" I was deeply touched by the gesture. I went over and gave Tommy's Mom a big hug, thanking her for the card and books. The kids jumped up with presents of their own, and I got two new drawings for my dorm room, as well as some mystery invention from John, which was supposed to be a spy tool to stop people from breaking into my room. I thanked them profusely, and they were put to bed shortly after. Dave, Tommy and I discussed the logistics of my morning bus ride back to Charleston. It left at 7:30 am, but was only about 15 minutes away, so we figured on getting a 7:00am start. We relaxed around the fire, ruminating on the poor souls who had the job of driving that bus all day Christmas day. There was a guitar in the corner, Greg's. I was surprised he hadn't taken it with him. I went over and grabbed it, and finding it miserably out of tune, I tuned it up. "Play something Christmassy", Tommy's Mom asked, and so I played a couple of tunes. I'm a fair guitarist; I was studying guitar at the Eastman School of Music since it was convenient, and ROTC was picking up the tab, and had improved quite a bit from the days of our first band. I got rave reviews from my small audience, and took requests for a while, before we broke it up. The parents still had some work to do for the kids, and Tommy and I wanted to hit the hay early, in order to catch that 7:30 bus. More hugs and kisses all around, with a firm handshake for Dave, and I retired to my room to finish my packing. I got ready for bed, dressed in boxers and a t-shirt, laid out my clothes for the morning, and completed my packing. I had one last thing I wanted to do before hitting the sack, so I went back into the bathroom, and knocked on the opposite door into Sheri's room. I heard a muffled "Come in" or something to that effect, and opened the door to find Sheri sitting up in bed, brushing her long blonde hair. She was dressed in a nearly see-through pale green nightie that took my breath away. "Hi." I felt incredibly awkward, like I was 16 all over again. She looked up at me, giving me a quizzically upraised eyebrow. "I had a gift for you, but I felt kind of silly giving it to you out there. I hope you don't mind that I waited until now." I handed her a small leather pouch. She took it, laying her brush to the side, and opened it, pulling out a small cross. She stretched out the cord, and looked at me in surprise. "But this is your mountain cross! You always wear this!" She said, looking at me with a strange look I couldn't quite fathom. The cross was one I had found mountain climbing several years earlier. I had been in a small accident. I'd fallen into a glacier fed stream on a mountain trip, while collecting firewood in a storm. I'd almost frozen before I'd made it back to the cabin. Literally. I thought I was going to die. I was staggering the last 20 feet to the building, in a daze, when a friend returning from the outhouse ran into me, and dragged me inside to warm up. The next morning I found a small ivory cross on a rotted leather lanyard at almost the very place I had climbed out of the stream, and I had worn it for years since then. Sheri knew the story. I had told her the whole thing one evening when I had been giving her driving lessons. I don't know what had motivated me to give it to her, but I had had this urge, and I've always been a pretty impetuous person. "I just want you to have it." I explained. She patted the bed beside her for me to sit down then she handed me the cross to put around her neck and turned her back to me. I passed my hands over the head, letting the cross dangle in the valley between her breasts, and she reached back and pulled her hair up and out of the way, so I could latch the necklace on her. When I was done she turned to me, and fingering the cross she thanked me. "I got the strangest call today." She told me. "Strange how?" I asked. "Kathryn called me. We haven't talked probably in over a year, but she called me out of the blue, and we talked about nothing but you for over an hour." She said with a teasing smile. I could feel my face burning from the blush. We were real quiet for a bit. Then she spoke up softly, not looking at me at all, just looking down at her hands. "Do you remember the skating party where you asked me to skate, like 5 times?" "Do I ever! My hand was so sweaty I was embarrassed to hold yours, but didn't know how to dry it off, and I wasn't good enough a skater to make a real dance out of it." I laughed. "I thought you liked me, and were going to ask me out, but you never did. Why not?" She asked. The memory was embarrassing, and I thought about it a bit before confessing. "I had skated with Kathryn earlier in the evening, and she asked me who I liked. I told her I would answer by the end of the evening. Later, just when I was trying to get the nerve up to skate with you again, and ask you to sit by me on the Pensacola bus trip, Jack found me and told me that I had better ask Kathryn to skate. She was waiting for me to tell her something. Well, I did ask her to skate, and she reminded me of our previous conversation. I admitted that I really liked two people, you and her. Then she asked me if I minded if she 'monopolized' me for a while. I went along. You know the rest. One out-of-town bus trip; one back-row of the movie; and me completely screwing everything up." She listened without showing too much surprise. "But how come you never tried anything after that?" "God! How could I? You knew everything that had happened. Don't you remember the time I stopped by when Net was over here spending the night. Every time I passed you guys, you seemed to be laughing at me. And then when you passed me in the hall and whispered, "Oooh, I Love You," teasing me with what I'd said to Kathryn before completely blowing her off, I was just devastated. I hadn't screwed up just the one chance, but you as well." Sheri had the grace to blush from embarrassment at that. "I really didn't know much of what was going on. Kathryn just told me to go up to you and say that. I'm sorry." "Not half as sorry as I was." I told her. "You had to know how much I liked you. I was always trying to be around you and do things with you." "I didn't know how much of that was just being Tommy's sister, or what. I kept waiting for you to try something, anything, but you never did." She looked at me intensely almost with anguish. I was 16 all over again. I was still embarrassed over my ineptness around women. I had screwed things up with Kathryn. I had screwed up with Teri. And I had screwed up with Sheri. Since then I'd had more than my share of success with the young women I'd known, but all of a sudden, it was like I was a clumsy, scared virgin all over again. Sheri looked at me for a long while, then finally sighed and looked away, picking up her brush and going back to brushing her hair. "Some things will never change, I guess," she muttered, ignoring me. I started to get up, to go to my room, knowing this was neither the time, nor the place to try to start something with Sheri, but I just couldn't leave things as they were. I reached out and took the brush from her, which she relinquished slowly. I then took her by the shoulders and turned her away from me, so I could brush her hair. I brushed her hair in silence for a bit, before speaking. "For at least a year after leaving here, I would dream about you all the time. You were the girl of my fantasies. We wrote so well for a while, and I kept all your letters, reading them over and over again, looking for hidden meaning in the words, wondering if I'd ever get a chance to be with you. I still have those letters." I confessed. Several long seconds later Sheri reached down to the bottom drawer of her chest, next to the bed and opened it. She reached under her sweaters, and pulled out a pile of letters held together with a rubber-band. I recognized my writing. She turned to look at me, and her eyes glistened. I dropped the brush, leaned over and nervously kissed her, hoping beyond hope she wouldn't throw me out of her room with a ruckus. Instead she turned, and returned my kiss with a depth and passion I could only have prayed for. When we broke apart, we just looked at each other. Suddenly I couldn't help but giggle. "What?" She asked, almost crossly. "Do you remember how you thought you'd get pregnant from French kissing?" I recalled. She blushed again. "I can't believe you still remember that, you beast. How did you find that out anyway?" "Kathryn told me on the bus trip. I think she was trying to make you seem naive to me, sort of solidify her hold on me." I told her. "That Bitch! She always denied it, but I couldn't think of anyone else who knew." We laughed a bit, and gradually fell back into kissing each other. At the next break in our kissing, Sheri nailed me again. "Tommy said you did it with Angela. Was she your first?" "No. I never did do it with her. And Colleen was my first." I admitted. "Colleen? From yearbook?" "Yeah. But not until a year later. She went to Mosley with me, and we hooked up at a party. It was weird and nothing much happened of it. Three weeks later I was headed to Chile." I told her. She just shook her head at me. "Since it's time for true confessions, who was your first?" I asked teasing. "Rich? Mike?" "Oh God, no!" she laughed. "Then who?" She never answered, just turned a bright red. "Come on, fair's fair. I told you." I urged her relentlessly. She mumbled something I couldn't make out. "I can't hear you, who was it?" I teased again. She looked up, almost fiercely. "Nobody, all right?" I was stunned, and the ensuing silence seemed endless. "You're kidding me." I finally said, hardly believing. Her answer was so soft I almost missed it. "At one time I thought you'd be my first." This time when we kissed, I allowed my hands to wander, throwing caution to the wind. I cupped her perfect young breast in my hand, letting my thumb brush across her nipple, getting it hard. We were both gasping when we broke apart. "Steve?" "Yes?" "Go close your door, and turn off your light, then turn off the light in the bathroom," she said softly. I did, and she had turned down the light in her room. She was lying in the bed, the covers folded down neatly, waiting for me. She was still in her nightie. I stood beside the bed and made my commitment. I removed my shirt, and then my shorts, sporting a huge hard-on, which she stared at in wonder. I climbed into her bed completely naked. She had been laying sideways, leaning on her elbow, but as I entered the bed, she rolled onto her back, lying down, waiting for me. She was achingly beautiful in the dim light, and I was afraid I was going to come on the spot if she even touched me. I leaned over her and kissed her, but this time the kiss never stopped. I lost my soul in that kiss. I lost all track of time and presence. Our mouths stayed connected as we explored and played with our tongues, and my hands embarked on their exploration of the wonders of her body. My hands touched her all over, before finally settling in the warm crease between her legs. She had panties on, and as my fingers rubbed up and down her hidden folds, I found a small wet spot, maybe the size of a dime slowly spreading. Once I was aggressively rubbing her, sliding the material up and down, half-an inch into her by this time, the wetness enveloped the entire area. I slid my hand less than a foot up her body, and let my finger tips creep under the band of her panties. My hand slid down, the soft down of her hair like a magical lure, the gentle pressure of her panties against the back of my hand trapping me. Our kiss finally broke, and from an inch away we looked into each other's eyes as I slowly slid my middle finger between those forbidden lips, and into her. The aroma of her need assaulted me, and the quiet squish of her wetness against my finger was the ultimate aphrodisiac. I was engulfed with desire. I started to crawl over her, placing my knee between hers when she stopped me. "Wait." Then she raised her hips, and scrunched down, raised her knees, moments later passing me a small, but incredibly erotic piece of plain, white material. I was beyond reason, and I climbed between her legs. She spread them for me, seeming as eager as I. I grabbed my throbbing rod in hand, and by feel, rubbed the head up and down her moistness, adding pressure bit by bit, until I felt it settle in at the mouth of her pussy. She gave a small gasp, as the head slid in just a bit, not quite in her yet, but knowing that I was one small push from being inside. "Be gentle," she said, and I could see a hint of nervousness and fear in her eyes. I leaned over and kissed her softly, and while our lips touched, I pushed, sinking into her. At least for a bit. About halfway in I hit a barrier. I was confused at first. I pulled back and pushed again, a little harder, thinking I was sticking, and she grunted a little as if in pain. It finally sunk in. I had been with plenty of women, and several who had claimed to be virgins, but none with their cherry intact. I wasn't sure what to do. I probed again, and this time elicited a small 'ow'. What was I to do? I lay on top of her, my cock buried four inches deep in the girls of my dreams, and I was at a complete loss. Sheri shifted a bit under me, wrapped her legs around mine, and pulled me close. She whispered into my ear. "Take me." It was the sexiest thing I'd ever heard. Nervously I pulled back until I was just at the opening and I drove down hard, feeling just a pinch before my pelvis was grinding into hers. I was completely inside her. I got up on my elbows and looked down at her. I could see a single wet trail that glistened from the side of her eye to her ear. "Are you ok?" I asked her, holding myself still, deep inside of her. "Wonderful," she said softly, tilting her chin up slightly for a kiss. I accepted the offer, and kissed her gently, while I experimented with moving my cock within her incredibly tight sheath. I felt I was only moments from coming, but I couldn't resist moving my hips just a bit, exploring the feeling of being inside her. I leaned down and whispered in her ear. "I always wanted you. You knew it. I knew it. But I was afraid. I was afraid of the ribbing from your brother. Afraid of being exposed for knowing nothing about what to do with a girl. Afraid of ruining our friendship. Afraid of striking out, and you telling all the other girls, and my being the laughingstock. Afraid of so many stupid things. I was an idiot." "You weren't afraid of Kathryn," she answered softly. "She initiated it all. She pushed forward, asking to monopolize me, holding my hand. I probably never would have made the move. If I could change one thing, it would be that skating party. I should have saved that last moonlight skate for you, and asked you out. I should have told Kathryn that you were the one girl I was interested in. Who knows how things might have worked out? Plus, it wasn't as big a deal. If things didn't work out, oh well. But if I ruined things with you, it would have killed all my dreams." She was hot beneath me, her skin almost burning to my touch, I was finally moving inside of her, but I quickly had to stop, again on the verge of coming, and embarrassed at my short trigger. "Make love to me Steve," she said breathlessly. I gave a few more strokes and had to stop again. "Don't stop," she pleaded. "I'm sorry, I'm so excited I'm on the verge of coming now. If I move I won't be able to stop," I finally confessed. "Do it. Pump me, take me, come deep inside me," she answered. Those words were too much, and with a gasp I drove my cock in hard, and exploded inside her. I pulled back and slammed into her a dozen times or so, making the bed creak alarmingly as I emptied myself inside her virgin moistness. As my heart hammer away in my chest, and my breathing gasped, she gave me a small joyous laugh. "Wow, I guess you were close!" Then she gave a big hug before she pushed me off of her. She climbed over me, her hand pressed between her legs and scrambled into the bathroom, waddling inelegantly but still incredibly arousing to me. I heard her tinkle, and then return to the bed with a facecloth with which she wiped my semi-hard cock clean. Then she climbed into bed, her head on my shoulder and talked. She recounted almost ever time that we'd been together alone, all the adventures we'd had, the summer we'd learned to play tennis together, and what she'd thought might happen. We laughed a little at my ineptness and her caution as well. Then I felt her hand creep down between my legs. "Do you think we could try that again?" she asked me hesitantly. "I'm dying to, but I was afraid I might have hurt you." I laughed my foolish insecure laugh. "So hurt me," she teased, giving a tug on my cock. This time I held out a little better. I climbed between her legs again, and made love to her, still gently, still nervous. But before long I was feeling that familiar rhythm of need, and my strokes became longer and more insistent. I had to have her. I had to take her. I had to fill her deeply, completely. I sat up in the bed, discarding the covers, and raised her legs, pushing them back, and screwing her powerfully, shaking her body, crashing into her with a burning need. She was still wearing her nightie, but it had ridden up above her belly button, just a couple of inches below her breasts. I stopped my motion and whispered to her, "Rise up on your elbows." She looked at me oddly but did, raising her head a few inches off the pillow. I leaned over and lifted her nightie up above her breast, allowing me to see the objects of my desire and fantasies. "God, I've pictured those in my mind for four years, and yet never came close to imagining how perfect and beautiful they are." I said, more to myself than to her. I resumed my fucking, for that was what I was doing now, fucking her. Fucking her hard. She had her bottom lip captured between her teeth, and now she was holding her nightie in her hands, almost to her chin, allowing me an uninterrupted view of her oh-so-perfect tits. The visuals were all too much and pushed me over the edge once again. The beautiful face, the long hair arrayed across the pillow, the full breasts, bouncing a counter-beat to my pounding, her flat stomach, hollowed, and the light fur of her hair parted to allow my pole to penetrate her again and again. With a moan I came for her again, collapsing beside her, sated, and in complete serenity and joy. "I guess you really do like me," she laughed, cuddling up to my side. Then she was asking me about my afternoon meeting with Kathryn. "What did she tell you?" I asked, a little nervous. "No, you tell me what happened. I don't trust her," she insisted. I told her the whole story, including the ending. In full short-but-sweet detail. "I knew it!" She laughed. "She said you tried to come on to her, and made her grab you there, but she turned you down." "If that's how she wants to tell it that's fine by me. I owe her one; let her have it however she wants." I said "When you went to the movies, what really happened there?" she asked, with her one-track mind. I wasn't sure what her preoccupation was but I finally told her the whole scene, everything I'd done, every liberty I'd taken. At the end I waited in judgment. "She's such a liar. She said you tried to reach inside her pants but she stopped you." "Hardly, I could smell her on my fingers for day afterwards." I laughed. Sheri was lost in thought pressed up against me. My hands were idling rubbing her back, the material of her nightie soft and silky against my fingertips. "I guess there's only one thing she's done with you that we haven't done," Sheri started, and then she slid under the covers and a moment later I felt the warm wetness of her mouth enveloping me. I could see the covers moving as she used her mouth to pleasure me, taking only a few moments to make me hard, and then sucking me like there was no tomorrow. Which, in a way I guess there wasn't. I wanted to see her, so I pulled the covers back and looked down at her. She continued a few more strokes, then shifted and faced me a little more, finally lifting her eyes to watch me, watching her, suck my cock. A few more deep strokes and she pulled off with a smile. "I can see that's one thing you like," she said with a grin. "Like is an understatement." I laughed. She gave me a couple more sucks, and then she straddled me, and rose up to take me inside of her again. I wanted her so bad I could almost scream. She got me positioned right, and then slowly lowered herself the full length of my staff with one long, smooth stroke. Then, settled on my hips, my turgid meat buried in her achingly tight recess, she lifted the bottom of her nightie and pulled it up and over her head. I'd been to several strip shows before that, but never in my life had I seen anything so beautiful or so erotic. I could feel my pulse in my cock, throbbing inside her. She opened her eyes wide, and looked down between her legs. "Wow, I could feel that. At least one part of you really likes to see the girls," she laughed, holding her breasts cupped in her hands, and jiggling them for me. "You are the most beautiful thing I've ever seen." I told her. "Right, and now I guess you're going to tell me you love me, just like Kathryn." She said it with a hint of bitterness I didn't understand. "The difference is back then it was the hormones of a 16 year old talking. You on the other hand, I've loved for three years. And you know it." I said, and only as I spoke the words did I realize to my very soul, just how true it was. Sheri didn't answer. She leaned forward and rocked back and forth on my hard cock, enjoying the feeling of controlling the penetration, the pace, the timing. She paced herself to my breathing and excitement. When I started to get really excited she'd slow down and hold me, letting me ease back from the edge. When I was strong and ready, she'd ride me hard. She let my hands explore her as she did the work, and I touched her everywhere I could reach, just wallowing in the sensations. I pulled her down within reach, and tasted her nipples, playing with those perfect globes. The feel of her breasts, that impossible soft pale skin under my lips, making way to the crinkled, tougher skin, peaking to a little nub seemingly designed for me to tease and taste. Finally, after what seemed an eternity of sensual, erotic play, she laid down on me, her breasts pressed against my chest, her mouth on my neck, while she slowly rocked her hips, fucking herself gently on my rod. "Come for me Steve," she said, almost as a command. I reached down and took her full, soft ass cheeks in my hands, grasping them tight, and I held her up a bit off of me, so I could us my hips to drive in and out of her channel more completely. I was able to get a good long stroke established, and I could feel the cool air brushing against my wet shaft each time I pulled outward. We had made love for what seemed ages before she issued that first command for me to come. Now she issued another one. "Tell me again." I couldn't hold back any longer, and didn't want to. I was fucking the prettiest girl I'd ever known; The first girl that I had really badly wanted; The sweet little virgin that I had fantasized about for so long; Whose pretty face had been the image I'd been picturing as I filled enough old gym socks with cum to fill a stadium. "I love you, Sheri. I've loved you as long as I've known you." And with that I pulled her down hard on my cock, coming inside my dream girl again, and absorbing the feeling, knowing I was leaving within hours, not knowing when I'd see her again. "I love you, Steve," she said, I could feel her tears rolling down the side of my face. I looked up to see the sky lightening with the coming dawn, and thought to myself, "That's another one you've got up on Kathryn." I disentangled myself from her limbs and kissed her. "I have to go. Tommy's going to be looking for me any minute." Somehow we had spent the entire night reminiscing, sharing and making love. It was so difficult, but I tore myself from her arms, tucked her in bed, and kissed her goodnight. "Get a couple of hours of sleep; I'll be able to sleep on the bus." I told her. She was still wearing the cross I'd given her. She held it now. "Thanks for the Christmas present." She said with a small sad smile. I kissed her again, and retreated to the bathroom for a quick shower and shave. Back in my room, I dressed, and found a present waiting for me on my suitcase. A 8 by 10 picture of Sheri, as beautiful as I'd ever seen her, with a small inscription on the back. "Merry Christmas. Don't forget about me. Love, Sheri" I had just finished putting it away when Tommy knocked on my door, dragging me out to breakfast, and then off to the bus. The rest of that trip was uneventful; I made it home OK, picked up some presents in Panama, saw some old friends, and made it back to college in one piece. But I'll always recall that first Christmas away from home, and the greatest Christmas present I ever received. Not my first erector set, or the 114 piece Lincoln Log tube. Not my first really Cool bicycle, a purple spider bike with banana seat, big handle bars and a three speed shifter on the bar. Not my first electric guitar, a Fender, and amp, which I think my parents had some second thoughts about. No, Sheri's was the nicest gift I ever received, and probably ever will receive, for Christmas. "Thanks" just doesn't seem to say enough. Based on a post by Tx Tall Tales, in 2 parts, for Literotica

In episode number one of SEASON 6 (!), we are joined by two remarkable figures in the world of music and cherished in the brass community: Chris Gekker and Eric Ewazen. Chris is a celebrated trumpet professor at the University of Maryland and has performed as a soloist at prestigious venues like Carnegie Hall. His rich career includes collaborations with many composers, showcasing his dedication to both performance and new works. Eric, a prolific composer and educator, has a long history of writing for brass instruments, with works performed worldwide. He has taught at Juilliard and has garnered numerous awards for his compositions.In this first part of our conversation, Chris and Eric share their memorable experiences from their time at the Eastman School of Music, where they first crossed paths. They discuss their early influences, the importance of collaboration, and the creative processes that shape their work. As Chris reflects about Eric's writing, "When he writes a piece, he creates a dialogue, and it's a very creative process."[Subscriber Content] In the second part, we dive deeper into their collaboration on various pieces, including the intricacies of composing and performing. They'll share insights about their teachers, including a few key lessons learned from significant figures in their musical journeys. Eric's experience with writer's block and their approach to revising works are enlightening. Chris notes concerning writing specifically for trumpet, "We're not babies. We can handle difficult music, but you need to give us a break," emphasizing the unique physical challenges trumpet players face. Stay tuned for their engaging discussions about the future of their collaborations and how their friendship continues to flourish through music.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Master guitarist and educator Nicholas Goluses joins WGTE for a conversation about his album, "Across the Horizon." In addition to his formidable solo performing career, Nicholas Goluses is Professor of Guitar at the Eastman School of Music at the University of Rochester. https://goluses.com/ https://www.albanyrecords.com/catalog/troy1992/

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Pilant, formerly of the Met, now with Utah Symphony.   About Julie: Julia Pilant is currently the acting 3rd horn for the Utah Symphony/Utah Opera, and a regular guest with the Los Angeles Chamber Orchestra horn section and the Chamber Music Society of Lincoln Center. Previously, she was the assistant principal horn for the Metropolitan Opera Orchestra for 14 years and a horn instructor for the Bard College Conservatory of Music for 16 years. Prior to holding those positions, she was the principal horn of the Syracuse Symphony Orchestra for 10 years. Ms. Pilant also freelanced for several decades in New York City and performed regularly with Orpheus Chamber Orchestra, Orchestra of St. Luke's, New York City Ballet, and numerous Broadway shows. She has played principal horn for the Saito Kinen/Ozawa and Tokyo Opera Nomori music festivals, the Mito Chamber Orchestra in Japan, and has participated in the Santa Fe Chamber, Affinis (Japan), Sarasota, Festival Napa Valley, Classical Tahoe, Strings, Mainly Mozart, and La Jolla Music Society Summerfest music festivals. In 1994 she won the American Horn Competition. As an equally enthusiastic music educator, she has given masterclasses in schools and festivals across the country, including The Juilliard School, USC, Interlochen Arts Camp, and the Boston University Tanglewood Institute, and is a founding member of the recently formed Coalition of Musicians for Ethical Change. Ms. Pilant received her Bachelor's degree from Eastman School of Music (student of Verne Reynolds), and her Master's and Doctoral degrees from The Juilliard School (student of Julie Landsman).

In what ways are you an artist?...Today, Abbie, Annie, and Dorianne discuss ‘The Art of Collaboration: Chamber Music Rehearsal Techniques and Team Building,' Annie and Dorianne's new book that introduces themes of co-leadership and empathy which are relevant for all small group communication. Particularly, Abbie, Annie, and Dorianne talk about ‘We Presence,' LBAD (Live, Breath, and Die), and “trying out everyone's ideas as if they were your own.”...Violinist Annie Fullard, celebrated for her "gleaming artistry, bravura, and sensitivity," stands as a pioneering force in chamber music education and advocacy. As Director and Sidney M. Friedberg Chair of Chamber Music at The Peabody Institute, Johns Hopkins University, and Distinguished Artist and Charles and Mary Jean Yates Chair in Chamber Music at The Robert McDuffie Center for Strings at Mercer University, she continues to shape the next generation of chamber musicians while advancing the art form's reach and impact. Annie is co-author, with Dorianne Cotter-Lockard, PhD, of the highly anticipated guidebook 'The Art of Collaboration: Chamber Music Rehearsal Techniques and Team Building' (Oxford University Press, February 2025). Beyond the concert hall, Fullard views the empathy and connectivity of chamber music as a metaphor for the kind of communication that we should strive for between cultures and nations. As a founding member of the Cavani String Quartet, Fullard has earned international recognition through extensive touring and prestigious honors including the Naumburg Chamber Music Award, the Cleveland Quartet Award (Eastman), and top prizes at the Banff International, Fischoff, Coleman, and Carmel Chamber Music competitions. Dorianne Cotter-Lockard served as a divisional C-level leadership team member of a Fortune 100 company. She holds a PhD in Human and Organizational Systems from Fielding Graduate University, an M.B.A. from New York University, and a Bachelor of Music degree from the Eastman School of Music. Dorianne teaches theories and applications of mindful leadership, ethics in healthcare, and creativity at work, and supervises student research at Saybrook University. She is a faculty member at Munich Business School, developing and teaching leadership and organization courses for the Conscious Business Education initiative. She conducts research on the topics of team collaboration, leadership, spirituality in the workplace, coaching, and music education through the Institute for Social Innovation, Fielding Graduate University, and is a member of the International Consortium of Integral Scholars. In addition to her consulting and coaching practice, Dorianne serves as faculty to certify SQ21 Spiritual Intelligence coaches, is certified through the International Coach Federation, and is a certified Emotional Intelligence coach. ...Stories Lived. Stories Told. is created, produced & hosted by Abbie VanMeter.Stories Lived. Stories Told. is an initiative of the CMM Institute for Personal and Social Evolution....Music for Stories Lived. Stories Told. is created by Rik Spann....⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Explore all things Stories Lived. Stories Told. here⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Explore all things CMM Institute here.

We're joined by Grammy-winning and Oscar-nominated jazz trumpeter and film composer Terence Blanchard. Blanchard has written dozens of scores for film and television and frequently collaborates with Spike Lee. He'll be in Rochester next week as part of the inaugural Soundtrax Film Music Festival, hosted by the University of Rochester. According to organizers, Soundtrax is the first film music festival in North America. They say its roots trace back to George Eastman, who founded the Eastman School, in part, to train organists for silent films. This hour, we preview the festival, go behind the scenes of film music, and discuss the artistic and technical innovations that could change the future of the industry.Our guests: Terence Blanchard, Grammy-winning and Oscar-nominated composer/trumpeter Alexander Laing, president and artistic director of Gateways Music Festival Kate Schimmer, associate dean for artistic planning at the Eastman School of Music Mark Watters, co-director of Soundtrax; Emmy-winning composer and conductor; and associate professor of contemporary media and film composition, and director of the Beal Institute for Film Music and Contemporary Media at the Eastman School of Music  ---Connections is supported by listeners like you. Head to our donation page to become a WXXI member today, support the show, and help us close the gap created by the rescission of federal funding.---Connections airs every weekday from noon-2 p.m. Join the conversation with questions or comments by phone at 1-844-295-TALK (8255) or 585-263-9994, email, Facebook or Twitter. Connections is also livestreamed on the WXXI News YouTube channel each day. You can watch live or access previous episodes here.---Do you have a story that needs to be shared? Pitch your story to Connections.

Show Notes In this episode, I sit down with Mark Watters to talk about a life lived in music: from Disney, Pixar, and Olympic scores, to his role today at Eastman School of Music, where he oversees the Beal Institute for Film Music and Contemporary Media. We get deep into the Eastman Film & Media Festival—how it started, what it's become, and why Rochester, NY is fast becoming a home for composer communities and cinematic sound.Mark reveals:His early obsession with film music (yes, Star Wars fourteen times just for the score)How “The Art & Craft of Music for Animation” ended up as a session at Soundtrax, hosted by him. Soundtrax Film Music Fest+1Why the Eastman Festival is more than panels and concerts—it's an immersive space for composers to test ideasHis thoughts on legacy, mentorship, and how teachers and students exchange influenceThe way he listens now—and how that listening echoes what first drew me into musicWe also weave in my own origin story: discovering Mo' Better Blues via BBC Two, being changed by Terence Blanchard's trumpet, and inviting back Cynda Williams (as Clarke Bentancourt, and on “Harlem Blues”) because she embodies that space between story and song.As part of this musical conversation, I reference how The South Bank Show elevated composers through storytelling, and I end with a poetic note on Rochester—where winter winds and Eastman echoes make composition both memory and promise.Soundtrax Highlights to MentionFrom the Soundtrax Film Music Festival (October 16–18, 2025, at Eastman / Rochester) schedule: Soundtrax Film Music Fest“The Art & Craft of Music for Animation” — hosted by Mark Watters in Kilbourn HallFilm Scores Live! — Terence Blanchard with E-Collective & Gateways Festival Orchestra in Kodak HallJohn Williams Reimagined — concert of Williams' themes rearranged for flute, cello, piano University of Rochester Calendar+1Interstellar in Concert — live performance of the Zimmer/Nolan score in Rochester's Third Presbyterian Church visitrochester.com+1W: Soundtrax Film Music FestivalUse Promo Code "FILMMAKINGSWABY" for all my deals or just click the link:25% Off More Labshttps://www.morelabs.com/discount/FILMMAKINGSWABY20% Off Strong Coffee Companyhttps://strongcoffeecompany.com/discount/FILMMAKINGSWABY15% Off Tusslehttps://www.tusslegear.com/discount/FILMMAKINGSWABY20% Off Eric Javitshttps://ericjavits.com/discount/FILMMAKINGSWABY25% Off Quantum Energy Squarehttps://quantumsquares.com/discount/FILMMAKINGSWABY20% Off Long Tablehttps://longtablepancakes.com/discount/FILMMAKINGSWABY20% Off HyperNaturalhttps://hypernaturalstyle.com/discount/FILMMAKINGSWABY20% Off wearplaygroundhttps://wearplayground.com/discount/FILMMAKINGSWABY15% Off STAND+https://www.standshoes.com/discount/FILMMAKINGSWABY10% Off Molly Bzhttps://mollybz.com/discount/FILMMAKINGSWABY41% Off Cozy Earthhttps://cozyearth.com/discount/FILMMAKINGSWABYX (Twitter): @DamienSwaby https://x.com/DamienSwaby/status/1864468655582437405Instagram: @filmmaker__damien_swaby. https://www.instagram.com/filmmaker__damien_swaby/?hl=en 

TONY LEVIN is well-known to The ProgCast audience as bassist for KING CRIMSON, PETER GABRIEL, STICK MEN, LIQUID TENSION EXPERIMENT, and so many more. We talk about Tony's early days as a classical player and his transition to bass guitar/stick. Tony regales us with tales of his time with Buddy Rich, Peter Gabriel, forming the KC "Discipline" band, and even playing under Igor Stravinsky's baton, as a student bassist at Eastman School of music. A rather special episode celebrating the 5th Anniversary of The ProgCast!PROGCAST PATRONS get bonus episodes  / theprogcast  Study Drums/Composition/Music with Gregg: https://www.bendianmusic.com GREGG BENDIAN is a percussionist/composer/producer/educator/podcaster from Teaneck, New Jersey. During his wide-ranging career he has toured internationally and recorded with Todd Rundgren, Jan Hammer, The Mahavishnu Project, Keneally-Bendian-Lunn, The Musical Box, John Zorn, Derek Bailey, Nels Cline, Cecil Taylor, Pat Metheny, Ornette Coleman and Zoot Horn Rollo. On the academic front, Gregg develops and teaches courses in studio production aesthetics, music history, and composing/arranging at William Paterson University of New Jersey. For the Yale Oral History of American Music, he has contributed over 100 expansive interviews with major figures including Wayne Shorter, Sonny Rollins, Quincy Jones, Carla Bley and Steve Reich. Bendian is archivist/producer for the Bottom LIne Archive of historic concerts. Recorded over 30 years at the Greenwich Village venue, the series features discs by Jack Bruce with Billy Cobham, The Brecker Bros, Lou Reed/Kris Kristofferson, Pete Seeger/Roger McGuinn, and Doc Watson. An accomplished percussionist and a composer of over 200 works, he has created a body of innovative music for jazz, rock, percussion (solo and ensemble) and mixed chamber groups, which include his Interzone and Trio Pianissimo bands. Gregg's music is published by Iamuziks (ASCAP). Begun in August of 2020, The ProgCast explores the creative process and musical history of a diverse assortment of cutting edge artists. You can also find us on:SPOTIFY: https://open.spotify.com/show/0x9bzb0...APPLE PODCASTS: https://podcasts.apple.com/us/podcast...https://www.bendianmusic.comhttps://open.spotify.com/artist/0HBmV...https://www.bottomlinearchive.comhttps://guides.library.yale.edu/oham/...https://www.mahavishnuproject.comhttps://www.wpunj.edu/coac/department...

The death of Rochester musical icon Chuck Mangione was a huge loss for countless fans around the world — felt especially keenly here in his hometown. Let's celebrate the man and his music, with favorite musical and personal memories. Guest host Mona Seghatoleslami is joined in the studio by his niece Ardis Mangione-Lindley and an "alum" of his band. And we want to hear from you — the community of musicians, fans, and friends who experienced iconic concerts like "Friends and Love," played alongside him, and more.Our guests: Ardis Mangione-Lindley, niece of Chuck Mangione Bob Sneider, associate professor of jazz studies at Eastman School of Music and alum of Chuck Mangione Band

Join Tamara for an interview with musician (upright and electric bass) Marc Chesanow, whose music plays at the beginning and the end of every episode of this show!

"What if we didn't have to leave home to have a world class experience?" Those are the words of CITY Magazine editor Leah Stacy, writing about the Finger Lakes. The July issue of the magazine is all about the vacation destination right in our own backyard. This hour, we explore some of those world class experiences with the CITY team and with the people creating them. Our guests: Leah Stacy, editor of CITY Magazine Jacob Walsh, art director for CITY Magazine Roberto Lagares, multimedia reporter for CITY Magazine Patrick Hosken, arts reporter for CITY Magazine Rachel Snyder, president of the Wells Legacy Society and Wells College alumna (Class of 2011) Matt Cassavaugh, owner of Hemlock Canoe Jazmine Saunders, soprano performing with Finger Lakes Opera, Metropolitan Opera Lindemann Young Artist, alumna of the Eastman School of Music (Class of 2022) and the Julliard School (Class of 2024), and William Warfield Scholarship recipient  Lora Downie, director of food and beverage education programs at New York Kitchen Take our audience survey to help us learn more about you, and make a better show for you.

Shaya was born and raised in Washington State, became a believer as a young child and chose to be water baptized at age 11. She became interested in the Jewish roots of her faith during her undergraduate studies and then became further acquainted with them while in grad school at Eastman School, when she was invited to join a Messianic Passover seder. Shortly after that, Shaya felt God called her to become a part of the local Messianic congregation in Rochester, where she has been for over 12 years. Over that time, Shaya has served as a cantor, dance leader, occasional worship leader, kiddish (hospitality) coordinator, and a member of many teams and outreaches.

Sara Gazarek is a 2x Grammy Winning Jazz Vocalist. She has recorded five albums and done world tours. She has collaborated with luminaries like Kurt Elling, Fred Hersch, Larry Goldings and Billy Childs. She is a founder of Saje, the all-female vocal group. And she is the Jazz Voice Professor at the Eastman School of the University of Rochester.My featured song is my reimagined version of Joni Mitchell's reimagined version of a song by Charles Mingus called “The Dry Cleaner From Des Moines”. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH SARA:www.saragazarek.com________________________ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” is Robert's newest single.It captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

TOPICS: Ryan is podcasting from the APME Conference in Memphis; artists are pretending that their videos are AI-generated; Taylor Swift bought her original master recordings back and Ryan and Zak Sloan discuss; our guest this week is Kate Sheeran, the Dean of the Eastman School of Music at the University of Rochester. You can find out more about our guest's work by visiting esm.rochester.eduRate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.” Hosted on Acast. See acast.com/privacy for more information.

Do you want to transform your health with delicious, culturally inspired WFPB recipes? Join Gustavo as he shares their inspiring weight loss journeys and show you how to make flavorful, plant-based dishes! Click here to watch! Recipes 

How can the arts help us heal? Experts say music therapy can help people cope with anxiety, depression, and even post-traumatic stress disorder. A program called Music for Veterans aims to leverage the therapeutic qualities of music to support and enrich the lives of military veterans. The head of that national program has ties to Rochester. He's in town this week to help support the local chapter. This hour, we talk with him and with local program organizers and veterans about the healing power of music. Our guests: Roy Ernst, Ph.D., founder of Music for Veterans National Association and professor emeritus of music education at the Eastman School of Music Mike Doolin, president of Music for Veterans-Rochester, U.S. Navy veteran, and trumpeter in the New Horizons band, among others Judy Rose, executive director of Music for Veterans-Rochester, bass clarinetist in the New Horizons Band, and vice president of Datrose Inc. Laura Heltz, executive director of Veterans Outreach Center, U.S. Army veteran, and author

Nicole Cabell is an award-winning American soprano known for her rich voice and versatile artistry. Born in California with African American, Korean, and Caucasian heritage, she rose to international fame after winning the 2005 BBC Cardiff Singer of the World Competition. She has performed leading roles at top opera houses like the Royal Opera House and the Metropolitan Opera. Her acclaimed recordings include the solo album Soprano and performances in La Bohème and Imelda de' Lambertazzi. Cabell also serves as an Associate Professor of Voice at the Eastman School of Music, where she mentors young singers.

Joshua Conyers is an Assistant Professor of Voice at the Eastman School of Music at the University of Rochester, and a Grammy-nominated Baritone who is known for his captivating performances and recognized as one of the leading dramatic voices of today. He has performed with The Metropolitan Opera, Seattle Opera, Washington National Opera, Lyric Opera of Chicago, English National Opera, New York Philharmonic, National Symphony Orchestra, Carnegie Hall, and many others. His recordings include the Grammy-nominated “X: The Life and Times of Malcolm X” his debut solo album is “A Miracle in Legacy.” He says it tells his story of his “being born into the crucible of poverty, haunted by the specter of addiction and abuse.” He says “yet, amid the shadows, I found my guiding light in the melodies of classical music.” SONG 1: “I’ll Make Love to You” by Boyz II Men from their Album II released in 1994. https://youtu.be/USR_0iImpcM?si=VDXE1s_O2toNwRkJ SONG 2: “Nessun Dorma” by Giacomo Puccini from the opera Turandot...performed here by Franco Corelli from the 1958 film of Turandot.https://youtu.be/fWokel5YxM8?si=_D9UEH6jKbz1Bo2G SONG 3: “Cleanin’ Out My Closet” by Eminem off his 2002 album The Eminem Show. https://youtu.be/4t2ETI2Lrjg?si=pgmx0aGLs4Tag6HASee omnystudio.com/listener for privacy information.

When President Trump installed himself at the head of the Kennedy Center board, he promised less “wokeness” on stage. Musicians and artists have debated whether to keep their 2025 bookings, knowing they won't be invited back next year. Our colleagues from Classical 91.5 look at the history of government control of the arts. Steve Johnson, Ph.D., midday host/announcer for Classical 91.5 FM Mona Seghatoleslami, music director, host and producer for Classical 91.5 FM Sara Gazarek, associate professor of jazz voice at the Eastman School of Music

In the second hour of "Connections with Evan Dawson" on 3/25/25, we sit down with Kate Sheeran, the new dean of the Eastman School of Music, to discuss her ideas for the future of the school.

This episode of The Other Side of the Bell, featuring trumpeter, educator and recording artist Clay Jenkins, is brought to you by Bob Reeves Brass.  About Clay Jenkins:  Clay Jenkins is a renowned jazz trumpeter and educator whose dynamic career spans decades of performance and teaching. He launched his performing journey with the Stan Kenton Orchestra before moving to Los Angeles, where he toured and recorded with the big bands of Buddy Rich and the Count Basie Orchestra. A charter member of the Clayton Hamilton Jazz Orchestra, Clay has amassed over 100 recording credits, released seven solo albums, and recorded as a co-leader with many other notable names. Since joining the Eastman School of Music faculty, in Rochester, NY, in 2000, Clay has continued to perform worldwide, while mentoring the next generation of jazz musicians. Inspired by his close friendship with the late trumpet legend Eugene "Snooky" Young, he established the Snooky Young Endowed Scholarship at Eastman, and is currently writing a biography of Young's life.  Clay is wonderfully warm, down-to-earth and humble. If you listened to our last episode featuring Emile Martinez, you'll know that Clay was instrumental in guiding Emile on his artistic journey, and so how appropriate it is that we can follow up on that interview with this one today. And he's a lifelong practicer. Clay is always trying to improve, and it's inspiring to hear someone at his level still talking about what they go through every day, trying to better themselves.  Episode Links: "Hope Beats" - YouTube series with Clay Jenkins (trumpet), John Clayton (bass), Larry Koonse (guitar), Gene Bertoncini (guitar), Joe La Barbera (drums) Quasimodo, by Charlie Parker Grizzly, by John Clayton Podcast Credits: “A Room with a View“ – composed and performed by Howie Shear Audio Engineer – Ted Cragg Cover Art – Phil Jordan Podcast Host – John Snell

Send us a textMy experience last weekend with a group of focused killers.  Thoroughly impressed with what's going on up at Eastman School of Music

Rachel Roberts, Director of the Institute for Music Leadership at Eastman School of Music at the University of Rochester, shares how her journey from managing orchestras across the country led to launching NEC's entrepreneurial musicianship program and shaping Eastman's Music Leadership curriculum. We also discuss the power of seizing opportunities and why musicians need both performance and business skills to thrive.Follow:WebsiteLinkedInFacebookFollow Creatives Prevail:InstagramTikTokWe would love to hear from you! Please give us a review, this really helps get others to listen in. Any suggestions on how we can improve? DM us on Instagram or TikTok.Intro music: ‘Somebody' (Instrumental) by The Runner UpOutro music: ‘Let's Ride' (Instrumental) by Gabe KubandaHost: Mike ZimmerlichProduced by: Omelette PrevailPost-Production: EarthtoMoira

Do you want to transform your health with delicious, culturally inspired WFPB recipes? Join Gustavo as he shares their inspiring weight loss journeys and show you how to make flavorful, plant-based dishes!  Click here to watch!   https://youtube.com/live/cT54rKWceE0  

TOPICS: Chappell Roan gave a powerful speech at the Grammys about how record labels should do moreto support artists, but at least one editorial writer had some issues with her approach to activism; weinterview Gaelen McCormick, the Director of the Eastman Performing Arts Medicine Center at theUniversity of Rochester, an organization that aims to leverage the potential of the performing arts in thehealthcare environment, while also supporting the medical needs of artists. You can find out moreabout our guest's work by visiting https://www.urmc.rochester.edu/eastman-performance-medicine.Rate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.” Hosted on Acast. See acast.com/privacy for more information.

Kathleen van Bergen is in her 14th season as CEO and president of Artis—Naples.  In that time, she has been recognized throughout Southwest Florida and the greater arts community as an example of leadership geared toward prudent growth and relationship building. Named one of Musical America's “Top 30 Professionals of the Year” in 2019, she is described as “a woman with a mission, a vision and a board to support both.” In 2022, she was named among Gulfshore Life magazine's “Forces of Philanthropy,” a select few leaders of Southwest Florida who “propel the philanthropic community into the future through mentorship, collaboration and camaraderie.”From the beginning of her tenure, she has made balanced budgets and operational surpluses a priority: The balance sheet has more than doubled over the last decade, and, as of 2021, the organization is debt free.  On her watch, its endowment has surpassed $150 million. Kathleen's vision for multidisciplinary thematic planning has allowed Artis—Naples to leverage its unique resources in order to enhance patron experiences with the visual and performing arts.The diversity of artistic excellence and world-class programming is one reason The Wall Street Journal said Artis—Naples has ushered in “an impressive new phase” for classical music in Southwest Florida.In 2022, Kathleen was a recipient of the Eastman School of Music's Centennial Award, given in honor of its 100th year to 100 individuals who exemplify the school's mission and legacy through their artistry, scholarship, leadership, community engagement and philanthropy

This episode of The Other Side of the Bell, featuring trumpeter Aaron Smith, is brought to you by Bob Reeves Brass.  About Aaron : Aaron Smith is an active freelance trumpet player in Los Angeles, CA. He also writes, arranges, and publishes music through his small business, TrumpetSmith Publishing (ASCAP). In addition, he serves on the Hearing Board for the American Federation of Musicians (AFM) Local 47 and on the Board of Directors for the Recording Musicians Association Los Angeles (RMALA).  Raised in an Army household with musician parents who played jazz and r&b, and later to receive classical conservatory training, Smith thrives on versatility, consistency, and accurate delivery of musical intent. As a trusted freelance musician in Los Angeles, he performs regularly for live orchestral events, musical theatre, films, independent recording projects, streaming, television, and video games.  He has recorded on film/tv projects for celebrated composers including Alan Menken, Bear McCreary, Branford Marsalis, Germaine Franco, Heitor Pereira, Kris Bowers, Rob Simonsen, and Terence Blanchard; on sound recordings for Adrian Younge, Austin Wintory, Charles Gaines, Dr. Dre, Joachim Horsley, John Daversa, and X Ambassadors. He has performed as a sideman in bands on the Academy Awards, Dancing with the Stars, Disney's Encore!, Ellen, the LATE LATE Show, and The Voice. He's also appeared as a sideman onscreen for films including Babylon and Joker: Folie à Deux; and tv commercials for Capital One and Microsoft. He's backed major artists including Beyoncé, Billie Eilish, Common, Danny Elfman, Jennifer Holliday, Josh Groban, Kelly Clarkson, Labrinth, Lady Gaga, Sigur Rós, Steve Lacy, and more. He has also performed for contemporary/new music ensembles and series including Alarm Will Sound, the Industry's Hopscotch Opera, Jacaranda, Southwest Chamber Music, wasteLAnd, WildUp, Green Umbrella, Monday Evening concert series, and Noon to Midnight Festival. In the L.A. theater world, Smith performs regularly at the Hollywood Pantages, Dolby, La Mirada Theaters and Pasadena Playhouse. Some notable shows from these theaters with Smith on solo trumpet include Back to the Future, Beetlejuice, Color Purple, Jelly's Last Jam, Les Misérables, Moulin Rouge, Wicked, and the Wiz.  As a composer, Smith strives to curate a top-tier experience for brass players especially. The primary focus is exploring boundaries while expressing a story; both through adapted arrangements structurally sound to the composer's intent and through his own original compositions. His work has been performed internationally. He has also created original chamber music commissioned by Marissa Benedict for University of Minnesota, Jim Self for University of Southern California, also by the Interlochen Center for the Arts, and Stomvi-USA.  Smith's training as a music performance major includes a Master of Fine Arts degree from California Institute of the Arts where he studied with Edward Carroll and John Fumo; and a Bachelor of Music degree from the Eastman School of Music with professor James Thompson. He is also a graduate of the Interlochen Arts Academy with Stanley Friedman.

Our guest for Episode 54 is Nikolette LaBonte, Principal Horn of the Calgary Philharmonic Orchestra, and a member of The Horn Call's Editorial Advisory Board. Episode Highlights Teaching and Performing activities Edith Borroff Horn Sonata: https://www.youtube.com/watch?v=LDb9J2_XtSA On choosing the horn: “the horn looks cooler than the oboe…” Studying with Peter Kurau at the Eastman School of Music Kendall Betts Horn Camp, Music Academy of the West “When we miss notes, there's always a reason.” Book Recommendation: Bounce, by Matthew Syed Horn playing inspirations Listening to Rochester Philharmonic rehearsals Audition preparation Discipline and Motivation “Say ‘yes' as much as you can…” Learning how to prioritize Playing and teaching natural horn. Shout out to Anneke Scott! “Yes, and…”  

On this week's episode, we welcome Keith Elder, President & CEO of the Grand Rapids Symphony. Keith Elder joined the Grand Rapids Symphony as its President & CEO on July 1, 2023. Before that, he served as president of the Tulsa Symphony Orchestra in Tulsa, Oklahoma.  He's also had roles with the Aspen Music Festival and School, Eastman School of Music, Detroit Symphony Orchestra, Boston Symphony Orchestra, Boston Pops, and Tanglewood Music Center. On this episode, Keith Elder joined us to discuss his background and the significant cultural impact that the Grand Rapids Symphony has on the West Michigan region and he highlighted the numerous partnerships the symphony has developed to strengthen its ties to the community.  He also discussed some of the highlights of the remaining symphony season, including the annual Symphony Holiday Pops concerts, membership opportunities with the Grand Rapids Symphony, and a major event to be revealed in February 2025. Since its founding in 1930, the Grand Rapids Symphony has been nationally recognized for the quality of its concerts, the breadth of its educational programs, and the innovation of its initiatives to support diversity, equity, and inclusion as well as to serve the wider community in non-traditional settings.  Online: The Grand Rapids Symphony  

Carolyn Marie Wilkins is the author of three mystery novels: Death at a Séance, Melody for Murder and Mojo for Murder, all available from Pen-L Publications. She is also the author of Tips for Singing (Hal Leonard Press) and two memoirs: Damn Near White: An African American Family's Journey from Slavery to Bittersweet Success, and They Raised Me Up: A Black Single Mother and the Women Who Inspired Her, available from the University of Missouri Press.Murder At The Wham Bam Club, the first in Carolyn's new Psychics and Soul Food mystery series, is being released by Kensington Publishing in 2025.Carolyn is a Reiki master, a psychic medium and a Professor at Berklee College of Music Online. A graduate of Oberlin Conservatory and the Eastman School of Music, Carolyn has performed with the Pittsburgh Symphony and represented her country as a Jazz Ambassador for the U.S. State Department. An initiated priestess of Yemaya, the African goddess of motherhood, compassion and the ocean, Carolyn holds certificates of completion in mediumship from the JVP School of Mystical Arts, the British mediums Tony Stockwell and Mavis Pittilla. To find out more about Carolyn, visit her website: www.carolynwilkins.com Facebook Page https://www.facebook.com/ResonantWisdomServicesInstagram http://www.instagram.com/Jemaya7Website www.CarolynWilkins.com*****************About SinCSisters in Crime (SinC) was founded in 1986 to promote the ongoing advancement, recognition and professional development of women crime writers. Through advocacy, programming and leadership, SinC empowers and supports all crime writers regardless of genre or place on their career trajectory.www.SistersinCrime.orgInstagram: https://www.instagram.com/sincnational/Bluesky: https://bsky.app/profile/sincnational.bsky.socialThreads: https://www.threads.net/@sincnationalFacebook: https://www.facebook.com/sistersincrimeTikTok:: https://www.tiktok.com/@sincnationalThe SinC Writers' Podcast is produced by Julian Crocamo https://www.juliancrocamo.com/

Continuing our series with Vince DiMartino, Vince discusses the transition and challenges of playing classical music from other genres, highlighting the importance of using the right methods, such as solfège. The conversation also delves into Vince's days as a student at the Eastman School of Music, playing with iconic figures like Clark Terry, which planted seeds for what came to be known as the Great American Brass Band Festival, still held every June in Danville, KY. Episode highlights:00:11 Challenges in Classical Music00:42 Jazz Influence and Methodology01:41 Early Career and Influences02:16 Experiences at Eastman School of Music05:40 Clark Terry and Professional Growth06:57 Brass Band Festival Origins10:56 Retirement and Legacy12:48 Conclusion and Call to Action**Mastery Is Within Reach. Will You Go For It?Follow Brass Mastery and stay updated via email every time a new episode is released at https://brassmastery.com This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit brassmastery.substack.com/subscribe

William Warfield was a famous opera singer, born in the U.S state of Arkansas in 1920. Known for his rich baritone voice and commanding stage presence, the African-American rose to prominence in the mid-20th century, captivating audiences worldwide, and gracing the stages of prestigious opera houses and concert halls. Warfield served in the Army during World War Two, working in military intelligence. After the war, he earned a masters degree at the Eastman School of Music, and was quickly invited to tour Australia where he gave 35 concerts. Warfield then made 6 separate tours of Europe taking the continent by storm. He became a regular guest on radio and television shows. Warfield later became a University of Illinois music professor at Urbana-Champaign, and was later promoted to Chairman of the Voice Department. In 1984 he received a Grammy Award. You will hear William Warfield just as his operatic career was starting to skyrocket, on NBC Radio's popular Edgar Bergen-Charlie McCarthy Show in 1952. One of only a handful of African-Americans to appear on the show during its more than 20 year history. More at KRobCollection.com

This episode of The Other Side of the Bell, featuring trumpeter, Allen Vizzutti, is brought to you by Bob Reeves Brass. You can also watch this interview on Youtube. About Allen: Equally at home in a multitude of musical idioms, Allen Vizzutti has visited 70 countries, Japan 49 times, and every state in the union to perform with a rainbow of artists and ensembles including Chick Corea, Doc; Severinsen, the NBC Tonight Show Band, the Airmen Of Note, the Army Blues and Army Symphony Orchestra, Chuck Mangione, Woody Herman, Japan's NHK Orchestra and the New Tokyo Philharmonic, the Budapest Radio Orchestra, the Saint Paul Chamber Orchestra, the Leipzig Wind Symphony, the Slovenian National Orchestra and the Kosei Wind Orchestra. Performing as a classical and a jazz artist, often in the same evening, he has appeared as guest soloist with symphony orchestras in Japan, Germany, St. Louis, Seattle, Rochester N.Y., Dallas, Milwaukee, Buffalo, Phoenix, Edmonton, Vancouver, Seattle and Minnesota to name a few. Music lovers in Germany, Poland, England, Sweden, Brazil, Canada, Japan, Australia and the United States have heard his brilliant sound over the airwaves of national television. Allen's status as an artist has led to solo performances at the Hollywood Bowl, Carnegie Hall, Newport Jazz Festival, Banff Center for the Performing Arts, Montreaux Jazz Festival, the Teton, Vail, Aspen and Breckenridge Music Festivals, the Charles Ives Center, Suntory Hall & Opera City Hall in Tokyo and Lincoln Center in New York City. From his home in Seattle Washington, Allen's current career activities embody an impressive schedule of recitals, concerts, recording and composing. His continued commitment to music education and the value of music in everyday life results in an extensive schedule of guest appearances throughout North America, South America, Europe, Japan, Australia, Asia and New Zealand. Allen's many recordings include “Ritzville” featuring Chick Corea and Stanley Clarke,(available at www. vizzutti.com and on iTunes). Other solo jazz recordings include “Trumpet Summit” and “Skyrocket” from Summit Records. Classical recordings currently available (DeHaske Classical Recordings), are “The Emerald Concerto and Other Gems”, with the Budapest Radio Orchestra, “Vizzutti Plays Vizzutti” and “Vizzutti and Soli On Tour”. His “High Class Brass”, (on iTunes), is a wonderfully unique classical and jazz blend co-produced, co-written and performed with fellow trumpet artist, composer and conductor, Jeff Tyzik along with a 90-piece studio orchestra. (on iTunes) Other outstanding Vizzutti recordings are “Baroque and Beyond”, (CBS/Sony), “The Carnival of Venus”, (Summit Records), and “A Trumpeter's Dream, (Ludwig Music Publishing). As Artist in Residence, Allen has taught at the Eastman School of Music, the University of North Texas, the University of South Carolina, the Banff Center for the Performing Arts, Kansas State University, Ohio State University, West Texas State University, the Skidmore Jazz Institute, and the Trompeten Akademie of Bremen Germany. His extensive treatise, “The Allen Vizzutti Trumpet Method” and his “New Concepts for Trumpet”, (Alfred Music Publishing), have become standards works for trumpet study worldwide. Many more of Allen's jazz and classical books, play along recordings, and student and recital compositions are published by DeHaske/Hal Leonard, BIM Switzerland, and Village Place Music. His writing includes solo pieces for piano, flute, clarinet, saxophone, trombone, tuba, and harp, chamber groups, wind ensemble, jazz ensemble, and symphony orchestra. Allen's love of expression through composition has led to premier performances by the LosAngeles Philharmonic, Budapest Radio Orchestra, the Royal Philharmonic of London, the Nuremberg Symphony, Rochester Philharmonic, Syracuse Symphony, London Symphony, the renowned Summit Brass, the Royal Philharmonic Brass and others. After the world premier of his “Emerald Concerto” with the Syracuse Symphony Allen's writing was described in review: “The Emerald Concerto sparkles!...a vivacious treatment which speaks well for both his dramatic instinct and technical prowess as a composer.” While growing up in Montana, Allen was taught by his father, a self taught musician and trumpet player, until he left home to attend the Eastman School of Music on full scholarship. There he earned the Bachelor of Music and Master of Music degrees, a Performer's Certificate, a chair in the Eastman Brass Quintet faculty ensemble, and the first Artist's Diploma ever awarded a wind player in Eastman's history. Allen has performed on over 150 motion picture sound tracks, (such as Back To The Futureand Star Trek), as well as countless TV shows, commercials and recordings with such artists as Frank Sinatra, Barbra Streisand, Neil Diamond, Chick Corea, the Commodores and Prince. His soaring sound can be heard on recent the movies, “Mirror, Mirror”, “Furry Vengeance”, “40 Days and 40 Nights”, “Unfaithfully Yours”, “Gridiron Gang”, “Scary Movie Four”, “The Hulk” and the “Medal of Honor”, “Gears of War”, “World of Warcraft” ,and “Halo” video games. More information is available at www.vizzutti.com  Allen Vizzutti is a Yamaha Performing Artist

Mark Scatterday is the Professor of Conducting at the Eastman School of Music and the esteemed conductor of the legendary Eastman Wind Ensemble. Since taking the baton in 2002 as only the fourth conductor in the ensemble's storied history, Mark has continued the rich legacy of his predecessors, especially Frederick Fennell and Donald Hunsberger. Under his direction, the ensemble has toured the world, performing in Japan, China, Taiwan, Europe, Canada, and across the United States. As a passionate advocate for contemporary music, Mark has premiered numerous works, making his mark as a visionary leader. It was a real pleasure to sit down with Mark to talk about his unique approach to conducting, his philosophy on teaching, and how he keeps the Eastman tradition alive.We start by diving into Mark's early training as a trombonist, where he studied under the great Ed Anderson and Dennis Smith. He shares how studying scores during rehearsal breaks helped shape his understanding of music. Mark also talks about his early steps into conducting and how a fateful meeting with Donald Hunsberger led him to pursue his doctorate at Eastman. As we wrap up Part 1, we explore his "three-pronged recipe for success" and the role of fate in his career.In Part 2 (Exclusive Subscriber Content), we get into Mark's approach to rehearsals and auditions, especially for the Eastman Wind Ensemble's tours and recordings. We also delve into the fascinating history of the ensemble, starting with its founder, Frederick Fennell, and continuing through the influence of Mark's mentor, Donald Hunsberger. Finally, Mark reflects on his close friendship with renowned composer Karel Husa and their creative collaborations.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Artistic Director Patrick Dupre Quigley interviews scholar Honey Meconi about the music on Seraphic Fire's October 2024 concert, "A Brief History of Western Music." Honey Meconi is the inaugural Arthur Satz Professor at the University of Rochester, where she is also Professor of Musicology at the Eastman School of Music. She is the founding editor of the monograph series “Oxford Studies in Early Music” for Oxford University Press. She is a specialist in music before 1600, and her many publications include Hildegard of Bingen (the first English-language book on Hildegard as composer), Pierre de la Rue and Musical Life at the Habsburg-Burgundian Court, and a continually expanding series of performing editions of Hildegard's music, freely available online. Her research has been supported by Fulbright, Mellon, and NEH Fellowships as well as numerous other grants. A lifelong performer, she is co-recipient of the American Musicological Society's Noah Greenberg Award “for distinguished contribution to the study and performance of early music.” Her public musicology blog, The Choral Singer's Companion: Music History with a Soupçon of Snark, is read worldwide. Credits HostPatrick Dupre QuigleyGuestHoney Meconi Production Credits Alexis Aimé, producer Watch on YouTube

In this deeply insightful interview, host Tony Plog chats with Wes Nance, trumpet with the Rochester Philharmonic, about the often-overlooked artistry behind Sleigh Ride's iconic horse whinny. Wes reflects on his time at the Eastman School of Music, his unconventional teaching methods, and the annual Horse Whinny Challenge — a competition as fun as it is fierce. Along the way, they explore what really resonates with audiences, proving that a well-timed whinny can steal the show!Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

AyseDeniz was considered a child prodigy in her native Türkiye and made her concerto debut when she was nine, with the Gordion Chamber Orchestra playing J.S. Bach's Keyboard Concerto No. 5. At thirteen, she had already performed as a soloist with various orchestras under conductors including Ibrahim Yazici, Fahrettin Kerimov, Antonio Pirolli, Cem Mansur, Engin Sakpinar, Ertug Korkmaz, Rengim Gokmen, Vladimir Sirenko, and Kirill Karabits.  ​ As a young pianist, AyseDeniz attended prestigious summer festivals including the Verbier Academy, Music Academy of the West, Aspen Music Festival and School, PianoTexas, Goslar Konzertarbeitswochen, Tel Hai, and Beijing International Music Festival, studying with renowned piano pedagogues such as Menahem Pressler, Jerome Lowenthal, Arie Vardi, Yoheved Kaplinsky, as well as Lang Lang. In middle school, AyseDeniz moved to Spain for half a year to study with the renowned Bach interpreter Rosalyn Tureck, becoming one of her last students. ​ In 2009, she completed her Bachelor's Degree at Eastman School of Music (Rochester NY) in the studio of Douglas Humpherys with all semesters on Dean's List, and received the Howard Hanson and Clements Scholarships as well as the John Celentano Excellence in Chamber Music Award. In 2011, She completed her Masters in Piano Performance at the Royal Academy of Music in London, under the tutelage of Christopher Elton, and received the Maud Hornsby Award, graduated with Merit, and also completed the Licentiate of the Royal Academy of Music Teaching Certificate. ​ Throughout her early career, AyseDeniz has given concerts around the world including Cathedral of Christ The Savior Moscow (Russia); L'Eglise Verbier (Switzerland); Duke's Hall, Steinway Hall, Kings Place London (UK); Bellapais Antique Monastery (Northern Cyprus); Kiev Central Park of Culture Open Air Hall, Lysenko Hall (Ukraine); PepsiCo Hall (TX), Kilbourn Hall (NY), Harris Hall (CO), Pacific Amphitheater (CA) in USA; Teatro Cine Chacabuco (Argentina); Teatro Cine Gouveia, Teatro das Figuras Faro, Centro Cultural de Ãlhavo, Centro Cultural da Gafanha da Nazare, Groove Cascais (Portugal); Galleria d'Arte Moderna, San Fedele Milan, Teatro Dario Fo Venice, and St. Giorgio Cathedral Palermo (Italy); Silent Green Kulturquartier Berlin and Konzertsaal Friedenskapelle Münster (Germany); Sofia Central Military Club (Bulgaria), Ambato City Hall (Ecuador); Afundación and Mar de Vigo (Spain) and in almost all of Türkiye's most important music halls including Süreyya Opera House, Albert Long Hall, CRR, CKM and Zorlu PSM (Istanbul), State Opera House (Eskisehir); City Hall (Adana); Atatürk Cultural Center & KSÜ Yunus Emre Cultural Center (Antalya); Opera Hall (Mersin); Hikmet Simsek Cultural Center, (Izmir); METU, CSO and MEB Sura (Ankara).  AyseDeniz Links   Mr. Bill's Links   Podcast Produced & Edited by: Robert Fumo

This week, Ari sits down with AyseDeniz, a classical pianist and composer with a Bachelor's from Eastman School and a Master's from the Royal Academy of Music. In 2022, she was listed as one of the 20 under 40 Young Shapers of the Future of Music by Encyclopaedia Britannica, alongside notable artists such as Adele, Lil Nas, and Lorde. In this episode, AyseDeniz talks about how she collaborates with AI to compose new works of music. AI tools have changed AyseDeniz's career trajectory as an independent artist, even though she's an incredibly skilled classical musician. Ari and AyseDeniz discuss the ethics of composing and collaborating with AI and how she has used these tools to propel her career forward. Check out AyseDeniz at: https://www.adpianist.com/00:00 Exploring the Classical Music Industry and Aisha Denise's Background02:14 Using AI to Create Classical Piano Compositions03:43 The Emotional Component of AI-Generated Music04:11 The Ethics of AI in Music Creation05:06 Aisha Denise's Journey in Scoring for Film and TV06:32 The Future of Aisha Denise's Music Career47:35 Creating AI-Generated Compositions50:07 Authenticity in Music Performance51:06 Ethical Considerations in AI Music Generation57:49 The Need for Regulations and Laws01:13:25 The Future of Music with AISubscribe to The New Music Business: https://aristake.com/new-music-business-podcast/Ari's Take Academy: https://aristakeacademy.comWatch more discussions like this: https://bit.ly/3LavMpaConnect with Ari's Take:Website: https://aristake.comInstagram: https://www.instagram.com/aristake_TikTok: https://www.tiktok.com/@aris.takeX: https://twitter.com/ArisTakeThreads: https://www.threads.net/@aristake_YouTube: https://www.youtube.com/user/aristake1Connect with Ari Herstand:Website: https://ariherstand.com Instagram: https://instagram.com/ariherstand X: https://twitter.com/ariherstand YouTube: https://youtube.com/ariherstand Edited and mixed by Ari DavidsMusic by Brassroots DistrictProduced by the team at Ari's TakeOrder the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com Hosted on Acast. See acast.com/privacy for more information.

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

This On Air Live N' Local episode features musicians Monica Bauchwitz and Karl Kramer-Johansen.Hailed as an “excellent violinist” by the Washington Post, Monica Bauchwitz performs extensively in chamber music, orchestral and solo settings. Ms. Bauchwitz has studied and worked both in the United States and Europe. A graduate of the Eastman School of Music and the Conservatoire de Geneve, she has held positions with L'Orchestre de la Suisse Romande in Geneva, Switzerland, and the Esbjerg Ensemble-the national Danish chamber ensemble. Ms. Bauchwitz is the founder of the Manhattan chamber music series “Concerts in the Heights”. This series brings together world-class musicians for performances and educational projects. She is concertmaster and Artistic Director of the conductor-less String Orchestra of New York City.Norwegian horn player Karl Kramer-Johansen is a much sought-after chamber musician, soloist and recitalist. As a member of the Jupiter Symphony Chamber Players and the Dorian Wind Quintet, he performs regularly in New York City as well as touring across the country. He is a winner of many prizes and awards – including a two-time winner of the American Horn Competition, the George and Elizabeth Gregory Award for Excellence in Performance, the American Scandinavian Society Cultural Award, as well as a 2010 working grant from the Northern Manhattan Arts Alliance.

This week I am reading from Jim Willis' book 'Near-Death Experiences: Afterlife Journeys and Revelations'.Thousands, perhaps millions, of people have had near-death experiences (NDEs). Why do so many report uncannily similar experiences? What are they—a simple trick of the mind and body or something more? What are we to make of them, and do they tell us anything about the possibility of an afterlife?An illuminating and thought-provoking journey into the enigmatic territory where science, spirituality, and human consciousness converge, Near Death Experiences: Afterlife Journeys and Revelations presents a comprehensive journey through different interpretations of NDEs:The Scientific. What neuroscience, medicine, and biology have to say about what happens at the brink of death.The Religious. What NDE-like experiences found in the Bible, the Tibetan Book of the Dead, the Talmud, the Quran, and other religious tracts tell us.Historic and Personal. What folklore and personal stories reveal about this alternate consciousness that occurs during a life-threatening situation.The Metaphysical. Possible answers involving quantum reality, parallel universes, and the subconscious.Challenging you to explore all possibilities, Near Death Experiences will have you reconsidering your understanding of life, death, and consciousness!BioA theologian, historian, and musician, Jim Willis earned his Bachelor's degree from the Eastman School of Music, and his Master's degree from Andover Newton Theological School. He has been an ordained minister for over 40 years. While serving as an adjunct college professor in the fields of comparative religion and cross-cultural studies, he was the host of his own drive-time radio show and part-time musician. His concern for spiritual growth in modern-day society prompted a series of lectures on historical studies and contemporary spirituality. Upon retirement, he was determined to confront the essential, mystical Reality that has inspired humankind since the very beginning of time. A background in theology and education led to his writing more than twenty books on religion, the apocalypse, cross-cultural spirituality, and arcane or buried cultures, specializing in research bridging lost civilizations, suppressed history, and the study of earth energy, dowsing, and out-of-body experiences.Amazon link https://tinyurl.com/5n8fnyk7https://www.jimwillis.net/https://www.facebook.com/jimwillis.authorhttps://www.youtube.com/c/JimWillishttps://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlifeBecome a supporter of this podcast: https://www.spreaker.com/podcast/our-paranormal-afterlife-finding-proof-of-life-after-death--5220623/support.

Nicole DeGuire is Associate Director of Orchestras at Carmel High School, Indiana ASTA President, and an avid free-lance violinist with numerous orchestras across the state of Indiana. Earning her B.M. in Violin Performance with Honors at Butler University, she went on to complete her M.M. in Violin Performance and Literature, and an Orchestral Studies Diploma from The Eastman School of Music. Teachers include Charles Castleman, Ilya Kaler, Lisa Brooks, Davis Brooks, Larry Shapiro, Geoffrey Applegate and Paul Kantor. Previously, she served as Director of Orchestras at Fishers High School. Her groups earned gold ratings along with “With Distinction” at both ISSMA District and State Qualifications. It was under her direction that the FHS Symphony Orchestra made the ISSMA State Finals for the first time in 2017. She absolutely loves working with middle and high school students, and truly enjoys serving as a guest clinician and adjudicator, Nicole has extensive orchestral experience performing with the Indianapolis Symphony Orchestra, Indianapolis Chamber Orchestra, and the Ft. Wayne Philharmonic. Other professional orchestral experience includes Rochester Philharmonic, Erie Philharmonic, Albany Symphony Orchestra and South Bend Symphony Orchestra.  Ms. DeGuire is the Indiana ASTA All-State Orchestra Coordinator, an ISSMA State Board Member and was also the 2020 Indiana ASTA High School Orchestra Teacher of the Year.  Nicole is available to serve as a clinician, presenter, and guest conductor and can be reached at ndeguire@ccs.k12.in.us. -- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://podcasters.spotify.com/pod/show/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. Subscribe to The Orchestra Teacher Website, YouTube Channel, and Podcast! Website: http://www.orchestrateacher.net YouTube Channel: http://youtube.com/theorchestrateacher Podcast on Spotify: https://open.spotify.com/show/5pvAWs3uftZ5FJ2KyZYU0z Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-orchestra-teacher-podcast/id1489358262 — Looking to advertise a product or service to string and orchestra teachers? Consider an audio advertisement on the Orchestra Teacher Podcast! Proceeds from your ad will help offset costs of equipment and web hosting.  Please contact Charles at charleslaux1@gmail.com for more information. --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

In memoriam: Jim WillisA theologian, historian, and musician, Jim Willis earned his Bachelor's degree from the Eastman School of Music, and his Master's degree from Andover Newton Theological School. He has been an ordained minister for over 40 years. While serving as an adjunct college professor in the fields of comparative religion and cross-cultural studies, he was the host of his own drive-time radio show and part-time musician. His concern for spiritual growth in modern-day society prompted a series of lectures on historical studies and contemporary spirituality. Upon retirement, he was determined to confront the essential, mystical Reality that has inspired humankind since the very beginning of time. A background in theology and education led to his writing more than twenty books on religion, the apocalypse, cross-cultural spirituality, and arcane or buried cultures, specializing in research bridging lost civilizations, suppressed history, and the study of earth energy, dowsing, and out-of-body experiences.https://www.jimwillis.net/https://www.facebook.com/jimwillis.authorhttps://www.youtube.com/c/JimWillisBecome a supporter of this podcast: https://www.spreaker.com/podcast/earth-ancients--2790919/support.

This week I am talking to Jim Willis about his book 'Near-Death Experiences: Afterlife Journeys and Revelations'.Thousands, perhaps millions, of people have had near-death experiences (NDEs). Why do so many report uncannily similar experiences? What are they—a simple trick of the mind and body or something more? What are we to make of them, and do they tell us anything about the possibility of an afterlife?An illuminating and thought-provoking journey into the enigmatic territory where science, spirituality, and human consciousness converge, Near Death Experiences: Afterlife Journeys and Revelations presents a comprehensive journey through different interpretations of NDEs:The Scientific. What neuroscience, medicine, and biology have to say about what happens at the brink of death.The Religious. What NDE-like experiences found in the Bible, the Tibetan Book of the Dead, the Talmud, the Quran, and other religious tracts tell us.Historic and Personal. What folklore and personal stories reveal about this alternate consciousness that occurs during a life-threatening situation.The Metaphysical. Possible answers involving quantum reality, parallel universes, and the subconscious.Challenging you to explore all possibilities, Near Death Experiences will have you reconsidering your understanding of life, death, and consciousness!BioA theologian, historian, and musician, Jim Willis earned his Bachelor's degree from the Eastman School of Music, and his Master's degree from Andover Newton Theological School. He has been an ordained minister for over 40 years. While serving as an adjunct college professor in the fields of comparative religion and cross-cultural studies, he was the host of his own drive-time radio show and part-time musician. His concern for spiritual growth in modern-day society prompted a series of lectures on historical studies and contemporary spirituality. Upon retirement, he was determined to confront the essential, mystical Reality that has inspired humankind since the very beginning of time. A background in theology and education led to his writing more than twenty books on religion, the apocalypse, cross-cultural spirituality, and arcane or buried cultures, specializing in research bridging lost civilizations, suppressed history, and the study of earth energy, dowsing, and out-of-body experiences.Amazon link https://tinyurl.com/5n8fnyk7https://www.jimwillis.net/https://www.facebook.com/jimwillis.authorhttps://www.youtube.com/c/JimWillishttps://www.pastliveshypnosis.co.uk/https://www.patreon.com/ourparanormalafterlifeBecome a supporter of this podcast: https://www.spreaker.com/podcast/our-paranormal-afterlife-finding-proof-of-life-after-death--5220623/support.

This week, Dalanie and Katie discuss trending news within classical music and beyond. IN THIS EPISODE PURCHASE OUR MERCH!: https://www.classicallyblackpodcast.com/store JOIN US ON PATREON! https://patreon.com/ClassicallyBlackPodcast SIGN UP FOR OUR MAILING LIST! https://www.classicallyblackpodcast.com/newsletter-sign-up FOLLOW US ON SOCIAL MEDIA! https://linktr.ee/classicallyblack Donate to ISBM! https://fundraising.fracturedatlas.org/international-society-of-black-musicians Check out our website: https://www.isblackmusicians.com 2 Players Sue Philharmonic, Saying They Were Wrongfully Suspended (gift article) https://www.nytimes.com/2024/05/01/arts/music/players-ny-philharmonic.html?unlocked_article_code=1.p00.jAAw.brMc53PrLd0_&smid=url-share Demondrae Thurman allegations https://www.facebook.com/claire.patience/posts/pfbid02PiKGRTUxMbVczCpuFnEK9G1u939KJFXtkqp6T6vZ5zTJy63CVBJZ5wUgJeFGkSfvl Kate Sheeran named Eastman School of Music Dean https://www.rochester.edu/newscenter/kate-sheeran-named-eastman-school-of-music-dean-601592/ Castle of Our Skins Creative in Residence https://www.castleskins.org/creative-in-residence.html FROM LAST WEEK: Release Cara from her NDA imposed by the New York Philharmonic (petition) https://www.change.org/p/release-cara-from-her-nda-imposed-by-the-new-york-philharmonic?recruiter=7074075&recruited_by_id=2aa00970-d111-012f-9db1-4040d2fbfbbf&utm_source=share_petition&utm_campaign=share_petition&utm_term=petition_dashboard&utm_medium=twitter Help get Jakalin to the International Timpani Intensive https://www.gofundme.com/f/help-get-jakalin-to-houston?utm_campaign=p_lico+share-sheet&utm_medium=copy_link&utm_source=customer Register for Notes Noire https://docs.google.com/forms/d/e/1FAIpQLSeN56JaI89cmwv5xDcLq889kE5eRvoBFsh_GRoBfAdkwbYM-A/viewform Help Emanuel attend Violin Making School https://www.gofundme.com/f/help-emanuel-attend-violin-making-school?utm_campaign=p_lico+share-sheet&utm_location=FIRSTTIME&utm_medium=copy_link&utm_source=customer Black Excellence: Myles Blakemore https://www.mylesblakemore.com/bio Piece of the Week: Rosa Parks Boulevard - Michael Daugherty https://www.youtube.com/watch?v=ufQNVbSg-iA

Originally from Syracuse NY, Wayne's career as a recording session drummer began in the mid ‘90s in Nashville TN. Over the years his discography includes playing on Billboard #1 songs and #1 albums and recording 1000's of songs with artists such as Luke Bryan, Lady Gaga, Blake Shelton, Lady A, Chris Stapleton, Keith Urban, Steve Winwood, Toby Keith, Kenny Rogers, and Lyle Lovett, Leon Russell, and countless hit songwriters. His studio experience led him into production, along with artist development and artist promotion.   Some Things That Came Up:  -3:50 Wayne's Neil Peart Drum Solo story -8:55 Stephen King doppleganger -12:15 Graduating from Eastman School of Music  -20:20 Wayne played drums on some of Rich's songs -27:30 The rise of Jim Cooley  -30:00 Tea Towels are back  -34:00 Successful children -38:30 “4 Chords and a Loop” not “3 Chords and the Truth” -45:00 Play the take and leave it behind -49:00 Mitch Malloy/Van Halen on YouTube -61:30 CONCERT TOMS ARE BACK!  -67:00 AI and Construction Kits  -74:30 Lower you taps!    FOLLOW:  Email: drumsloud@gmail.com   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

Ga Ga Ti Ga, Ga Ga Ga Ti Ga... John talked about the Samba sing-a-long, studying in India, and Brazil, recording vibes and various percussion instruments, the importance of cultural context in music, and bringing your A-game to every studio session! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is John Arrucci, an acclaimed master artist in Classical, Jazz, North Indian, Afro-Cuban, Afro-Brazilian and other indigenous traditions and someone I first met when he moved to Nashville to build his studio. Having composed, performed, and instructed for over 40 years, John has studied on three continents and received numerous honors.  His work as drummer and percussionist is featured on scores for feature films, television, commercial spots and recordings including on Sony, Polygram, Mercury, Chesky, Koch Jazz, Chiaroscuro, Rykodisc and other labels. He has performed and/or recorded with Michael Brecker, John Patittucci, Mariah Carey, David Byrne, Philip Glass Ensemble, and for Dalai Lama, Bishop Desmond Tutu and many other dignitaries and has performed at notable venues such as Carnegie Hall, David Geffen Hall, Jazz at Lincoln Center, Town Hall, Merkin Hall and United Nations. His percussion can be found on programs including Patriot, Late Show with Stephen Colbert, Oprah Winfrey and Rosie O'Donnell.  As a composer, John has received numerous commissions, grants and awards from members of The New York Philharmonic, The Manhattan Marimba Quartet, The Mannes College of Music and many others. His acclaimed 2011 release “Metaphors” features 9 of his compositions and performances on Drum Set, Vibes, Marimba and Percussion. John taught for over 20 years at Princeton University, the City University of New York, and many other prominent institutions including an Eastman School of Music where he graduated with distinction. The Smithsonian Institution awarded him a Post-Doctoral level research fellowship to study Tabla in Benares, India with Pandit Sharda Sahai. He has also studied music in Brazil, and Shekere and Agbe with the renowned Chief James Hawthorne Bey, and Conga and Afro-Cuban drumming with Frank Malabe and Tabla with Robert Becker. He has basically done a tremendous amount of music and finally landed in Nashville, Tennessee making himself available for in-studio and remote recording, live performances, touring, commissions and Master Classes, one of which I recently took to learn Samba drumming which was amazing! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://gracedesign.com/ https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://iZotope.com use code ROCK10 to get 10% off! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/79yhhF3Yr5dp4a9iMhkqBn?si=6869fa6d30e44433 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/442