Podcasts about fiddler

Desolation Island opens with bucolic absurdity - we've got Jack Aubrey on ‘Fiddler's Green', Stephen dissecting a fresh cadaver's hands before dinner, a catastrophic get-rich-quick scheme, and Jane Austen-style fibbing from almost everyone. Grab a glass of port and mind your poke—we're getting the band back together.

We add another string to our bow by learning about the fiddler crab. We discuss the arc of history bending towards crab, the MogBot 2000, bad dating advice, non-orientable wormholes, and so much more.  Works Cited: “The Design of a Beautiful Weapon” - John Christy, Smithsonian Museum of Natural History “On the Other Hand: The Myth of Fiddler Crab Claw Reversal” - Judith S. Weis, BioScience, April 2019 “Sexual selection for structure building by courting male fiddler crabs: an experimental study of behavioral mechanisms” - John H. Christy et al., Behavioral Ecology, May 2002 “Synchronous waving in fiddler crabs: a review” - Patricia Ruth Yvonne Backwell, Current Zoology, July 2018 “Robotic crabs reveal that female fiddler crabs are sensitive to changes in male display rate” - Sophie L. Mowles et al., Biology Letters, January 2018 “Not what it looks like: mate-searching behaviour, mate preferences and clutch production in wandering and territory-holding female fiddler crabs” - M. Peso et al., R. Soc Open Sci.. August 2016 “Dishonest signalling of fighting ability and multiple performance traits in the fiddler crab Uca mjoebergi” - Simon P. Lailvaux et al., Functional Ecology, March 2009 “The effects of neighbor familiarity and size on cooperative defense of fiddler crab territories” - Isobel Booksmythe et al., Behavioral ecology, November 2011 “Beyond Abiotic Decay: Fiddler Crabs Accelerate Plastic Fragmentation in Pollution Hotspots” - Jose M. Riascos et al., Global Change Biology, December 2025 Links: For more information about us & our podcast, head over to our website! Follow Just the Zoo of Us on BlueSky, Facebook, Instagram & Discord! Follow Ellen on Instagram or BlueSky!   Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinjustthezoo

We add another string to our bow by learning about the fiddler crab. We discuss the arc of history bending towards crab, the MogBot 2000, bad dating advice, non-orientable wormholes, and so much more.  Works Cited: “The Design of a Beautiful Weapon” - John Christy, Smithsonian Museum of Natural History “On the Other Hand: The Myth of Fiddler Crab Claw Reversal” - Judith S. Weis, BioScience, April 2019 “Sexual selection for structure building by courting male fiddler crabs: an experimental study of behavioral mechanisms” - John H. Christy et al., Behavioral Ecology, May 2002 “Synchronous waving in fiddler crabs: a review” - Patricia Ruth Yvonne Backwell, Current Zoology, July 2018 “Robotic crabs reveal that female fiddler crabs are sensitive to changes in male display rate” - Sophie L. Mowles et al., Biology Letters, January 2018 “Not what it looks like: mate-searching behaviour, mate preferences and clutch production in wandering and territory-holding female fiddler crabs” - M. Peso et al., R. Soc Open Sci.. August 2016 “Dishonest signalling of fighting ability and multiple performance traits in the fiddler crab Uca mjoebergi” - Simon P. Lailvaux et al., Functional Ecology, March 2009 “The effects of neighbor familiarity and size on cooperative defense of fiddler crab territories” - Isobel Booksmythe et al., Behavioral ecology, November 2011 “Beyond Abiotic Decay: Fiddler Crabs Accelerate Plastic Fragmentation in Pollution Hotspots” - Jose M. Riascos et al., Global Change Biology, December 2025 Links: For more information about us & our podcast, head over to our website! Follow Just the Zoo of Us on BlueSky, Facebook, Instagram & Discord! Follow Ellen on Instagram or BlueSky!   Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinjustthezoo

If we were to ask of God, "Do You Love Me?" All we need to do is look to the Eucharist for our answer.  (Do You Love Me? from Fiddler on the Roof )The homilies of Msgr. Stephen J. AvilaPastor, St. Joseph, Guardian of the Holy Family Parish, Falmouth, MAThanks for listening! May God's Word find a home in you.

My subconscious melded Fiddler on the Roof with the lecture from a few days earlier, and I ended up writing a chapter about the Jewish farmer Tevye buying a cow, Golde (which he named after his first wife). The post Fiddler on the Roof and Value Investing – Ep 292 appeared first on The Intellectual Investor - Value Investing by Vitaliy Katsenelson.

Elise and Marcelo kick off season three with a Cats Redux. A trip to New York City and Cats: The Jellicle Ball has turned them into full-blown Cats Converts. All hail Old Deuteronomy! Instead of revisiting the nightmarish Cats (2019) movie, on this episode, Elise and Marcelo discuss the seminal documentary Paris is Burning (1990) to prepare for the ball. This fall they'll officially begin season three with Fiddler on the Roof, it's their TRADITION, after all.

The BOB & TOM Show — June 2, 20266:00 AM Hour 6:01 – Best of “Hello Dere” Vol. 2 6:02 – Pat out 6:07 – Tom discusses a dog turning on a faucet and flooding a home 6:08 – Tom talks about being out late the previous night 6:21 – Scott Halprin story 6:22 – Kristi shares a dream about going on a comedy tour 6:22 – Listener letter about being excited by Dr. Buckets 6:24 – Listener letter: Col-Gate story 6:25 – Tom explains why he puts salt in his mouth before eating potato chips 6:27 – Listener letter: “Soup or ball?” discussion 6:31 – Listener letter about Malört and its distinctive taste and smell 6:45 – Listener letter from a forest worker recovering from injuries 6:47 – Listener letter about a woodpecker becoming part of the family 6:49 – Listener letter about online scratcher videos 6:50 – Listener letter about resisting “inner Tom” tendencies 6:52 – Sports update 6:52 – Listener letter about being pulled over for driving with high beams on 7:05 – Jeff joins in studio 7:08 – Listener letter from TRD Lover 7:09 – Toothpaste discussion and follow-up TRD Lover letters with Josh 7:26 – Discussion of a Marilyn Monroe statue with cooling mist features 7:27 – Survey results on takeout orders 7:33 – Discussion of “Big Bad John” 7:35 – Discussion of “Small Sad Sam” 7:37 – Josh talks about wanting to be a puppeteer 8:04 – Audience member plays piano with the band on stage 8:07 – Discussion about Ozzy Osbourne being recreated as an avatar 8:14 – Jeff talks about collecting vintage fast-food ashtrays 8:22 – Discussion about washing a car four times in one day 8:23 – Dr. Buckets joins via video call 8:24 – Dr. Buckets discusses turning down a job with the Washington Generals 8:29 – Video call technical difficulties with Dr. Buckets 8:33 – Fiddler crab discussion 8:46 – Chick says Tom needs a massage 8:47 – Today in History 8:50 – Josh discusses being remembered after death 8:52 – Discussion about what kinds of trees the cast would be 8:57 – Chick jokes about listening to The Strokes 9:06 – Story about a man using an excavator to damage a home during a domestic dispute 9:07 – Discussion of new dating terms 9:24 – Josh says he could fill in for Greg Warren because he knows the act 9:25 – Story about therapy donkeys at a mental health facility in France 9:27 – Discussion about hair salons and therapy-related services 9:28 – Josh jokes about getting a haircut 9:31 – Josh discusses haircut preferences 9:31 – Jeff discusses haircut preferences 9:32 – Chick discusses never having his hair washed before a haircut 9:44 – Josh nearly does a spit take 9:50 – Pierre Wine Cooler discussion 9:51 – Discussion about famous artworks and theft-related replacements 7:00 AM Hour8:00 AM Hour9:00 AM Hour Learn more about your ad choices. Visit podcastchoices.com/adchoices

I set a $200K quarter goal on April 2nd, posted about it publicly, and then… did a musical. In this episode I'm breaking down how I hit $99.5K in the first 6 weeks without everything going according to plan, why I literally burned my plan at a mastermind retreat, and what a Fiddler on the Roof rehearsal schedule taught me about loosening my grip on the business. Plus: the messaging pivot that rescued a launch, the high-ticket sales I didn't see coming, and why summer might be the worst time to take your foot off the gas if your competitors already have.   → Main Character Energy Private Podcast: https://meganyelaney.com/main-character-energy → Wildly in Demand (June 23–25): https://meganyelaney.com/wildly-in-demand    → Get the full show notes (with all the links) here: https://meganyelaney.com/2026/06/01/how-i-hit-financial-business-goals-by-burning-the-plan  

Alabama State Representative Jennifer Fiddler joins Jeff Poor to discuss the latest developments in the state's congressional redistricting battle, reaction to recent primary election results across Baldwin County, and upcoming changes within the county's legislative delegation. Fiddler also outlines her plans to reintroduce legislation aimed at expanding insurance coverage for breast reconstruction options available to breast cancer patients and discusses the challenges of growing access to specialized medical procedures in Alabama. 

Learn more about Howard at:  https://howardlanger.com/ Show notes:  Show Notes    ⚖️ [02:22] Reading biographies of famous lawyers as a child

In our forty first deployment of BungleTech my stalwart spheroid partner in tactical misadventure and I break down our latest BattleTech game played in a speed‑BattleTech format. And because reputation demands it, we wrap up by asking the eternal question of all commanding bunglers: “Which rules did we mess up this time?” Our Honourable Patreon SupportersMechWarriors: Canaan McKenna, Ed Magilton, HeyZeus, Malathis, Phil Raider Roby, Slurski Lispers, Wargaming WanderlustTechnicians: boy_inna_box, Blunderdome, Chris Cannon, DarkTremere, Devon, Dire Situation, Jack Lambert, Klint, Matthew Hopper, Metal Ed, ML8211, Ned McDermott, TheRock3393, ZemerBondspersons: Arbriar, Fiddler, Fullmetal Gundam, G, Hilux, Offensive Titan, Steffan Gordan, Sven Bertram, SweetBee, William Becker, WooflerSegment Start TimesExtraordinary Proclamation - 0:58Battlefield Outcome Report - 4:26Rule Check Discovery - 42:37BungleTech LinksBungleTech Discord Homebase Under BungleTech -> https://discord.gg/thevalhallaclubBungleTech Email -> BungleTech@outlook.comBungleTech Global Campaign Initiative Document Repository -> ⁠https://www.patreon.com/posts/global-campaign-125155370⁠BungleTech Patreon -> ⁠ https://www.patreon.com/BungleTech⁠BungleTech Podcast Game Mode Collection -> ⁠ https://1drv.ms/f/s!AiU1hP8RhYzUn5FwSg7PaYnHbJvm7Q⁠BungleTech Twitter/X -> BungleTechTweetUK Games ExpoUK Games Expo Tickets -> https://www.ukgamesexpo.co.uk/events/?query=Battletech&time=0&time=1440&category=12&category=4&category=2&category=21&category=1&category=19&category=7&category=6&category=8&category=3&tickets_remaining=0

The acclaimed off-Broadway production of “Fiddler on the Roof”—in Yiddish, with English and Russian supertitles—opens in Canada this week, during Jewish Heritage Month. This is the stage musical's first international tour since its rousing success in New York under Oscar-winning actor and director Joel Grey. The dialogue showcases the original language in which Sholem Aleichem wrote his stories about the beloved fictional character Tevye the dairyman, whose family faces upheaval and antisemitic persecution in Czarist Russia in 1905. Toronto's Harold Green Jewish Theatre teamed up with the National Yiddish Theatre Folksbiene to bring the show to Canada, with Broadway star Steven Skybell as Tevye, and a supporting cast of major Canadian performers including Theresa Tova, Jamie Elman and Gabi Epstein. The promoters say this production resonates so deeply after Oct. 7. as questions of identity, migration, continuity and Jewish belonging feel newly urgent. On today's episode of The CJN's North Star podcast, reporter Jonathan Rothman joins host Ellin Bessner to discuss why he set out to learn more about this version of the iconic show, and they talk tradition, rehearsals and why attending a performance later today will mark the first time he has actually ever seen any version of Fiddler. (Note: The Harold Green Jewish Theatre is advertising the play on The CJN's website, but they were not involved in this story or our coverage of the play in any way.) Related stories Learn more about the making of the show in The CJN's Jonathan Rothman's feature article in The CJN . Buy tickets for Fiddler's two-week run at The Elgin Theatre in Toronto. The CJN's David Matlow looked at the enduring appeal of Fiddler on the Roof for his “Treasure Trove” column, in 2024 . Credits Host and writer: Ellin Bessner ( @ebessner ) Production team: Zachary Kauffman (senior producer), Izzie Helenchilde (producer), Michael Fraiman (executive producer), Alicia Richler (editorial director) Music: Bret Higgins Support our show Subscribe to The CJN newsletter Donate to The CJN (+ get a charitable tax receipt) Subscribe to North Star (Not sure how? Click here ) Watch our podcasts on YouTube. https://www.youtube.com/@TheCJN Help others find this podcast by leaving us a review for “North Star” on Apple Podcasts via your iPhone or iPad device, or with your Android. (Spotify allows only starred ratings but you can do that, too!)

Taproots Farm Hub hosted its Emerging Farmers Field Day in the Dry Creek Valley north of Boise.

There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——

There are few works in the history of theatre that have entered the emotional bloodstream of humanity quite like Fiddler on the Roof. More than a beloved Broadway musical, it is a profound meditation on family, faith, exile, resilience, identity, love, and the fragile balancing act between tradition and change. Since its debut in 1964, the story of Tevye the milkman, his wife Golde, and their daughters in the tiny shtetl of Anatevka has transcended culture, religion, language, and geography — because beneath its deeply Jewish story lies something universally human: the longing to hold onto one another while the world shifts beneath our feet. Now, in a remarkable and internationally celebrated production presented by the Harold Green Jewish Theatre Company, Fiddler on the Roof returns to the language and cultural heartbeat from which it was born — Yiddish. Performed entirely in Yiddish with English subtitles, this historic production arrives at Toronto's legendary Elgin Theatre from May 25 to June 7 under the direction of Tony and Academy Award winner Joel Grey. What began in New York as a six-week theatrical experiment became an 18-month sensation, earning major awards, standing ovations, and more than 500 performances. Critics called it revelatory. Audiences described it as hauntingly beautiful, deeply human, and emotionally transformative. At the center of this extraordinary artistic achievement stands Zalmen Mlotek — one of the world's foremost authorities on Yiddish theatre and song, Artistic Director of the National Yiddish Theatre Folksbiene, and one of the great guardians of Jewish cultural continuity. Born into one of the most important Yiddish cultural families in North America, Mlotek grew up immersed in the language, music, and memory of Ashkenazi Jewish civilization. His father, Joseph Mlotek, edited the legendary Forverts (Yiddish Forward), while his mother, Eleanor Chana Mlotek, became one of the great archivists of Yiddish folk music. Zalmen himself studied at Juilliard and worked under the legendary Leonard Bernstein before dedicating his life to preserving and revitalizing Yiddish culture through theatre and song. Under his artistic leadership, the National Yiddish Theatre Folksbiene — founded in 1915 and the world's longest continuously operating Yiddish theatre company — has become internationally celebrated for reviving classic Yiddish works and bringing Jewish theatrical history into the modern cultural imagination. Tonight, on The Avrum Rosensweig Show, we explore the enduring power of Fiddler on the Roof, the emotional resonance of hearing it performed in Yiddish, and why this language still carries what Joel Grey calls “history, humour, sorrow and resilience all at once.” For centuries, Yiddish became the emotional heartbeat of Jewish life — the language of storytelling, humour, commerce, lullabies, argument, heartbreak, and survival. Together, we also explore the great Yiddish literary and theatrical tradition shaped by figures such as Sholem Aleichem, I.L. Peretz, Isaac Bashevis Singer, Theo Bikel, Sheldon Harnick, and Itzhak Perlman — and how Yiddish theatre helped shape Broadway itself. But perhaps most importantly, this conversation asks why Fiddler on the Roof continues to unite audiences across generations, faiths, and backgrounds. Why a story rooted in one tiny Jewish village somehow speaks to all humanity. This is not merely an interview about theatre. It is a conversation about memory. About identity. About exile and belonging. About resilience. About family. And about the extraordinary power of language, music, and storytelling to keep a civilization alive. Ladies and gentlemen — Zalmen Mlotek. ——

The Fiddler fiddles his way to Earth-1! Can the Titans thwart the evil schemes of the villainous violinist? And can they solve the mystery of some missing musicians? Find out as David and Peter cover this epic from Teen Titans #46. Email us at theearth2podcast@gmail.com Facebook www.facebook.com/theearth2podcast Instagram www.instagram.com/theearth2podcast Twitter www.twitter.com/podcast_earth2 Leave us a Voicemail at www.speakpipe.com/theearth2podcast And we're now on Bluesky at https://bsky.app/profile/theearth2podcast.bsky.social   #dccomics #dcmultiverse #TeenTitans #Fiddler #WonderGirl #Speedy #Robin #Aqualad #Mal #Hornblower #PaulMcCartney #Wings #Carpenters #TheCarpenters #Beatles #TheBeatles #BobRozakis #IrvNovick

Michael Berresse went straight from high school to performing at Disneyland, then at Walt Disney World, and then Tokyo Disneyland. From there, he moved to New York, where he's appeared in over 7,000 performances of 11 Broadway shows. Michael made his Broadway debut in the 1990 revival of Fiddler on the Roof. He was nominated for a Tony and Olivier Award for Best Featured Actor in a Musical for his work as Bill Calhoun in Kiss Me Kate. He also starred in Chicago (first as Fred Casely and later as Billy Flynn), Guys and Dolls, Carousel, Damn Yankees, The Light in the Piazza, the revival of A Chorus Line as Zach, and The Cher Show where he played the roles of Bob Mackie, Robert Altman, and Artie.Also on Broadway, Michael directed and choreographed the musical, [title of show], for which he was nominated for a Lucille Lortel Award and a recipient of off-Broadway's Obie Award.On film, Michael stalked Russell Crowe in State of Play, rescued Haley Joel Osment in A.I. Artificial Intelligence directed by Steven Spielberg, and offed Albert Finney in The Bourne Legacy. He also appeared as himself in the documentary film Every Little Step, which follows the casting process of the production of A Chorus Line.He's also fallen into the orchestra pit on Broadway…twice…and, of course, Michael and Scott talk about that.Enjoy this interview with the incredible Michael Berresse!Email: TheMouseAndMePodcast@gmail.comSupport: www.patreon.com/themouseandmeFB and Instagram: “The Mouse and Me”Music by Kevin MacLeod from https://incompetech.filmmusic.io

Reed Luplau is in the studio for this mid-month episode! He's a dancer, choreographer, and performer and has built such a multifaceted and versatile career in the performing arts. He trained at the Australian Ballet School and performed with Sydney Dance Company, and he's appeared in the original Broadway casts of Moulin Rouge! The Musical, Natasha, Pierre & The Great Comet of 1812, and the 2015 revival of Fiddler on the Roof. As a choreographer, his work has spanned Broadway, opera, concert dance, large-scale live events, and festivals across the United States and Australia.Now, he's bringing his own work to the stage with the world premiere of How Will I Remember This, a new dance narrative presented by Reed Luplau Works in association with the Institute for American Musical Theatre. This piece is inspired by the history of Eldorado — the legendary queer cabaret nightclub in Weimar, Berlin, shut down by the nazis in 1933. The piece explores memory, identity, loss, and erasure through movement, music, and theatrical storytelling. The production will play for three performances only on May 22, 23, and 24, 2026, at the IAMT Theater in New York City. The link to purchase tickets is below!In this conversation, we talk about Reed's path from ballet to Broadway, the artistic transitions that shaped his career, and why dance became the medium through which he wanted to tell this story. We also talk about starting ballet late, mentorship and accessibility in the performing arts, and the importance of creating more inclusive dance spaces. Check out our conversation!Purchase tickets for How Will I Remember This: https://prezlymail.com/c/93902432-7c6f-4912-b47b-a3f290239ad3/a11eb31f/https%3A%2F%2Fwww.simpletix.com%2Fe%2Fhow-will-i-remember-this-tickets-264925Learn more about Reed and his work: http://www.reedluplau.com/Follow Reed on Instagram: https://www.instagram.com/reedluplau/Check out the Netflix documentary about Eldorado: https://www.netflix.com/title/81331646Subscribe to The Adult Ballet Studio on YouTube: @adultballetstudioMusic in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310Artist: http://incompetech.com/@eblosfield | theadultballetstudio@gmail.comSupport this podcast on Patreon! https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link Hosted on Acast. See acast.com/privacy for more information.

Continuing Epic Month we watched the 1971 musical drama Fiddler on the Roof. Directed by Norman Jewison, the film centers on Tevye, a poor Jewish milkman, who is faced with the challenge of marrying off his five daughters amidst the growing tension in his shtetl. It stars Chaim Topol, Norma Crane, Leonard Frey, Molly Picon, Paul Mann, Rosalind Harris, Michèle Marsh, Neva Small and Paul Michael Glaser. Come join us!! Website : https://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

This episode originally aired on September 25th, 2020. This week, stories of parenting and being parented. This episode was hosted by the director of MothWorks at The Moth, Kate Tellers, featuring two special surprise guests. Storytellers: Caroline Connolly's realize they've forgotten their theater tickets... about 100 miles into the drive to New York City. Christopher Moncayo-Torres tries to connect with his dad through their shared love of Fiddler on the Roof. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

J&J are joined by Samantha Wynn Greenstone and Jacob Hoff, the married couple behind the “I Married A Gay Man” podcast, to unpack the relationship dynamic that has the internet completely fascinated! They tell their story of meeting during a Fiddler on the Roof audition, becoming inseparable best friends, and the text message that changed everything after an energy healer told Samantha they shared a “spiritual umbilical cord.” Jacob opens up about identifying as gay while being deeply in love, monogamous, and raising a baby with Samantha, while the group dives into why labels, attraction, and soulmate connections don't always fit into neat boxes. Learn more about your ad choices. Visit megaphone.fm/adchoices

podList 7: The Classics - ShownotespodList 7: The Classics - 18 Hip Covers from 1987 Through "Day for Night"podList 7 is here. 18 tribute artists tackle The Tragically Hip's earliest era - from the 1987 EP through "Day for Night."Summary:The seventh installment of podList drops with a focus on the foundational years of The Tragically Hip's catalogue - the 1987 self-titled EP through 1994's "Day for Night." 18 tribute acts and solo artists from across the Hip cover community contributed tracks, spanning deep cuts and signature songs alike.The lineup includes Jay Hubbard on 'Little Bones,' Duxoop Douglas on 'Courage,' The Gracefully Hip on 'Grace, Too,' Forever Hip on '38 Years Old,' and Tragically Al closing things out with 'Opiated.' Two tracks each appear for 'Nautical Disaster' and 'Fiddler's Green' - a happy accident of the open submission format that lets listeners hear how different artists approach the same source material.podList exists because tribute bands and solo Hip interpreters keep the catalogue alive in rooms across Canada and beyond. This volume zeroes in on the classics - the era that built the foundation everything else stands on.Track Listing:Jay Hubbard - 'Little Bones'Duxoop Douglas - 'Courage'The Gracefully Hip - 'Grace, Too'Forever Hip - '38 Years Old'Urban Hip - 'Fiddler's Green'Little Bones - 'Scared'Shaun Robertson - 'Nautical Disaster'Trickle Down - 'Twist My Arm'Thomas De Bock - 'Cordelia'Gift Shop - 'Pigeon Camera'50 Mission - 'Fully, Completely'Evil Tom Bosely - 'Long Time Running'Nautical Disaster - 'Blow At High Dough'Hip Check - 'On The Verge'The Fabulously Rich - 'Looking For A Place To Happen'Tim Clark & Ben Wallace - 'Nautical Disaster'Christian White - 'Fiddler's Green'Tragically Al - 'Opiated'Guest Info:18 contributing artists: Jay Hubbard, Duxoop Douglas, The Gracefully Hip, Forever Hip, Urban Hip, Little Bones, Shaun Robertson, Trickle Down, Thomas De Bock, Gift Shop, 50 Mission, Evil Tom Bosely, Nautical Disaster, Hip Check, The Fabulously Rich, Tim Clark & Ben Wallace, Christian White, and Tragically Al.Resources:The Hip Compendium: compendium.tthpods.compodList submissions: podlist.tthpods.comThe Tragically Hip Podcast Series: tthpods.comLinks - Tribute Bands:Forever Hip (Toronto, ON): foreverhip.caThe Gracefully Hip (Quebec City, QC): sites.google.com/view/thegracefullyhip | facebook.com/thegracefullyhipUrban Hip (Thunder Bay, ON): urbanhip.ca | facebook.com/p/Urban-Hip-100063907241104Little Bones (Ottawa, ON): sites.google.com/view/littlebones-ca/home | facebook.com/littlebonesottawaTrickle Down (Calgary, AB): trickledownband.comGift Shop (Vancouver, BC): giftshophipband.ca | facebook.com/giftshophipband50 Mission (Southern Ontario): 50missionband.com | facebook.com/50mission | instagram.com/50missionhipNautical Disaster (Victoria, BC): nauticaldisaster.com | facebook.com/NauticalDisasterbandHip Check (Ontario): hipcheck.bandThe Fabulously Rich (Charlottetown, PE): thefabulouslyrich.com | instagram.com/thefabrichClose:podList 7 is a celebration of the artists who keep "The Tragically Hip," "Up to Here," "Road Apples," "Fully Completely," and "Day for Night" alive through their own interpretations. Eighteen takes on the classics. One catalogue. The fans always show up.Crosslinks:Fully & Completely: track-by-track album walkthroughs of the same era covered hereThe Tragically Hip On Shuffle: weekly live stream covering the full catalogueA Forest Of Whispering Speakers: now airing weekly through June 8Socials: Follow The Tragically Hip Podcast Series across all platforms.#TheTragicallyHip #TTHPods #podList #HipTribute #CanadianMusic #FullyCompletelyAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Daniel Krikler is starring as Richard in the world premiere of Redcliffe at the Southwark Playhouse.Written by Jordan Luke Gage, this new musical is based on the true story of William Critchard and Richard Arnold in 18th-century Bristol. It follows the dangerous, forbidden passion between a man of humble beginnings and a visiting sailor as they navigate a world of intense persecution.Daniel's early credits include Charlie in Loserville (Garrick Theatre & West Yorkshire Playhouse), Rory in Bare: A Pop Opera (Union Theatre), Eddie in Mamma Mia! (Novello Theatre) and Jersey Boys (UK Tour). He then returned to drama school to do an MA at Central School of Speech and Drama, and forged a hugely diverse career with his credits including: Arthur in Pink Mist (Bristol Old Vic/UK Tour), Dan in Homos, Or Everyone In America (Finborough Theatre), Keith Douglas in Unicorns, Almost (Bristol Old Vic), Understudy: Joe, Roland & Fred in Present Laughter (The Old Vic), Malcolm/Witch in Macbeth (Guildford Shakespeare Company), Understudy: Leo in 4000 Miles (The Old Vic), Charlemagne in Pippin (Charing Cross Theatre), Ensemble in The Normal Heart (National Theatre), Martin McGough in Fighting Irish (Belgrade Theatre), Caliban in The Tempest (Guildford Shakespeare Company), Mr Lacy in The Secret Life of Bees (Almeida Theatre), Max Vandenberg in The Book Thief (Leicester Curve) and Dillon Evans in The Motive and The Cue (National Theatre Productions).Daniel's most recent work includes: Fedya Dolokhov in Natatsha, Pierre & The Great Comet (Donmar Warehouse), Martin in Austenland (Savoy Theatre), Perchik in Fiddler on the Roof (Regents Park Open Air / Barbican), Peter Pan in Wendy and Peter Pan (Barbican / RSC) and Man in All Is But Fantasy (RSC).Redcliffe runs at the Southwark Playhouse Borough 22nd May – 4th July. Visit www.southwarkplayhouse.co.uk for info and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

A Forest Of Whispering Speakers - The BookTwo writers. Ten years of trust. One Tragically Hip catalogue. Episode two is the story of how the book got written without flattening the band.Episode SummaryA Forest Of Whispering Speakers is the oral history of the Theatre Aquarius world premiere of It's a Good Life If You Don't Weaken, the new musical built on the music of The Tragically Hip. Act II: The Book is the writers' room episode — how an exile's journey gets shaped into a story, and how Hip songs become the emotional grammar of that story without ever turning it into a band biography or a jukebox musical.Host jD sits down with co-writers Ahmed Moneka and Jesse LaVercombe, with producer Michael Rubinoff and Tragically Hip manager Jake Gold stepping in to frame the bigger picture. The episode opens at a campfire in Prince Edward County in 2015, traces the ten-year partnership that built King Gilgamesh and the Man of the Wild at Soulpepper, and lands on the two different doors each writer walked through to find The Hip — one across a bridge in Bobcaygeon, the other watching Gord say goodbye from south of the border.Inside the episode: the load-bearing wall of a decade-long friendship, the yin-yang of Ahmed's exile and Jesse's grief, a Thornton Wilder quote about platitudes, and a working theory that 700 people in a theatre cannot lie to you at once.Guest InfoAhmed Moneka (Toronto, via Baghdad) — Co-writer of It's a Good Life If You Don't Weaken. Iraqi-Canadian actor, singer, and writer. Co-creator of King Gilgamesh and the Man of the Wild.Jesse LaVercombe (Toronto, via the United States) — Co-writer of It's a Good Life If You Don't Weaken. Writer and performer. Co-creator of King Gilgamesh and the Man of the Wild.Michael Rubinoff — Producer, It's a Good Life If You Don't Weaken. Originating producer of Come From Away.Jake Gold — Manager, The Tragically Hip.Resources & LinksTheatre Aquarius — It's a Good Life If You Don't WeakenKing Gilgamesh and the Man of the Wild — Soulpepper TheatreDriftwood Theatre — Shakespeare in the Park, Southern OntarioThe Hip Compendium - compendium.tthpods.comHipbaseHipMuseumThis Is Our LifeThe Tragically Hip ArchiveCalls to ActionSee the show. It's a Good Life If You Don't Weaken runs at Theatre Aquarius in Hamilton through May 16, 2026. Tickets at tickets.tthpods.com.Explore The Hip Compendium — 1,358 mapped live shows, full discography, On This Day, and more at compendium.tthpods.com.Closing ParagraphThanks to Ahmed Moneka and Jesse LaVercombe for the time, the candour, and the campfire story. Thanks to Michael Rubinoff and Jake Gold for the framing. Act II is the writers' room. Act III: The Craft drops Monday, May 18 — the design team, the orchestrator, the choreographer, and the people who turn the page into a stage. So there's that.Promos & CrosslinkspodList 7 - "the classics" drops Friday, May 15. Eighteen tracks of 1987–1995 era covers, including intentional duplicate covers of 'Nautical Disaster' and 'Fiddler's Green'.Previous episode: A Forest Of Whispering Speakers - Act I: The IdeaCompanion listening: The Tragically Hip On Shuffle - Live Stream, Wednesdays 8 PM ETSocials & CommunityFacebook group: community.tthpods.comInstagram: @tthpodsYouTube: youtube.com/@tthpodsEmail: jd@tthpods.com #TheTragicallyHip #TheHip #ItsAGoodLifeIfYouDontWeaken #TheatreAquarius #AhmedMoneka #JesseLaVercombeAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The conventional wisdom is that history doesn't repeat, it rhymes. With that in mind, we'll revisit two programs from an earlier time of uncertainty, when traveling was difficult amid world and family situations. We can become armchair travelers, and enjoy a grand variety of World music from all corners of the globe. In the first installment, we'll hear from the Finnish band Frigg, The Russian group The Terem Quartet, The Battlefield Band from Scotland, Itzhak Perlman and the Andy Statman Klezmer Orchestra and many more. Find a comfy chair and travel the world with some great music … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysFrigg / “Juhlamarssi” / X X / Self-producedViguele / “Rosario por Malaguenas” / Tempermento-Traditional Music from Spain / ARCThe Terem Quartet / “The Legend of the Old Mountain Man” / Terem / RealworldLakou Mizik / “Wa Di Yo” / Wa Di Yo / CumbanchaGeoffrey Oryema / “Land of Anaka” / Realworld 25 / Realworld Debashish Bhattacharya / “Amrit Anand” / Calcutta Chronicles / RiverboatAlasdair Fraser / “Dawn Dance” / Dawn Dance / CulburnieFrigg / “Early Bird” / X X / Self-producedAldeia dos Anjos / “Mal-me-quer” / Discover Music from Brazil / ARCIyatra Quartet / “Chandra” / Break the Dawn / PRS FoundationKamakahi-Kuo-Pahinui Hawaiian Slack Key Band / “Monterey Sunrise” / Hui Aloha / Dancing CatBattlefield Band / “Seven Braw Gowns” / The Producer's Choice / TempleItzhak Perlman w/ The Andy Statman Klezmer Orchestra / “Shalom Aleykhem” / In the Fiddler's House / AngelPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Tradition. Family. Chaos. Love. Fiddler on the Roof has been connecting with audiences for generations, and now two of the stars bringing this production to life join Stage Door Podcast to talk about the show everyone will be talking about this summer.Steve Smithberger, one of the two actors playing Tevye, and Lydia Schafer, starring as Golde, discuss the pressure and excitement of stepping into these legendary roles, what makes this story still resonate today, and why audiences continue to fall in love with Fiddler on the Roof year after year.From unforgettable music to deeply human moments, this production promises laughter, emotion, and a story that feels just as relevant today as ever.Fiddler on the Roof runs June 5–21.

How do we know what has gone before in music and folklore? Musical explorers with reel-to-reel recorders and notebooks went out and found music, recording musicians and singers and storytellers to make sure the music kept going. For the record this week, we'll listen to field recordings from years past, including the Doc Watson Family, Sara and Maybelle Carter (as recorded by Mike Seeger) and Pink Anderson, among many others. Music collected in the field … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysThe Doc Watson Family / “Tucker's Barn” / Tradition / RounderJames “Son Ford” Thomas / “44 Blues” / Voices of Mississippi / Dust to DigitalWill Shade, Charlie Burse and Gus Cannon / “Take Your Fingers Off It” / Classic Harmonica Blues / Smithsonian FolkwaysPink Anderson / “Talking Blues” / Classic African American Songsters / Smithsonian FolkwaysPeg Leg Sam / “Froggy Went A-Courting” / Classic African American Songsters / Smithsonian FolkwaysE.C. Ball / “The Farmer's Curst Wife” / Sounds of the South / AtlanticMaybelle Carter and Sara Carter Bayes / “I'm Leaving You this Lonesome Song” / Classic Old-Time Music / Smithsonian FolkwaysDoug Wallin / “Naomi Wise” / Classic American Ballads / Smithsonian FolkwaysBurl Hammons / “The Big Scioty” / The Hammons Family / RounderThe Doc Watson Family / “Give the Fiddler a Dram” / Tradition / RounderThe Southland Hummingbirds / “You Don't Know Like I Know” / Voices of Mississippi / Dust to DigitalIndian Bottom Association Old Regular Baptists / “Guide Me O Though Great Jehovah” / Songs of the Old Regular Baptists / Smithsonian FolkwaysBozie Sturdivant / “Ain't No Grave Can Hold My Body Down” / A Treasury of Library of Congress Field Recordings / RounderJames “Son Ford” Thomas / “I Know It's Wrong to be Playin' the Blues” / Voices of Mississippi / Dust to DigitalLead Belly / “Cow Cow Yicky Yicky Yea” / Cowboy Songs on Folkways / Smithsonian FolkwaysElizabeth Cotten / “In the Sweet Bye and Bye” / Close To Home / Smithsonian FolkwaysW.H. Stepp / “Bonaparte's Retreat” / A Treasury of Library of Congress Field Recordings / RounderPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

WTF News The Morning Shag with Shags and Trevor 5:30am to 10:00am on 96.7 KCMQ Classic Rock in Mid-Missouri

1. Netflix Source Says They've "Sealed the Deal" on a Return for 'The Crown' — But It's Not What Fans Might Expect (Marie Claire) (34:41) 2. Pete Davidson and Elsie Hewitt ‘Working Through' Relationship ‘Issues': Their Daughter Is ‘Top Priority,' Source Says (PEOPLE) (44:29) 3. Brooks Nader and Taron Egerton take a dip during romantic Australia beach date (Page Six) (47:49) 4. Taylor Swift's website briefly displays 'Toy Story'-style countdown (USA Today) (50:50) 5. Emily Blunt sparks backlash for ‘awful career advice': ‘Out of touch with reality' (Page Six) (57:30) - Real Housewives of Beverly Hills Reunion Recap (1:03:35) The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) ⁠⁠⁠⁠⁠The Toast Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Toast Merch ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Girl With No Job by Claudia Oshry ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Camper & The Counselor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Lean In⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The 1960s would eventually completely revolutionize huge swaths of the American cultural landcape, including Broadway. But as is often the case, the early part of the decade looks a lot like the decade before: talented young writers, composers, directors, and producers pushing at the boundaries of what Rodgers & Hammerstein had done. It was the Golden Age of the Broadway Musical, and its last masterpiece was Bock and Harnick's Fiddler on the Roof from 1964. Produced by Hal Prince, directed by Jerome Robbins, and starring the indomitable Zero Mostel, the show was an absolute smash, and is one of the last of its kind. Join us as we talk Fiddler, Zero, HUAC, and "If I Were a Rich Man."   All clips are from the 1964 cast album of Fiddler on the Roof featuring Zero Mostel and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com Recommended Reading/Viewing: The transcript of Zero Mostel's testimony before HUAC Ethan Mordden, Anything Goes: A History of American Musical Theater (Mordden's other volumes are also excellent resources for more in-depth discussion) Broadway: The American Musical

The Night Stalker (1972), Dracula (1973), and Trilogy of Terror (1975) Horror fans from the 1970s may not have known the name Dan Curtis, but they certainly knew his work. From his early gothic soap opera Dark Shadows, where one of the main characters just happened to be a vampire, to the countless adaptations of classic novels, such as Dracula, Frankenstein, and Jekyll and Hyde, to even more throughout the '70s. Curtis continued to give TV viewing audiences plenty of nightmares during that time, blending classic monsters with new and unique ones and delivering all of them to the small screen in ways that really resonated with audiences at the time. Modern audiences might be even less familiar with Curtis' work than those who grew up with his films, but his influence has never gone away, and his body of work is more than worth revisiting, or if you've never experienced it yet, then now is the perfect time to start down that journey. Films Mentioned in this episode: Bram Stoker's Dracula (1992), Burnt Offerings (1976), The Changeling (1980), City Slickers (1991), Curse of the Black Widow (1977), The Dark Crystal (1982), Dark Shadows (1966-71), Demons of the Mind (1972), Doctor Jekyll and Sister Hyde (1971), Dracula (1931), Dracula (1973), Fiddler on the Roof (1971), Frankenstein (1973), Frankenstein Must Be Destroyed (1969), The Great Muppet Caper (1981), In My Skin (2002), Kolchak: The Night Stalker (1973-74), The Night Stalker (1972), The Night Strangler (1973), The Norliss Tapes (1973), Nosferatu (1922), The Rocky Horror Picture Show (1975), The Strange Case of Dr. Jekyll and Mr. Hyde (1968), Superman (1978), Superman II (1980), Trilogy of Terror (1975), Vampyres (1974), War and Remembrance (1988), The X-Files (1993-2018)

This magical arranger turned his genius to the Broadway canon with timeless results. Listen to Sinatra, Jobim, Sammy Davis, Jr., DianA Krall, Streisand and more in thrilling versions of songs from Fiddler on the Roof, Kismet, Zorba, My Fair Lady and more.

Music from: Haggis Rampant, Rusty Mudd, Blackjacks n' Blarney, Phoenyx, Thyme Awaye, Bocca Musica, Rovers Way, Saxon Moon, Whiskey Bards, Celtica Fae, Empty Hats, Wolgemut, Chuckawalla Rhythm Kings, Merry Mischief, Stary Olsa, Jack Salt and the Captain's Daughter, Waking Guild, Celtic Stone, Dragon of Wortley, Vicki Swan & Jonny Dyer, The Pride of Ireland, Pat Razket VISIT OUR SPONSORS Bawdy Podcast Happy To Be Coloring Pages RESCU The 27 Patrons of the Podcast The Ren List SONGS Song 01: High Road to Gairloch,Brown Haired Maiden by Haggis Rampant from Trì www.haggisrampant.com Song 02: Johnny Jump Up [35] by Rusty Mudd from The Darkling Road www.facebook.com/rusty.mudd.1 Song 03: Hills of Connemara [01] by Blackjacks n' Blarney from Bite Size www.twitter.com/bnbpyrates Song 04: Cat and the Fiddle by Phoenyx from Keepers of the Flame https://www.prometheus-music.com/product/keepers/ Song 05: Highland Harry by Thyme Awaye from Thyme Awaye Song 06: Mingulay Boat Song [03] by Bocca Musica from Finally Legal (Live) www.boccamusica.com Song 07: Best Damn Life by Rovers Way from The Journey www.roverswaystudios.com/ Song 08: Celebration Of Kings by Saxon Moon from Forged www.facebook.com/saxonmoonmusic/ Song 09: Land Of The Sun by Whiskey Bards from Women, Whiskey & War www.facebook.com/whiskeybards/ Song 10: Galway Girl [02] by Celtica Fae from Debut Album www.facebook.com/CelticaFae/ Song 11: Scattery Island Slide, Jig Of Slurs by Empty Hats from 5 [Five] www.emptyhats.com Song 12: Csm 166 by Wolgemut from Momento www.wolgemut.net Song 13: Men Of Worth by Chuckawalla Rhythm Kings from No Bedrolls Or Backpacks www.chuckawallark.com Song 14: Black Fox [02] by Merry Mischief from Heroes & Rogues www.merrymischief.net Song 15: Hrunvaldskaja Bitva (Grunwald Battle of 1410) by Stary Olsa from Kola Rycerska www.staryolsa.com/en/home.html Song 16: Jackets Green by Jack Salt and the Captain's Daughter from Bring Us a Barrel www.jacksalt.bandcamp.com Song 17: Fireside by Waking Guild from In the House of the Goat Song 18: John Barleycorn [01] by Celtic Stone from Celtic Stone UNKNOW WEBSITE Song 19: Jilli Barleycorn by Dragon of Wortley from Silver in the Coffer www.facebook.com/Dragon-of-Wortley-1461861304050060 Song 20: Medieval Contra by Vicki Swan & Jonny Dyer from Sleep Deprivation http://swan-dyer.co.uk Song 21: The Bodhran Song [02] by The Pride of Ireland from Water, Hops, and Grains www.theprideofireland.com/ Song 22: Night of O'Malley by Pat Razket from Hymns from the Abyss https://patrazket.se/ Song 23: Wild Mountain Thyme [26] by Luku the Mad Skald from Pissed Drunk and Pissed Off www.lukuthemad.com Song 24: Parting Glass [22] by Fiddler's Tales from Waddles From The Sea HOW TO CONTACT US Please post it on Facebook https://www.facebook.com/renfestmusic Please email us at renfestpodcast@gmail.com OTHER CREDITS Thee Bawdy Verson https://renfestbawdypodcast.libsyn.com/ The Minion Song by Fugli www.povera.com Valediction by Marc Gunn https://marcgunn.com/ HOW TO LISTEN Patreon https://www.patreon.com/RenFestPodcast Apple https://podcasts.apple.com/us/podcast/renaissance-festival-podcast/id74073024 Spotify https://open.spotify.com/show/76uzuG0lRulhdjDCeufK15?si=obnUk_sUQnyzvvs3E_MV1g Listennotes http://www.listennotes.com/podcasts/renaissance-festival-podcast-minions-1Xd3YjQ7fWx/

In our fortieth deployment of BungleTech, Michael and I take a trip to Japan as we dive into a brian cache of Japanese BattleTech releases recently unearthed by members of the community in our primary topic segment and ask ourselves the question: is this even BattleTech or have we wandered into some Tetatae adjacent alternative BattleTech timeline? Strap in as we tour a place where familiar 'Mechs sport unfamiliar silhouettes. Just like a Marauder II crashing its way through a densely packed residential block, It's a journey of equal parts discovery and destruction. Get ready for those knowledge check PSRs MechWarriors!Our Honourable Patreon SupportersLoremasters: Emilio EspinozaMechWarriors: Canaan McKenna, Ed Magilton, HeyZeus, Malathis, Phil Raider Roby, Slurski Lispers, Wargaming WanderlustTechnicians: boy_inna_box, Blunderdome, Chris Cannon, DarkTremere, Devon, Dire Situation, Jack Lambert, Klint, Matthew Hopper, Metal Ed, ML8211, Ned McDermott, TheRock3393, ZemerBondspersons: Arbriar, Fiddler, Fullmetal Gundam, G, Hilux, Offensive Titan, Steffan Gordan, Sven Bertram, SweetBee, William Becker, WooflerSegment Start TimesExtraordinary Proclamation - 1:18Podcast Primary Topic - 8:07BungleTech LinksBungleTech Discord Homebase Under BungleTech -> https://discord.gg/thevalhallaclubBungleTech Email -> BungleTech@outlook.comBungleTech Global Campaign Initiative Document Repository -> ⁠https://www.patreon.com/posts/global-campaign-125155370⁠BungleTech Patreon -> ⁠ https://www.patreon.com/BungleTech⁠BungleTech Podcast Game Mode Collection -> ⁠ https://1drv.ms/f/s!AiU1hP8RhYzUn5FwSg7PaYnHbJvm7Q⁠Episode Specific Linksバトルテック 'Mech Quiz -> https://forms.cloud.microsoft/r/TCrkQ7fTtCSOBSCON 2026 Registration -> https://torchlightgh.com/products/sobsconjune27282026

On this episode of Only Bourbon Fans, we dive into two of ASW Fiddler picks, courtesy of our friends at Pour More: the Fiddler Encore, a tequila-finished bourbon, and their Toasted Rye.

After past Friday's broadcast on DI FM we present you the 140th episode of the Spring Tube podcast. During 2 hours here for you another selection of some of the brightest this month's stuff from Spring Tube and other labels. Your hosts as always are SlanG and Technodreamer. For our April 2026 episode we have new music from Andrés Moris, David Folkebrant, Tali Muss & K Loveski, Fiddler, Mazze, Nightly Closures, Pyrrhus & Vela, and others. Have a nice listening *available for download Tracklist: PART 1 – SlanG 01. Mazze - Sunset At Kamala [Magic Stories] 02. Juan Domecq - Quasar [Sonic Safari] 03. Nightly Closures - Purusa [Lick My Lips] 04. Pyrrhus & Vela - Life On Mars [Morphosis] 05. Pyrrhus & Vela - Let It Go [Morphosis] 06. Fiddler - Forgiven [Spring Tube Limited] SPRLTD188 07. Fiddler - Tolerability [Spring Tube Limited] SPRLTD188 08. Albuquerque & Victor Arruda feat. Asven - Bridges (Molac Remix) [Manual] 09. Melarmony - Rush [Anjunadeep Explorations] 10. Melarmony - Don't Let Me Go [Anjunadeep Explorations] 11. Schuyler Ocean & Eunith - Can't Just Go Back [Immersed] PART 2 – Technodreamer 01. David Folkebrant - Alive [Spring Tube] SPR415 02. Mazze - Where The Story Was Always There [Magic Stories] 03. 3Kilo - Ghera [3rd Avenue] 04. Maxi Felicioni - Humming [South America Avenue] 05. Tali Muss & K Loveski - The Same Story [Manual] 06. Mind Echoes - Old Days [PURRFECTION] 07. Mayank - Simple Complexity (Andrés Moris Re-Vision) [Friday Island] 08. Gux Jimenez & Kurt Caesar - Lift [Movement] 09. Anton Make & ANUQRAM - La Saga (Rockka & RNDØM Remix) [Plombir] 10. Nikko Mavridis - Orinoco (IGCIØ Remix) [BC2] 11. MOB - Sanctum [NOT LIKE US] 12. Andy Rapkins - Kixka (Mark Tammo Remix) [PROGNOSIS]

Tommy & Josh are the co-owners of Watch Hill Proper located in Louisville, Kentucky. Watch Hill Proper is the largest American Whiskey bar in the world. The point of the American Whiskey Show is to have fun with whiskey and to share a little knowledge about it in the process. Grab a pour and join us on our journey.     Episode 127: Fiddler Encore Georgia Oak www.watchhillproper.com

This week Lynn & Carl are joined by Caleb Long, director of "Fiddler on the Roof" at Fly North Theatricals, opening this weekend, April 24 and continues through May 3 at the Greenfinch. They also welcome Saint Louis native Nathaniel Mahone, who is in the touring cast of "Spamalot" that will stop at the Fox Theatre in St. Louis May 5 through 17.

S. An-ski's play The Dybbuk, a story of possession set in a shtetl (think The Exorcist meets Fiddler on the Roof), is the foundation of modern Jewish drama. This talk by scholar Gabriella Safran explores its roots: in Jewish folklore, the scandalous blood libel trial in Kiev in 1913, and the political passions of Russian-Jewish revolutionaries. In composing the play, An-ski was torn between two Jewish myths, each still modern: the tragic ambivalence of the dybbuk, a lost, wandering soul, and the technological triumphalism of the golem, a robot set in motion by practical kabbalah and capable of defending the Jews from every harm. This lecture originally took place on June 3, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

S. An-ski's play The Dybbuk, a story of possession set in a shtetl (think The Exorcist meets Fiddler on the Roof), is the foundation of modern Jewish drama. This talk by scholar Gabriella Safran explores its roots: in Jewish folklore, the scandalous blood libel trial in Kiev in 1913, and the political passions of Russian-Jewish revolutionaries. In composing the play, An-ski was torn between two Jewish myths, each still modern: the tragic ambivalence of the dybbuk, a lost, wandering soul, and the technological triumphalism of the golem, a robot set in motion by practical kabbalah and capable of defending the Jews from every harm. This lecture originally took place on June 3, 2020. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The final show of the 2025-2026 Cranford Dramatic Club season is a classic, "Fiddler on the Roof." The musical won three Tony Awards, including Best Musical. On this episode I speak with Emma Taylor Schwartz, the director and choreographer, Larry Brustofski, who plays Tevye and Elle Michaeli who plays his wife, Golda.Purchase tickets

What happens when you trust your talent before anyone else does? I had the pleasure of speaking with Spider Saloff, a jazz vocalist and performer whose journey shows what it means to truly create your own path. From secretly rehearsing as a teenager to performing for the Gershwin family and building a career in jazz and cabaret, Spider shares how taking risks, following curiosity, and trusting your instincts can open unexpected doors. We also explore her resilience through personal challenges, including overcoming an abusive relationship and rebuilding her life from nothing. You will hear how music, creativity, and lifelong learning became her anchors, and why choosing your own direction can lead to a life that is both meaningful and unstoppable. Highlights: 00:10 – Discover how a passion for music at a young age can shape an entire life path 02:04 – Learn how early opportunities and saying yes can open unexpected doors 10:00 – Understand why creating your own opportunities can redefine your career 16:20 – Hear how taking bold action led to a life-changing connection with the Gershwin family 30:00 – Discover how one decision can completely change where your life and career unfold 44:44 – Learn what it takes to break free from hardship and rebuild your life with resilience Bottom of Form About the Guest: What does it take to build a lasting career in music and performance? Spider Saloff has done exactly that, earning recognition as a multi-award-winning vocalist and entertainer known for her powerful voice, wide range, and captivating stage presence. Born in Philadelphia and raised in New Jersey, she began her journey in theater at a young age, studying acting at Rowan University and the University of London. Her early career in musical theater included more than 25 major roles, but everything shifted when she discovered her passion for jazz. That move led her to work with top musicians, gain critical acclaim, and begin touring both nationally and internationally. Over time, Spider became one of the most respected interpreters of the American Songbook, known for blending deep emotion with humor in her performances. Her connection with the Gershwin family helped launch signature shows like her tribute to George Gershwin, which has been performed around the world. She has also created tributes to icons like Cole Porter and Irving Berlin, performed at major venues and festivals globally, and hosted the syndicated radio series Words and Music. Beyond the stage, she is a teacher, writer, and creator who helps others find their unique voice, continuing to inspire audiences and students alike through a career built on passion, creativity, and authenticity. Ways to connect with Spider: Website: https://spidersaloff.com LinkTree: https://linktr.ee/spiderjazz Facebook: https://www.facebook.com/spidie.saloff Twitter (@spidersaloff): https://x.com/spidersaloff?s=21&t=XIFFgGFn7E5Hd_8J8Rexfg Spotify: https://open.spotify.com/artist/6gKiYyeoZyxZTAI2EpGWbU?si=WudPV-CUQPmMThTtV508Og YouTube (@TheMartinicat): https://www.youtube.com/channel/UCTLI-Gd51JdcMT0FVvvD9lA YouTube, “When You See Me”: https://www.youtube.com/watch?v=DTbO1FWrje4 Instagram (@spider.jazz): https://www.instagram.com/spider.jazz/ About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe Welcome to unstoppable mindset where inclusion, diversity and the unexpected meet. I'm your host. Michael hingson, speaker, author and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead and connect with others. Each week, I talk with people who challenge assumptions, face adversity head on and show what's possible when we choose curiosity over fear, together, we focus on mindset resilience and the small shifts that lead to meaningful change. Let's get started. Hi everyone, and I want to welcome you to another episode of unstoppable mindset, and we have an unstoppable mindseted, oriented sort of person today. Spider Saloff. Spider is a vocalist. She's a comedian. She is in Chicago, as I recall, but she has been to a variety of places. She is a very highly acclaimed vocalist, a singer. She sings and deals with a lot of the songs that I like, like the Great American Songbook, Gershwin, Irving, Berlin and other things like that. And she has a lot of accolades that come from any number of famous people who you've probably heard of. And so in the course of the next hour or so, I'm sure we're going to hear about a bunch of that. But for now, spider, welcome to unstoppable mindset. We're really glad Spider Saloff  01:49 you're here. Well, I'm happy to be here. Thank you for inviting me. Michael Hingson  01:53 Well, you are, you are most welcome. So how did you get into doing, acting, singing and all the other things that you do. Spider Saloff  02:04 Well, it started when I was a kid. I always loved music, and you know, it was so in love with the arts. But when I was 14, I came home and told my parents that I could get them tickets to the high school variety show. And they said, What? And I told them, I'm in it. I'm going to be in it. And they said, well, doing what? And I said, singing. And they were they were shocked, and I didn't tell them. I used to rehearse at my girlfriend's home because her family was all over it. They thought I was wonderful, and I knew my family would tell me that I couldn't do it so because it's just too foreign and too scary to them. So I ended up performing at this variety show, and my my parents were absolutely shocked, and one thing led to another. And then I met a theater director who worked at my school, and he came, he was a professional guy from New York that they hired to come in to do a musical, and I was in it. And I ended up getting the opportunity to be in a summer stock company and my parents let me go, which was amazing. I think they were just relieved to get me out of the house for the summer, but whatever it takes, but I certainly learned a lot, and I was very young for that experience, but it was, it was so, so worth it. And then after I finished high school, I went to college for theater. Now, your parents are from Russia. Oh, no, no, no, no, they're descend. My father's descendants are from Russia. That's where the name is from. But they are, I think I am about 11 different nationalities. So it's we're real much we are real much of the world. Well, there you go, yeah. Michael Hingson  04:05 So now we need to just clone that combination, since obviously you sing, well, we need to get that in other people, just just, you know, just a thought, you know, Spider Saloff  04:16 sounds good. Sounds dangerous to me. Michael Hingson  04:18 Actually, I know it's either that or we're gonna Spider Saloff  04:21 have to get more, more of one than more than one of Michael Hingson  04:24 me, more than one spider? No, we can't have that. Well, either that or we get AI to to imitate you. But we don't want to do we don't want to do that either, scary stuff. 04:35 Yeah, yeah, it is. Michael Hingson  04:36 Well, so how did you encounter and come up with the name spider. Spider Saloff  04:44 I did not choose it. I, you know, I never thought that my real name made any sense from the time I was a child, it's, I'm like, that doesn't make sense. And then I got the nickname when I was in college, because I have, I'm. Really a small person, but I have very long arms and legs, and it was a nickname, and it just stuck with me. And then finally I surrendered to it as a professional name, and people don't forget it. They may not like me, but they don't forget the name. And then it just stuck. And it's been that way ever since, how could Michael Hingson  05:20 somebody not like you? Spider Saloff  05:23 Well, I don't know. I'm sure there's somebody out there. I would love to thank everyone. Just endorse me, but Michael Hingson  05:31 we'll see. Well, yeah, I mean, it'll all go so where did you go to college? Spider Saloff  05:37 I went to a college that doesn't exist anymore, actually, now it is Rowan University. It's in New Jersey, outside of Philadelphia, and it became Rowan University when it got the largest private donation in history. But it was a state college called Glassboro State College, and it was a fine arts school at the time. There were several of my friends, including the conductor for the Lion King and Broadway people, all went to school there, and now it has no arts program at all. But part of our program, I did get to study at University of London too. So that was really exceptional. And it was so wonderful, a wonderful school, great opportunity. You know, it's, it was outside of Philadelphia, close to New York, and now it's an engineering school. For the most part. There isn't, there are no fine arts there at all. Well, that's too bad. But, well, yeah, I know, but somebody's got to do the engineering, Michael Hingson  06:39 I guess. I Well, there's truth to that too. Now, have you seen THE LION KING LIVE on Broadway? I have Spider Saloff  06:46 never seen it, and it's never seen it. I gotta see it. I've got to see it. I it just never happened. I kept intending to go and I never saw it. And I know people that played for it as well. 06:59 You've seen the movie. No, you haven't seen the movie Spider Saloff  07:02 either, anything Lion King. My goodness, I know I better. That's one of my goals. By the end of the year, let me see if I can see it. Michael Hingson  07:10 Well, I'll tell you my lion king story. A my brother in law knew someone who knew some of the actors in Lion King, and he and his wife and their little girl, who at the time was like three or four, were coming through New Jersey, where we lived in Westfield, and we all arranged to go see The Lion King. It was a Wednesday afternoon. It was a matinee, and near the beginning when scar, the bad guy meets the hyenas, who he works with, they all come on, they come on stage and they're growling and all sorts of things like that. Well, in the theater, the hyenas come from the back of the theater, down the stairs, and they walk past everyone growling and making all these noises? Well, my wife was in a wheelchair her whole life. She was a t3 paraplegic, and when one of the hyenas came up next to her, because we were able to arrange for an accessible seat, which was right on the aisle, this hyena comes up right next to her and goes, you've never seen a woman who is totally paralyzed suddenly literally jump up and almost walk out of the theater. It was amazing. She he shocked her completely. But it was so much fun. And of course, Alanya, the little girl, was just there with these big, huge eyes over all of this. But what Karen, my wife, told me later was that what was interesting about it was that when she was obviously watching all of this, and she said, You got totally used to the the puppets being the animals they were. They didn't you. They didn't even look like puppets anymore. They were just the animals. Spider Saloff  09:05 And that's exactly what I've heard about it, that it's like, it was fascinating. You're completely swept away with it. Michael Hingson  09:10 Yeah, wow. So, so it's cool, but, yeah, you gotta, you gotta go see The Lion King. It is absolutely worth it. The music is wonderful and all that. Wow. So we got to see it on Broadway, which was cool. Well, so you, so you went to college, and then what did you do? Spider Saloff  09:32 Well, when I got out of college, I, you know, was doing theater, but I ended up in musicals because I sang, and I really my training, my formal training, really is acting. I did not train as a singer. I just started singing naturally when I was a teenager, and then I just did a ton of musicals. I was in musicals like forever and but. I always loved jazz, and that was always in my back pocket. And then at one point, I really decided I wanted to pursue jazz while it was still in musical theater, because it was getting harder and harder to get roles, because they wanted, this is in the late 80s. They wanted you to be a dancer as well, and that was not going to happen for me. So I really thought, you know, I just, I want to check out the whole nightclub scene, you know, in Cabaret, where you could produce your own show. And so I started to really pick the minds of the guys in the pit band. And I talked to all these pit musicians, and they would tell me about, you know, places to go, and how they there were guys I met there that introduced me to other people, that helped me to do my first demo, and then started working in clubs. And then that really changed everything for me. Michael Hingson  11:01 So you got very much involved in doing a lot of Spider Saloff  11:04 jazz, yeah, jazz and cabaret, and it was all small clubs. But then that was what got me major press attention. And then I started touring with a show that I co wrote with a guy named Ricky ritzel, who's from New York, and we did a show called 1938 and that was my first recording as well. And then then just kept going from there, and that's how a lot of things happened, was really just deciding to do my own thing and create my own world of performance. So you're also Michael Hingson  11:45 known for doing something related in one way or another to comedy? Spider Saloff  11:50 Well, yeah, I've always done comedic roles, and I can't say I have ever done stand up, but I may be getting close to it, I'm not sure, but I always involve a lot of comedic monologs in everything I do. Like, if you see me at a jazz club, I will tell stories. And, you know, it's part of, part of who I am, is a lot of the comedy stuff. And, you know, crazy stories and telling stories about people, and, you know, doing imitations of people that I've met over the years and that kind of stuff. So it's, it is part of my whole persona on stage. Michael Hingson  12:33 What's your favorite musical that you've done? Boy, it's probably a toughy. Spider Saloff  12:40 I did so many, I have to say, Guys and Dolls. Okay, guys and dolls. I was Adelaide and Guys and Dolls, one of the best roles I've ever done. It was really a good choice for me, and and I, and I have to say I was in what, four productions of Fiddler on the Roof, and I've been two seidels, one Hava and fru masera, so but I love that show. I think it's magical. Michael Hingson  13:21 Just it is. Have you ever been in numb? I like Guys and Dolls, but my favorite, and it's just been that way for a long time. I don't know why was the music? Man, were you ever in the music? Spider Saloff  13:32 Man, I was, but there's no, there's no role in that for me. But I was one of the pick a little ladies. Oh, it is one of my favorite shows. Though, I think it's a masterpiece. I love love love music, man. I think it's just brilliant. Michael Hingson  13:48 You don't think you could have done you? Lily capecni shim you know, Spider Saloff  13:53 I was too young to do it at the time. Michael Hingson  13:54 Yeah. Well, like always, now there's always Marion, Spider Saloff  14:00 no, I don't have the soprano chops for that. They let me do it in Sutton Foster's keys. Well, I was thrilled that they took it down for her, because I could actually do it in those keys. That would be great. Michael Hingson  14:16 I saw it a couple of times on Broadway. Now I'm blanking out on the person it was in. Well, we saw it in, like, 2002 1001 and I'm trying to remember I'm blanking out on the person who played Marion. She actually ended up getting Lou Gehrig's disease and passed away. Spider Saloff  14:43 I don't know who. I don't know, which Michael Hingson  14:45 totally shocked us. Spider Saloff  14:46 I'm drawing a blank, I don't know. Michael Hingson  14:48 Yeah, I'm blanking out on her name. I may think of it, but, Oh, forgive us. She did a she did a great, a great job. But, yeah, but there's nobody like Robert Preston to play Harold Hill. And. Spider Saloff  15:00 Anyway, oh, that movie is so beautiful. I love that movie. Yeah, music, man is brilliant. It really is brilliant. Well, that Michael Hingson  15:10 goes back to, you know, Mr. Mr. Meredith. Meredith Wilson, Spider Saloff  15:18 yes, and I read, I read his book. Have you ever do you know of his book called he doesn't know the territory? Michael Hingson  15:27 No, I'll have to see if I Spider Saloff  15:28 can find writing and production of music. Man, I love, love. Love that book. And it's about all the trials of getting it produced and how he did. They did one of the opening one of the readings when they were trying to raise the money to do it. And moss Hart. Moss and Kitty Hart were there, and they hated it so much they walked out the middle of it. Opening Night, moss Hart was there, and he he saw, he saw Meredith Wilson in the lobby, and he shook his hand, and he said, he said, Great show. But you know what, you still haven't licked that book. Oh gosh, because he was an outsider. I mean, he wasn't part of the Broadway team. And no, the fact that he actually played with a John Philip Sousa, like, what, yeah, couch or something. It was real deal. Like, real real, like, old timey marching band stuff. Michael Hingson  16:35 Yeah, amazing. Well, then he also did The Unsinkable Molly Spider Saloff  16:39 Brown, yes, yes, another great show, yeah, not produced very often. But no, Michael Hingson  16:45 no, it's not. It's, it's sort of sad. Oh, well. But you, you've been very much involved with with a lot of jazz and so on. Tell us about meeting the Gershwin family and and your your involvement with Gershwin, which, you Spider Saloff  17:01 know, he, of course, magical. It was. It was truly a life changing event for me, my partner and I, Ricky ritzel And I had been doing 1938 and then we decided to write this show that was called Porgy and Bess, a cabaret concert, oh boy. And it was in New York, and a very powerful guy from ASCAP came to see it, and Michael kirker, and he came to see it, and he said, this show is brilliant. He goes, but you guys are going to get shut down by the Gershwin family, so you need to call them and see if they'll give you permission. So I had the phone number for Leopold godowsky, the third who is the nephew of George and Ira. His mother is Frankie Gershwin, who was George and IRA's younger sister, and I was a wreck. My hands were shaking, and I called him on the phone and and he was very polite. He just had this incredibly mannered guy, you know, it was really lovely. He goes, Well, you know, I don't see that we could allow Porgy and Bess be performed in a night club, and it wasn't like we were doing the show. We were just right. We were telling a story about how it was written and then just performing the songs as separate entities, but they were enfolding into the story. So I said, Would you would you want to comment? Would you want to see it? If we put it on a videotape, and he goes, Oh, I don't know. He goes, let me think about it. So then I called him back right away. I had the nerve to call him back again. I said, Well, would you come to see the show. He said, you know, what would you and your partner be willing to come and perform it at my home in Connecticut? There you go. And I'm like, What? What? So this whole thing got put together, and we went up to the Gershwins home in Connecticut. We met Leopold and his fabulous wife, Elaine, and they had, they said, we're having, we're having 40 close friends here for dinner. They were cooking dinner themselves, and it was this magical house in Connecticut. They had 40 industry people there. It was crazy. I mean, there were all these famous people there, and we were, we did like, as he called it, a 30 minute musicale. We did highlights from the show in their living room by the great. End piano, and I believe the piano had belonged to George, because Leopold is classical pianist as well. So we did the show, and then we all had dinner, and this friendship started. So what evolved was they, they did, let us do the show, but then my relationship continued with them, and when the Gershwin Centennial started in 1996 it was Iris 100th birthday, two years before George's. In 98 I became part of the centennial presentation, so I got to tour with my Gershwin concert under their brand, and also record my Gershwin album with their brand on it. And it was the beginning of a beautiful friendship. And it was, it was a huge, you know, a huge mark in my career, and it opened a lot of doors for me. So wonderful, wonderful people. Michael Hingson  21:03 One of my favorite pieces of all times. Calling it a piece is probably not totally accurate. It's bigger than that, but one of my favorite things from classical music has always been Rhapsody in Blue. And I don't know why, but the very first time I heard it, I loved it, and I've enjoyed it ever since. I've heard the Boston Pops do it, you know, and and others do it. It's just one of those neat things I've just always loved. Spider Saloff  21:30 I'm getting chills just talking about it, because that was so groundbreaking at the time when Paul Whiteman had the contest right of who was going to be able to cross the borders of jazz and classical. And you know, who else was in that contest was Aaron Copland, oh my gosh, Eric Copeland, and he was always in competition with Gershwin, yeah, and Gershwin won and musically, that that changed the whole concept of jazz, I mean, to be accepted in a classical arena. It was really remarkable. What that what that piece did, like, amazing. Michael Hingson  22:18 I actually heard once the Paul Whiteman arrangement of Rhapsody in Blue was performed by a group I don't even recall where, but it was outside. It was a little different, but it still was just so neat to hear this. Spider Saloff  22:36 The first person to hear it, yep. I mean, Paul, my Paul Whiteman was incredible, though. I mean, what a what a groundbreaking person. He was artistically, right? Michael Hingson  22:48 Yeah, he, he did some amazing things, Spider Saloff  22:51 yeah, yeah, you know what I've got to mention. And I hope this doesn't make make our interview too dated. But last night, I saw the movie Blue Moon. That is about about Larry Hart. Oh, my God, I haven't seen that. I'm gonna have to. It just came out last week. Oh, okay, it's not gonna be very often. It's absolutely gorgeous, and Ethan Hawk plays Larry Hart. It it's it's beautiful and funny and heartbreaking, and it all the whole premise is Larry Hart has to go to opening night of Oklahoma, oh gosh, and how painful it is, and this whole cathartic thing he's going through. So the bulk of the entire it's more like, like a theater piece. The whole thing takes place at the bar at Sardi's when he's talking to the bartender and waiting for for Rogers and Hammerstein to show up. And it's, ah, Wowza, it's brilliant. It's brilliant. And talk about, I don't know how they ever got that produced, because it's definitely a movie that's not going to appeal to everybody, but boy, is it brilliant. Michael Hingson  24:14 Wow. Well, hopefully it will come out in some place where I can can watch it up here, and that'll be cool, yeah, Spider Saloff  24:22 and I think it's probably going to go to streaming pretty soon, I'm sure, yeah. So you'll have a lot of opportunities. But I really was happy to go to the theater and see it. But wow, and people in the audience were laughing at all the jokes they were getting, all the sly, Sly comments of Larry Hart, like, wow, witty, witty, witty, just brilliant, just brilliant. Michael Hingson  24:51 Well, your whole Gershwin relationship, obviously, is pretty significant. You even did some Gershwin concert. In Russia, Spider Saloff  25:02 yes, yes. That was why I went to Russia. They were having a Gershwin Centennial in St Petersburg in 1998 because that is the, that is the origins of the Gershwin family. They are from St Petersburg. And so I was hired with my pianist to go to St Petersburg. And do we? Did we were there for seven days, and I think we did like five concerts, and it was amazing to be there, because this was when Russia was getting good. This was, like the good part, and still was scary. It was scary. We stayed in this really creepy hotel that was like a government hotel, and the rooms were bugged. And then when the hallways there were padded walls, like where they could pull these panels out, and there was all kinds of wiring in there, bugging and strange stuff. The concert hall was absolutely magical. It was an old concert hall, and people went crazy, and when I sang the song vodka, which is an oddity, by Gershwin, by way, herbert stothard, Otto Harbach, Oscar Hammerstein and George Gershwin wrote this crazy song called vodka. And when I did the song, people stood on their chairs and screamed, the Russians just loved, loved, loved the concert, the audiences couldn't have been better, and the people that ran the organization couldn't have been weirder. It was, it was very strange. And when we went to leave, the guy that booked us and me and my pianist, they they took our passports, and we had to go to a little room where they said that we our visas were expired and and we had to pay money to get out of there, and they were mad at the guy that was our manager, because he sassed them. And anyway, we had to wait. We were afraid we're going to miss the plane. And then finally, they came out with, like a little, a little tape from an adding machine, and they, they said, you have to pay $58.23 American. So they charged us this $58 and we paid it and ran to get on the plane and and I'm like, I was never so scared in my life. I didn't know what they were going to do, but it was an experience, and it was thrilling and beautiful. But don't think I'm going back to Russia, not in the near term. Yeah. Oh, and then that's when all these people said, my name is sell off. You are my cousin. I come home with you like there were so many people with my name, because in this country, there aren't that many. Aren't that many sell offs. My family is pretty small, and occasionally I'll meet us a sell off. But they're usually, they're usually rabbis, or it's like there aren't that many of us out there, but it was, it was an amazing experience. Loved it. Michael Hingson  28:28 Now, did you when you were over there, sing any of the songs or anything in Russian, or did that matter? Spider Saloff  28:34 Oh no, oh no, let's didn't do that, huh? I'm not. No, I, you know, I'm good at doing accents, and sometimes I will learn to say, like I would learn a little bit of French to get by, but then they would start asking me questions, and I didn't know what they were saying, and then they thought I was just being a jerk, you know, I'm pretending I don't understand them or something. But it was, No, I don't speak. I can barely handle English, but I didn't know whether you might have Michael Hingson  29:05 tried to learn one of the songs just for fun. Spider Saloff  29:08 There wasn't time. This went together so fast. I think we only had, like, two weeks notice. They had rushed the visas and, you know, we had, we had passports in order, but it was a lot of legal red tape. Michael Hingson  29:25 But that's why it cost $58.33 to get out. I don't know, very crazy one of those things. Oh, yeah. Well, well, at least it was affordable. Spider Saloff  29:41 Well, it will, and it was exciting. I mean, everything was paid for. But, oh, this was another weird thing they paid. They paid us in cash, American dollars, and I needed to hide, I had to hide it in my boot. I put it in. Hide the soul of my boot when I'm okay, wow, yeah, it was, it was creepy all the way down the line. It was very strange. Oh, well, yeah, things happen. 30:11 Things happen. Yeah, I was, Spider Saloff  30:12 I'm very, very, very fortunate that I got, got to do it, yeah? Michael Hingson  30:19 So obviously a wonderful memory. And yeah, oh yeah, one of those things that you'll you'll always treasure. You bet. Well, so when did you move to Chicago? Spider Saloff  30:32 Oh, well, when? When I started to get get my feet wet in New York, in the nightclub scene and the jazz scene, I got some really fabulous reviews, including the New York Times. And there was a guy from Chicago who I met through the great Julie Wilson, and his name was Bill Allen, and he was partners with Bobby Short, and he opened this really crazy club in Chicago, very famous, called the Gold Star sardine bar. And both Liza Minnelli had played there the Basie band. He squeezed the Basie band in there, but it was this tiny little place right in downtown Chicago, and it was really wild. And a lot of people had played there. Tony Bennett had played there, and Liza and I kind of was courting the room. I kept talking to him. He had he had found my press kit. Think he had been sent three different press kits, and we don't know which one he opened, and he called me, and we kept this ongoing conversation about coming out to do performance there, and then finally, he decided to bring me out for New Year's Eve, and my husband and I flew out, and it was just we were we had a couple of friends here in Chicago that we visited, but we didn't know anybody here. I'd never been to Chicago, you know, but it was magical. And then he said, Well, I'm going to have you back. I'm going to have you back. And then I didn't hear from him. And finally, the following September, he asked if I could come and play for a month, and I had almost no warning, because he was very impulsive and really crazy. So he asked me to come out for a month, and I did. They put me up in a hotel, and I played with the musicians. Were magical. People were so great. And so I played for a month, and then he said, you know, what would you think about about moving here? And my husband and I were both excited about it. Then we didn't hear anything from him. And then right after So, the first week of February the following year, he calls me up and said, Could you move here? And I'm like, I guess so. Why he goes, Well, I'll book you here for a year, and we'll arrange to get an apartment. And can you start like next week? Oh, gosh, ah, so I did it. I came out, and then my husband came out. We took a sublet on an apartment right downtown in Chicago, sight unseen. We moved here with our cat, and the rest was history. I ended up having the best nobody has a gig for a year, yeah, and and hired partially by the only person that had a gig forever, who was Bobby Short. So because I had met Bobby Short in New York, and he kind of gave bill the okay, you know, he liked me. And then I, I met Tony Bennett there, and Liza interrupted my show one night and crawled on to the over the balcony, onto the stage. And it was magical. There were lines around the block and and I got, I was courted by the press in Chicago like you wouldn't believe. I mean, it was magical. So when my run was up there, I started working at other clubs, and also I started touring at concert tours of my shows, like the Gershwin show, and started to tour. So it just became another life for me. But I'm, I'm in Chicago forever. As far as I'm concerned. I adore it here. I just love it. Michael Hingson  34:45 So when did you move there? Spider Saloff  34:47 The beginning of 92 Michael Hingson  34:49 Okay, all right, so when Liza, when Liza invaded the stage? Did you guys sing together? Spider Saloff  34:55 No, this is what happened. I had met Liza. Yeah, well, I was still living in New York, and I was friends with Billy Stritch, who was liza's musical director. So he was a friend of mine, and he introduced me to Liza, and because she was he was conducting a bit that big show she did at Radio City Music Hall that was a tribute to Vincent Minnelli. Right? She did this spectacular show at Radio City, and Billy was musical directing, and that's when they really became partners. And he introduced me to Liza, and she was just a doll, one of the nicest, coolest people in show business. So I met her, and she was really kind to me, very friendly, very sweet. And so they were playing at the Chicago theater. Liza was doing her one woman show, and it was closing this particular Saturday that I was at the Gold Star, and I had sent Billy a note to to, you know, come by when they're we're done. So I'm doing the second set. And then crazy Bill Allen at the break. He goes, he goes, Okay, people are going to come in here. Joe Pesci is going to come in and and he's going to come up and meet you. And I'm like, Joe Pesci. Joe Pesci was doing a movie here, and his double, his gangster double, used to come in and see me at the gold star. So anyway, the break comes, I'm on stage, and all of a sudden the door opens, and they come in, and it's, it was Billy and Liza and Joe Pesci. And Joe Pesci comes up on stage with Billy and my band kind of crawls off the stage, because by now, there are, there's about, I don't know, 200 people packed in a 70 person room, and their people are coming out of the woodwork. They're like, sitting on top of the bar, and I can't even get off the stage. And Joe Pesci. Pesci leans down, he's like, hey, hey, honey, my my double. He thinks you're great. He goes, Yeah, we're gonna do some songs now. And I'm like, okay, so I sat there, and Billy came up and played. The bass player was there with them. Joe Pesci got up and sang. He was adorable. And then Liza is sitting right by this. They called it the opera box. There was a big, like private table that was right next to the stage. She crawls over the bar onto the stage, and people are just screaming. It was absolutely nuts. And she did like three songs, and she was losing her voice. She had just done a killer thing at the Chicago theater, and she was really, like, raspy. Did it anyway? And she ended with New York, New York, and people were like, screaming. It was just bonkers. It was bonkers. And so that's what the Gold Star was like. It was just a crazy place, and you didn't know who was going to come in the door, who was going to interrupt your show? You just, you just didn't know. Michael Hingson  38:24 Yeah. And they even had the Count Basie orchestra there, and that was, how'd they fit him? How'd they Spider Saloff  38:30 fit him in? Couldn't fit them. It was like a publicity stunt, yeah, and the band was all stuffed in there, and there were a few people that could get in the room, but people were standing in the hallway to hear Pacey pants. This is way before my time. Yeah, it was like in the early 80s, when they opened and they were way crazier then, then when, when I came, Michael Hingson  38:53 you settled them down. Did Spider Saloff  38:55 you No? No, but they, they, they, well, I was there for a year, and then the following year, I went back a few times on Saturdays, and then Bill told Jeremy Conn and I that we were going to be the regular actor because they were always on the verge of closing. They wouldn't have any liquor, and somebody would be coming in the back door with liquor because they didn't pay their liquor bill. And it was, he was in a lawsuit. And anyway, they told us that he goes, Yeah, yeah. Call me on Tuesday and we're gonna we're getting all the details straight. Now. You guys are going to be regular. Here Tuesday came and there were chains on the door. Oh, gosh. And that was the end of it. It ended, and it was a magical time, but there were a lot of problems, a lot of legal problems going on. Michael Hingson  39:50 I met Liza Minnelli once. That was the second or third time I was interviewed by Larry King, and she was now. She was going to perform on the show as well, but it was after September 11, and so I got, I got to meet her, and that was about it, but I did get to meet her, which was fun. Exciting. It was fun. How exciting. And every time we walked out after the interviews, there were lots of photographers outside. Everyone was taking pictures, and we had to put up with all that, but I guess it provided a lot of visibility, but it was kind of fun to be able to do that. Spider Saloff  40:34 How cool. I never met Larry King. I knew a lot of people were on his show. But well, how exciting that you did it twice? Michael Hingson  40:43 Well, actually we there were five interviews with Larry. The first one was right after September 11. It was on the 14th. And then there was another one. There was either one or two more. I think there was one more in November of 2001 and then on the anniversary, in 2002 was the third. But there there were five altogether, and during one of them, and I think it was the one on the anniversary or in 2002 but I have to go back and see if I can research it. But anyway, Hillary, Hillary Clinton and Chuck Schumer were, were there? Lisa Beamer, Todd Beamer, his wife Todd's the guy who said, let's roll on flight 93 when they took over the plane again and got it in a crash in Shanksville. Wow, and and Queen. Nor was there. So who I'm sorry, Queen nor from? Who is the queen of Jordan? Oh, wow. And she and she and Roselle had a thing for a while. Roselle was my guide dog at the time, so they visited. It was kind of fun. Oh, wow. But, yeah, it was, it was interesting. But as I say, then we, we did meet Liza briefly, and that was kind of fun. She said she's Spider Saloff  42:09 a doll, yeah, doll. Oh, yeah. What a great person, yeah. Michael Hingson  42:13 Well, so I was looking at all the things that you sent me, and I noticed Tony Bennett. I got to meet Tony Bennett once we were on Regis and Kelly live in November of 2001 and I was sitting there, and I heard that Tony Bennett was going to be on the show. And suddenly he comes over and he says, Hey, I'm Tony Bennett. Good to meet you. I've heard about you. So we chatted for a while, and he and Roselle had a thing too, and he and Roselle had a thing too. Spider Saloff  42:45 So that was good. Oh, that Roselle. Oh, but yeah, I met him at the Gold Star, and he because he had played there several times, you know, as a future act. And he was doing, he was in. He was in town to do something. Maybe it was at the Chicago theater as well, but he came in, hanging out in his in his white dinner jacket, absolutely charming. And he sat down and talked to me between sets. It's like talking to your uncle, like he's like, Yeah, what do you think of this weather here in Chicago, and it was like just the friendliest, most laid back, cool guy and and I've seen him perform several times. I adored him. Michael Hingson  43:32 I regret I never got to see him live other than hearing him do, other than hearing him on regents and Kelly, he did a New York state of mind. Spider Saloff  43:41 Oh, cool. Very cool, Michael Hingson  43:43 wow, very soft spoken guy. But when he can sing, he can he could Bell it, Bell it out, Spider Saloff  43:49 and he and he sang the same forever, like, that's my my idols are. I want to sound the same forever, and I have the two, the two, the two most remarkable preserved voices were Ella Fitzgerald and Mel Tormey, both of them, they had chops forever like that. They they were just very, very careful and smart about the way they use their voices. Michael Hingson  44:18 Yeah. Johnny Mathis lasted a long time. I don't know what he sounds like. Spider Saloff  44:24 He just sounded the same forever. Yeah, killer, woo hoo, wow. And I never got to see him live, but I know people that did, and I mean, not that long ago, and they were blown away. Like, just Yeah, killer, yep, Michael Hingson  44:43 amazing, another amazing guy. Well, so have you ever had any any real kind of challenges and sort of negative things that have happened to you in your life? You've obviously been very successful. And all that. But, you know, unstoppability oftentimes happens when you have a challenge. Spider Saloff  45:05 Oh yes, well, you know, small things, challenges. I mean, like the worst, though, was when I was very young, a young actress, I got swept away by a guy that was a director. He was 10 years older than me, and I ended up in a really terrible abusive relationship for years, and didn't know how to get out, and I did. I ended up doing a six part. I have a YouTube channel, and this was two years ago. I did a six part series called learning to love you, and it was the very subject of what happens in abusive relationships and why people stay and why they are convinced that they can't live without the person. They're convinced that they're powerless. They are told they have to depend on this person, and they're very afraid. And I I was so lucky to break away from there and get out. And when I got out. I mean, I this guy completely left me with no money, no home, no job, and I was so ashamed to tell my family. I didn't tell them till months after it had happened, and I went, you know, trying to get trying to get more work as an actress. I worked as a bartender in a comedy club, and I did that's what I had a lot of comedian friends because of that era, and my friends, and eventually my family, really helped me to get out of it. But I had to get I had to be independent through the whole thing, I my first place I ever I was homeless for six months, and I would go around on busses going between wherever and Atlantic City because the casinos were there. So I could get a free ride to Atlantic City and then get a free bus back to New York. I could get a bus back to Philadelphia. I could go around on these busses and just stay at people's houses a couple of nights a week, and not having a place to live, it was horrible. So when I finally moved somewhere, I moved in with an actor friend of mine who had just got out of his abusive relationship, and I slept on the floor of an attic for like, the first six months that I was living on my own, and I was so grateful to have that floor and and I just kept saying every night before I went To bed, it it gets better from here. It's going up, it's going up, and it did. It did. It was it's remarkable. It's remarkable. Michael Hingson  48:09 What? What did you learn from that relationship? Spider Saloff  48:14 Beware of predators. I really never, never lose sight that you're the person in charge. Yeah, you are the person in charge of your life, and you're the only one that's allowed to do that. And you don't, you don't bend to anybody that's asking you to do anything too far. You just, you have to be very skeptical about, you know, who's getting close to you? And I was married long after that, I was married to my husband, and he passed away, oh, 16 years ago, and but there's been, there's been a lot of strange loss and and trauma. But I I am blessed with resilience, and I have to say, the thing that keeps me steady music, music and beauty and art can carry me through anything, and I'm surrounded by that and the best, best, best friends in the world. Oh, man, and my family and my friends are amazing, and I'm very, very fortunate, very fortunate. Michael Hingson  49:32 How long were you married? Before he passed away, Spider Saloff  49:35 we would have been married 17 years. Oh, my wife, Michael Hingson  49:41 my wife. My wife and I were married 40 years. She passed away in November of 2022 lot. Well. Thank you. I appreciate that. And I I always say when I when I tell that to anybody that she's watching from somewhere, and if I misbehave, I'm going to hear about it, so I don't even. Chase the girls. I also point out that they're not chasing me, so it's okay, but, but, but, you know, so many wonderful memories after 40 years, and people say, Well, are you going to move on? And I say, No, I'll never move on. I'll move forward, but I won't move on. I don't want to forget, but I'll move forward. Spider Saloff  50:20 That's an interesting twist of words there. Yeah, no. I mean, I have moved my life has become, actually, way, way better since my husband passed. I was dealing with a lot, and he was, he was dealing with severe mental illness, and it was very it was very hard near the end, my life is beautiful now. And I, I'm just, I feel like everything is new all the time. And I, I don't really have any close relationships, in romantic relationships. I tried a couple since he passed, but I don't, I don't think I'm good at it. I do better on my own. I'm much better on my own. Michael Hingson  51:18 Yeah, yeah. I know what I know what you mean. And as I said, it'll be three years in two weeks for me and I, when we got married, we had both lived alone. And when she was when she passed, it wasn't totally all of a sudden. So I I had some time to prepare. But it it has worked out pretty well. And so now I have a dog and a cat who keep me honest. The cat especially, oh, we have a cat. Her name is stitch, and she likes to be petted while she eats, and she'll yell at me until I come and pet her while she's eating and what. And when I travel somewhere to speak and I come home, I hear about it for quite a while. How could I ever do that? But she's not left alone. You know, I've got somebody who comes in. She has to give me what for? Well, she does. That's her obligation. Just ask her, absolutely, yeah. And how come you took that dog with you and not me? It's a guide dog. Spider Saloff  52:20 So this is not fair, yeah. Michael Hingson  52:24 Well, the other side of it is, I don't want her to ever get the idea that she can go out of the house. She She developed, on her own, a fear of going outside we she went out into our garage once when we first moved in here, and I kept calling her, she wouldn't come in, so I turned the lights off and I closed the door, and 10 seconds later, she's at the door wanting in, and so she doesn't try to go out. So I really feel blessed that she Spider Saloff  52:49 Yeah, that's good, yeah, yeah, yeah. I had a cat that never wanted to go near the door either, because he had been an alley cat. Everything outside that door was the alley going back there. Yeah, he also was a, he was a big fat house cat. Like, just wanted to lay around and luxuriate and eat and, you know he was, he was really a sweetie. I don't have pets anymore because I'm I leave too often? Michael Hingson  53:21 Yeah, you travel a lot. Well, a lot we at least I have people to help take care of stitch when I'm not here. So it does work out. Yeah, so do you so with all the things that you've been doing and singing and so on, do you teach voice to people? Spider Saloff  53:40 I do. I've taught at a school I didn't start teaching till I moved to Chicago, and this guy named David bloom, he's kind of a Chicago icon. He's had a jazz school in Chicago for years, and he asked me to teach at the school about a year after I moved to Chicago, and I said, I don't know how to teach. He said, Yes, you do. You just teach what you know. And I started teaching. And then I did courses there for a long time. I met a lot of people, and I've had wonderful students, and I still work there on occasion when we have a course. But I teach privately now, and I am. I just love it so much. I mean, I learned so much from my students all the time. You know, they're, they're just amazing, and they're all different, all different voices, all different age groups, all different reasons why they want to sing. But it's, it's one of the joys of my life. Students, they're fantastic. And I adore teaching voice. And I really a coach, you know, I teach performance and coaching, and it's not so much technique. I do some technique, but mostly it's working with. What, what the singer has to offer. Michael Hingson  55:03 I like the way you put it though that you learn so much from students. I think the day we stop learning, the day we become useless, we we always need to learn, learning, and life is all about learning, every Spider Saloff  55:15 day, learning, you bet it's exciting. It keeps you ticking. Michael Hingson  55:21 It does. It's so much fun. And it's, you know, like the internet, I regard it as an as a wonderful treasure trove. There's always neat stuff to learn. So I don't worry about the so called dark web and all that. You know, I didn't know that I would Spider Saloff  55:35 learn as much as I did about, you know, the internet and and the things covid really well. I always, always had a website. I had a guy that became my webmaster, that heard me radio and like there were all. I always was connected with it. But to the extent that I learned how to produce videos that all happened during covid, I really thought I was never going to be performing again live. I you didn't know, you know, that talk, you know, it was just so such a weird world. All of a sudden it was but learning to adapt. That was what we all learned from covid, was adapting and being open to new experiences. You know, that was a major, major factor of the whole thing. Michael Hingson  56:23 And living alone, you have to cook your own food. Spider Saloff  56:25 And like I've always, cooked my own food. Oh, my God, do I love to cook. Yeah, every day for myself. I love cooking and throwing parties. I must be Michael Hingson  56:35 a little bit lazy. I enjoy cooking. But when Karen was here. We shared the responsibility, and it's it's a lot to cook for one person, so I don't do as much of it as I used to, but I don't suffer. I will Spider Saloff  56:50 point that out you guys suffer, no, but I probably I cook for myself. Every day I cook. Almost everything I eat, I don't cook for myself is when somebody magically takes me to dinner or I go to somebody's house. I've got a lot of friends, so I get to eat at other people's houses and go out to restaurants, but I do and look forward to cooking for myself. I just can't wait to see what am I gonna have today, like I get excited about it. You know, it's a joy for me. Michael Hingson  57:23 I cook more easy meals, but I also do my own cooking. I mean, I don't go out very often, and that's fine. Yeah, I enjoy being home. I enjoy being home with a puppy and a kitty and listening to the radio and all that sort of stuff. So I hear you fabulous, fabulous. So you did some work on on radio series. Spider Saloff  57:45 Oh, yes, one of the, actually, the very first pianist that I worked with at the Gold Star sardine bar is a guy named Brad Williams. And we've been friends for years, and then at one point, this, this this guy that was a big fan of mine, Bill Sheldon. He was an old way, older fellow. The three of us created a radio series that's called Words and Music, that's about the American Songbook, and we were on the air for two and a half years. We were on we were part of NPR, and we were syndicated internationally, all through our classical station here in Chicago, W FMT, and it was the most challenging but wonderful time to crank those shows out. We never worked so hard as we did for that show, but those are still out there, you know. And we the copies of that show are available on CD. People can purchase them, and you can learn about that on my website too. Michael Hingson  58:49 I have been collecting old radio shows since 19 Well, let's see, probably 1968 and I've collected a bunch, and I'm also part of the radio enthusiast of Puget Sound, so we recreate programs every year. So I wasn't able, I wasn't able to be at the one that they did up in Washington State in September, because I was speaking somewhere. But there's going to be another one around. Well at Christmas, it's actually going to be the fifth, fourth, fifth and sixth. I think it is. Of December, we're going to recreate something like 12 or 13 different shows, and that's a lot of fun. Spider Saloff  59:34 Wowza, what are the shows like? What is it comprised of performance or recordings or what? Michael Hingson  59:42 No, no, we're actually going to perform live up in Washington, and people are invited to come and be in the audience, and they'll also be broadcast on yesterday usa.com and yesterday usa.net whichever you go to yesterday, USA is a, is a network. It's, it's got a red net. Work in a blue network, just like NBC used to have, and they play old radio shows and a lot of interviews with people. So there's still some old radio actors who will be there as part of it, Carolyn Grimes, who played Zuzu and it's a wonderful life will be there, and Beverly Washburn, who was on the Jack Benny show, and and there'll be other people, and it's kind of neat. And Larry Albert, who will be doing some of the voices, and who's was Harry Niles for years, and still is, I guess, on NPR and and so on. But it's really fun. Spider Saloff  1:00:39 That's excellent. What a blast. Yeah, it is, wow. Well, have a happy holidays with that. Michael Hingson  1:00:46 And yeah, well, I want to thank you for being here. How do people reach out to you, if they'd like to, to reach out, or if you Spider Saloff  1:00:54 want them to my website, spider jazz, calm, and you can find everything and too much information about me, and then, and if you want to get in touch with me directly, write to my email address. Spider jazz@gmail.com makes it easy. And maybe you can take private lessons, because I teach on Zoom. Ah, there you go. Me how. Yeah, cool. Michael Hingson  1:01:20 Well, thank you for being here, and I want to thank you all for listening today and watching whichever you do or both. Love to hear your thoughts about our conversation. Feel free to email me. Michael H, i@accessibe.com that's m, I, C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, i, b, e.com, wherever you're monitoring us today, please give us a five star rating, and please give us a review. We love your reviews. We appreciate your input. If you can think of anyone who you think ought to be a guest, and if you listening out there want to be a guest, please reach out to me. We're always looking for more people to come on the podcast. We met spider through someone else who has been on the the podcast as well. And spider, if you know anyone who want who you think ought to be a guest, yep, love to hear from you. I got some ideas, cool. Well, I want to once again. Thank you for being here. This has been absolutely fun. Spider Saloff  1:02:16 Thank you, Michael, what a blast. I'll be talking to you soon. Michael Hingson  1:02:24 Thank you for being here with me on unstoppable mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about if you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to Michael hinkson.com and download my free ebook, blinded by fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning and keep choosing to live with an unstoppable mindset you.

On today’s episode, Matt Tamanini is in conversation with one of theatre’s most talented multihyphenates, Lauren Molina. She is currently preparing to begin performances in a new actor-musician production of “Fiddler on the Roof” as Tevye’s long-suffering wife Golde at Asolo Rep in Sarasota, Florida. From her Broadway debut in read more

The Tragically Hip On Shuffle - Live Stream: 'The Luxury''The Luxury' sits in the middle third of "Road Apples" and somehow that's exactly where it belongs. Track four of twelve. It doesn't announce itself. It doesn't demand anything from you. It just settles in - dark, jazzy, a little snarling - and waits to see if you're paying attention. Turns out, a lot of people are.This week on The Tragically Hip On Shuffle, jD is joined by three first-timers - Paul from Columbus, Jamie from LA (by way of Montreal, for the record), and Eric from Toronto, who also happens to shred guitar in Forever Hip. Three rookies. One song. Zero consensus on where it ranks on "Road Apples." All the consensus in the world on 'The Last Recluse.' So there's that.The tale of the tape: 'The Luxury' comes from "Road Apples," released February 18th, 1991, and recorded at Kingsway Studios in New Orleans - Daniel Lanois' personal studio. Produced by Don Smith. Live debut: March 1st, 1991 at the Town Pump in Vancouver. Final performance: August 10th at the Air Canada Centre - the middle show of the Man Machine Poem Tour. It ranked #67 out of 169 songs on the TTHTop40 Countdown.The conversation goes deep:Jamie breaks down a single melodic note change Gord made on the chorus - from the studio recording through the Roxy in May '91 all the way to "Live Between Us" in '96 - and how that one shift changed the song's emotional register entirely. Eric reads the lyrics as a vignette: a man fresh out of prison, hiring company for the night, seeing a colour TV and soft water as genuine luxuries. Paul connects the song to the fire at his cottage near Tobermory, a Crown Royal in hand, just letting it sit. They get into the "fleur-de-lis" line, the Playboy reference, the lyric flip on "why are you partial to that Playboy con," and Gord's famous "song about a man walking down the street shaking a banana" intro on "Live Between Us." There's also a live chat shoutout to Duxoop Douglas for the New Orleans connection. Very good, yeah.The live shuffle at the end of the episode lands on 'An Inch, An Hour' from "Day for Night." Next week.Paul from Columbus is a lifelong Hip fan from Columbus, Ohio - and the guy who connected the July 1st, 1992 Molson Park poster to the raffle happening this Saturday at An Evening for Sara J. Bada bing.Jamie from LA - originally from Montreal, where his love for The Hip was first forged at camp in '89 via a mixtape with 'New Orleans Is Sinking' and '38 Years Old' on it - is heading to Toronto at the end of the month to perform in the cast of Fiddler on the Roof in Yiddish with English supertitles at the Elgin Theatre. May 25th to June 7th. Go see it.Eric from Toronto plays guitar in Forever Hip, who are performing this Saturday at An Evening for Sara J at the Firkin on Yonge. Patrick Downie will be there. Two sets of all your favourites and that song you're thinking of right now. Yes, that one.Resources & References'The Luxury' - "Road Apples" (1991), Kingsway Studios, New OrleansProduced by Don Smith | Released February 18th, 1991Live debut: March 1st, 1991 - Town Pump, VancouverFinal performance: August 10th - Air Canada Centre (Man Machine Poem Tour)TTHTop40 ranking: #67 of 169 (source: TTHTop40 Countdown, 2025)"Live Between Us" (1996) - the version that changed the song for JamieLive at the Roxy, May 1991 - early live recording referencedLive at Metropole, October 1998 - referenced in conversationSetlist data: Hipbase | setlist.fmAn Evening for Sara J - This Saturday, April 11th The Firkin on Yonge, 207 Yonge St, Toronto. Doors 7 PM. Featuring Patrick Downie and Forever Hip. Tickets at tickets.tthpods.com. Every dollar raised goes directly to the cause.Next episode: 'An Inch, An Hour' from "Day for Night." Live stream, 8 PM. Be there.Join the community at home.tthpod.com @tthpods | youtube.com/@tthpods | jd@tthpods.com#TheTragicallyHip #TTHOnShuffle #RoadApples #GordDownie #TheHip #CanadianRockPodcastAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Jak puts on the 'interviewer hat' and hits me with the hard stuff. Great talk with a fun dude. Check us out.  https://www.facebook.com/JakFiddlerBand/

Jak Fiddler, aka 'the bearded voice' and I chat about beards, music and the possibility of him interviewing me in the future. Jak is a great dude and I really hope you enjoy this talk and his music.  https://www.facebook.com/JakFiddlerBand/ Musical Intro: Cam Pierce Musical Outtro: Rascal Martinez Follow these links to support the Welcome to the Woodshed Podcast sponsors: https://www.mellelo.com https://www.moxleymedia.com Follow my Facebook page: www.facebook.com/welcometothewoodshedpodcast 

Author Derek Lowstuter talks to the Sun's Kevin Simpson about his book "Fiddler on the Roof of Africa", detailing his experience as a Peace Corps volunteer.See omnystudio.com/listener for privacy information.

In our 39th deployment of BungleTech, we kick the safeties off the fusion engine and attempt something both daring and experimental in our Primary Topic segment. Together with you in the command couch—we chart the State of BattleTech in our era. Plug in your neurohelmet, tune a transmission in our direction, and join the ranks of those who've already shared their thoughts.Last update, April 5 2026.Our Honourable Patreon SupportersLoremasters: Emilio EspinozaMechWarriors: Canaan McKenna, Ed Magilton, HeyZeus, Malathis, Phil Raider Roby, Slurski LispersTechnicians: boy_inna_box, Blunderdome, Chris Cannon, DarkTremere, Dire Situation, Jack Lambert, Keflyn, Klint, Matthew Hopper, Metal Ed, ML8211, Ned McDermott, TheRock3393, ZemerBondspersons: Arbriar, Fiddler, Fullmetal Gundam, G, Hilux, Itswhatevan, Offensive Titan, Rob THE CLAW Carpenter, Rob Prescott, Steffan Gordan, Sven Bertram, SweetBee, William Becker, WooflerSegment Start TimesExtraordinary Proclamation - 1:21Podcast Primary Topic - 5:42Episode LinksThe State of BattleTech -> https://forms.cloud.microsoft/r/rws5z2DimKBungleTech Co-host Submission -> https://forms.cloud.microsoft/r/QhnkZ5JeJRBungleTech LinksBungleTech Discord Homebase Under BungleTech -> https://discord.gg/thevalhallaclubBungleTech Email -> BungleTech@outlook.comBungleTech Patreon -> ⁠ https://www.patreon.com/BungleTech⁠BungleTech Podcast Game Mode Collection -> ⁠ https://1drv.ms/f/s!AiU1hP8RhYzUn5FwSg7PaYnHbJvm7Q⁠

What if our biggest barrier with God isn't sin, but politeness?In this episode, John Ortberg explores a surprising truth from Scripture: God isn't looking for polished prayers. He's inviting honest relationship. Through the story of Job, we discover something shocking:Job rages. Questions God. Speaks words that feel almost dangerous. And yet—God says Job spoke what is right. Why? Because honesty draws us closer to God while polite distance keeps Him far away.Even Jesus cried out on the cross: “My God, my God, why have you forsaken me?”So if you've ever felt:confuseddisappointedhurtunsure what God is doingYou're not alone, and you don't have to hide it.Today's invitation is simple: Be real with God.Because the path to deeper faith isn't pretending—it's honesty.