Podcast appearances and mentions of George Lewis

Andrew Ryan is one of the most in-demand comedians working across the UK and Ireland and his online content has amassed more than 60 million views across social media. In 2024, Andrew's UK and Ireland tour was extended due to demand, selling more than 10,000 tickets across 56 dates. He followed this with the release of his self-produced stand-up special, filmed at the Alley Theatre in Strabane in 2025. His previous special, Live at the Black Box, was released in 2023. Alongside his stand-up career, Andrew is a breakfast presenter on Q Radio, broadcasting to more than 160,000 listeners each week. His television credits include The 2 Johnnies (RTÉ), The Blame Game (BBC One Northern Ireland), Russell Howard's Good News (BBC Three), Best of the Edinburgh Festival Live (BBC Three), Live at The Comedy Store and Live for MIND (Comedy Central), The Six O'Clock Show, Ireland AM, and two series of Secrets of the Comedy Circuit for ITVX and UTV. He has also supported some of comedy's biggest names on tour, including Joe Lycett, Jason Manford, Kerry Godliman, Shane Todd and George Lewis.Andrew Ryan is our guest in episode 588 of My Time Capsule and he chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .For tickets to Andrew's Edinburgh show, visit - https://underbellyedinburgh.co.uk/events/event/andrew-ryan-honest-capacity .For all other live shows and everything else, visit - https://andrewryancomedy.com .Follow Andrew Ryan on Instagram: @andrewryancomedy .Visit our website! - https://mytimecapsulepodcast.com .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast and get all episodes ad-free, please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Since it is Memorial Day weekend, we wanted to offer something appropriate in this week's podcast. Of course, in the Floodisphere, our spiritual inclinations generally lean more toward a rambunctious New Orleans jazz funeral than to a little church in the wildwood. So, here's jubilant little hymn from your friends in The Flood.The Jazz Funeral TraditionBlending strong European and African cultural influences, the jazz funeral predates the birth of jazz itself. The tradition traces hundreds of years further back to Louisiana's colonial era when military-style brass bands often were hired to play during funeral processions.This European element merged with West African spiritual practices, incorporating the belief that celebrating after death pleases the spirits who protect the dead. Jazz joined the mix at the beginning of the 20th century, and by mid-century the jazz funeral was crossing ethnic and religious boundaries in New Orleans. How It HappensMarching from the church or funeral home to the cemetery, the band initially plays somber dirges and hymns. A dramatic shift in tone occurs after the deceased is entombed and the hearse departs. That symbolic moment “cuts the body loose” and the music quickly becomes more upbeat and swinging, featuring lively, raucous tunes (like another Flood favorite, “Didn't He Ramble?”)This final phase brings on cathartic dancing as attendees celebrate the life of the deceased. Onlookers form the famous “second line,” twirling parasols and handkerchiefs in the air as they step off to the band's rousing cadence.About the SongThis week's song — “Just a Closer Walk wirh Thee” — is often associated with jazz funerals, but, as we reported here earlier, this custom actually is a relatively recent development.New Orleans' legendary clarinetist George Lewis, the jazzman most associated with this beautiful song, told his biographer, “The first time I played it was in the The Eureka Band” in 1942. “We heard it on a music box, and a woman asked us to play it for a funeral” for her murdered husband.When the widow learned that the song her husband wanted to hear on a jukebox the night he died was the new Sister Rosetta Tharpe recording of “Just a Closer Walk with Thee,” she asked George's band to play it at his funeral.Before that time, Lewis said, the tune was not known in New Orleans; however, after The Eureka Brass Band's performance, bands have been playing “Closer Walk” at funerals ever since.And the song itself is surprisingly modern, published in 1940 in Chicago. Click here to read more about the song's curious back story.More Gospel from The Flood?If all this has you craving a little gospelizing by the boys in the band, remember The Gospel Hour playlist in The Flood's free Radio Floodango music streaming service. To read all about it, click the link below. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

Tom Clarkson, Jolyon Palmer and James Hinchcliffe are back to preview this weekend's Canadian Grand Prix. After three wins on the bounce, Kimi Antonelli leads George Russell by 20 points at the top of the World Championship standings, so how crucial is it for George to beat Kimi in Montreal? If he doesn't and more teams get in the mix, will Mercedes have some tough decisions to make? For Ferrari, is Canada a defining moment in Lewis Hamilton's season? Will Charles Leclerc be thinking about his future if they're unable to fight at the front in this next run of races? Plus, the guys debate the topic of driver insecurities and share their personal experiences after Jenson Button discussed the topic on the latest F1 Beyond The Grid podcast.  Listen to more Official F1 PodcastsDrivers tell their stories on F1 Beyond The Grid - click here for latest episodesExperts answer your questions on F1 Explains - right here on this podcast feedLAS VEGAS. FORMULA 1. LIKE NOTHING BEFORE.The Las Vegas Grand Prix returns November 19th – 21st, 2026.Get your tickets for the fastest weekend of the year at f1lasvegasgp.com/tickets.

Comedian George Lewis continues his London Marathon breakdown with Jenni, answering all of your questions!His main episode is there to listen to if you haven't already and there will be a new guest episode tomorrow!

George Lewis is the stand up comedian whose online skits amass millions of views.He joined Jenni fresh off the back of running last weekends London Marathon with an incredible time of just over 3 hours!A lighthearted look at how you can juggle an successful career, raising 3 kids and also train for one of life's biggest physical challenges - George debriefs on just how special the London Marathon really is!

George Lewis is a stand-up comedian, a social media phenomenon, an author, a family man and now a proud lover of running. This year, he's taking on the London Marathon to raise money for Autistica, the UK's leading autism research and campaigning charity. Tom speaks to George about his prep for his first 26.2 miles in over a decade, from dealing with the increasing training volume to what shoes he's planning to wear for the big day.To support George in raising money for Autistica, head over to his Just Giving page: https://www.justgiving.com/page/georgelewis

Today, we're putting The Tonearm's needle on guitarist and composer Sam Wenc.Wenc is a Philadelphia-based artist who has spent nearly a decade building one of the more distinctive bodies of work in American experimental music, mostly under the name Post Moves.Now he's released his first album under his own name. It's called Language at an Angle, and it came out on Lobby Art Editions in January. The record grew out of a year of live performances—from Philadelphia to Japan—and it captures Sam doing something specific with pedal steel guitar: striking it, bowing it, treating it as both a sound source and a physical object. The result sits somewhere between drone, jazz, and a kind of American folk music you can't quite place.Sam's here to walk us through the record, his move to Philadelphia, and what it means to finally put his own name on the work.(The musical excerpts heard in the interview are from Sam Wenc's Language at an Angle)—Dig Deeper• Artist and Album:Visit Sam Wenc at samwenc.com and follow him on InstagramPurchase Sam Wenc's album Language at an Angle from Bandcamp or Qobuz, and listen on your streaming platform of choiceLobby Art Editions — Sam Wenc's label, releasing Language at an Angle and his previous catalog• Susan Alcorn:Susan Alcorn — official website of the pedal steel pioneer to whom Language at an Angle is dedicatedAnd I Await the Resurrection of the Pedal Steel Guitar — Alcorn's landmark 2007 solo albumSusan Alcorn: Revolutionary Voice of the Pedal Steel Guitar — The Tonearm's tribute, including a full conversation with Alcorn on her album CANTOSusan Alcorn obituary — WRTI• Collaborators:Sam Yulsman — pianist on Language at an Angle; studied with George Lewis at ColumbiaBark Culture — the Philadelphia trio of Victor Vieira-Branco (vibraphone), John Moran (bass), and Joey Sullivan (drums); members appear in Wenc's live bandVictor Vieira-Branco — vibraphonist and Bark Culture leaderBark Culture — Warm Wisdom — the trio's 2024 debut album• Venues:Roulette Intermedium — Brooklyn venue where Wenc held his album release showThe Stone — New York experimental music venue referenced in the episode• Musical References and Influences:George Lewis — composer, trombonist, and Columbia University professor; Sam Yulsman trained with himOkkyung Lee — South Korean cellist and improviser; Wenc cites Alcorn's improvisations with her as influentialMarshall Allen / Sun Ra Arkestra — Marshall Allen, still active in Philadelphia's Germantown neighborhood, is mentioned by Wenc as part of the city's deep musical lineageOlivier Messiaen — composer whose work Susan Alcorn famously transposed for pedal steelVíctor Jara — Chilean singer-songwriter; Alcorn covered his songs• Additional Context:Mississippi Records — the independent archival label Wenc manages alongside his own music workSam Wenc — Post Moves: Heart Music — released on Where to Now? Records, representative of his work under the Post Moves alias—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, we're putting The Tonearm's needle on guitarist and composer Sam Wenc.Wenc is a Philadelphia-based artist who has spent nearly a decade building one of the more distinctive bodies of work in American experimental music, mostly under the name Post Moves.Now he's released his first album under his own name. It's called Language at an Angle, and it came out on Lobby Art Editions in January. The record grew out of a year of live performances—from Philadelphia to Japan—and it captures Sam doing something specific with pedal steel guitar: striking it, bowing it, treating it as both a sound source and a physical object. The result sits somewhere between drone, jazz, and a kind of American folk music you can't quite place.Sam's here to walk us through the record, his move to Philadelphia, and what it means to finally put his own name on the work.(The musical excerpts heard in the interview are from Sam Wenc's Language at an Angle)—Dig Deeper• Artist and Album:Visit Sam Wenc at samwenc.com and follow him on InstagramPurchase Sam Wenc's album Language at an Angle from Bandcamp or Qobuz, and listen on your streaming platform of choiceLobby Art Editions — Sam Wenc's label, releasing Language at an Angle and his previous catalog• Susan Alcorn:Susan Alcorn — official website of the pedal steel pioneer to whom Language at an Angle is dedicatedAnd I Await the Resurrection of the Pedal Steel Guitar — Alcorn's landmark 2007 solo albumSusan Alcorn: Revolutionary Voice of the Pedal Steel Guitar — The Tonearm's tribute, including a full conversation with Alcorn on her album CANTOSusan Alcorn obituary — WRTI• Collaborators:Sam Yulsman — pianist on Language at an Angle; studied with George Lewis at ColumbiaBark Culture — the Philadelphia trio of Victor Vieira-Branco (vibraphone), John Moran (bass), and Joey Sullivan (drums); members appear in Wenc's live bandVictor Vieira-Branco — vibraphonist and Bark Culture leaderBark Culture — Warm Wisdom — the trio's 2024 debut album• Venues:Roulette Intermedium — Brooklyn venue where Wenc held his album release showThe Stone — New York experimental music venue referenced in the episode• Musical References and Influences:George Lewis — composer, trombonist, and Columbia University professor; Sam Yulsman trained with himOkkyung Lee — South Korean cellist and improviser; Wenc cites Alcorn's improvisations with her as influentialMarshall Allen / Sun Ra Arkestra — Marshall Allen, still active in Philadelphia's Germantown neighborhood, is mentioned by Wenc as part of the city's deep musical lineageOlivier Messiaen — composer whose work Susan Alcorn famously transposed for pedal steelVíctor Jara — Chilean singer-songwriter; Alcorn covered his songs• Additional Context:Mississippi Records — the independent archival label Wenc manages alongside his own music workSam Wenc — Post Moves: Heart Music — released on Where to Now? Records, representative of his work under the Post Moves alias—Dig into this episode's complete show notes at podcast.thetonearm.com—• Did you enjoy this episode? Please share it with a friend! You can also rate The Tonearm ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of The Tonearm in your podcast app of choice.• Looking for more? Visit podcast.thetonearm.com for bonus content, web-only interviews + features, and the Talk Of The Tonearm email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

F1TV commentator and former F1 driver Jolyon Palmer joins Tom Clarkson in the Shanghai paddock to reflect on an action-packed Chinese Grand Prix.Kimi Antonelli became the second youngest Grand Prix winner in F1 history, leading George Russell to the second consecutive Mercedes 1-2 of 2026. So can Kimi fight his more experienced teammate for the title this year? Kimi's race engineer Pete ‘Bono' Bonnington joins the pod to share what this victory means to them and where the Italian goes from here. Lewis Hamilton claimed his first Grand Prix podium for Ferrari, after an epic battle with teammate Charles Leclerc for third place. After a strong start to the new era of F1, is Lewis back to his best? Why did he have the better of Charles in China? And have we seen more evidence that Ferrari can fight with Mercedes for wins this year? The guys also discuss another big result for Ollie Bearman at Haas, double points for Alpine, a fighting performance from Carlos Sainz in the Williams and more difficult weekends for McLaren, Red Bull and Aston Martin.

Sheletta chats with George Lewis, a community elder, author and motivational speaker about how he was able to stop smoking after being addicted to nicotine for nearly four decades and why, getting free services and support from organizations like Quit Partner, doubles your chances of success.

Send us a textA few days before ars ad hoc presents the Portuguese premiere of his String Quartet 2.5 "Playing with Seeds" [2017] at the Serralves Museum, American composer George E. Lewis  (Chicago, 1952) shares some reflections on his long-standing fascination with the classical trope of depiction in American music. A professor in Columbia University's Department of Music and the Edwin H. Case Professor of American Music, Lewis is also the Artistic Director of the International Contemporary Ensemble, as well as co-editor and co-author of "Composing While Black: Afrodiasporic New Music Today." While pondering the question, “If we get what we want, what will it sound like?”, Lewis has been creating a series of musical meditations on the sound of decolonisation. Can music function as sociological research? Well, why not?credits: Weathering [2023], for symphonic orchestra | American Composers Orchestra; Vimbayi Kaziboni > conductorvortextemporum.com

Alec and Nick examine the emergence and proliferation of digital music technology in the 1980's as it maps onto a “solo-doloistic” turn in our increasingly individualistic music listening and production habits. First discussing this transition through the lense of conceptual innovations by Robert Ashley and other Sonic Arts Union composers, the episode charts commercial and cultural implications for digital media distribution on CD, .MP3 and so on, and constructs a historical arc for the relationship of experimentalists to this technological paradigm. Topics include: personalized media experience, television, Yasunao Tone, George Lewis' jazz to computational music arc, sampling, Noise, tech complacency, electronic music sub-genre accession and the creative thresholds of digital workstations and resulting aesthetic commonality across genre.

Amy and Ian share news from the north, and are joined by guest correspondent George Lewis!Headlines this week include a mysterious pigeon poo problem, and the introduction of some x-rated entertainment in care homes. George is heading out on the final few weeks of his tour 'The Best Thing You'll Ever Do'. For tickets head to georgelewiscomedian.com.And Ian's going on tour with his Edinburgh Comedy Award nominated show Foot Spa Half Empty. For tickets and information head to iansmithcomedian.co.uk.Want Extra! Extra! content? Join our Patreon for weekly bonus episodes, videos, live show discount codes, BTS clips and more...Got a juicy story from t'North? Email it to northernnewspod@gmail.com.Follow Northern News on Instagram @NorthernNewsPodcastRecorded and edited by Aniya Das for Plosive.Artwork by Welcome Studio.Photography by Jonathan Birch. Hosted on Acast. See acast.com/privacy for more information.

You might know George Lewis for his hilarious parenting sketches - the chaos, the tantrums, and our collective Bluey obsession... but lately he has been opening up about something much more personal.George has three children - his eldest has an autism diagnosis, and his younger two are currently being assessed. We spoke about how his view of autism has completely changed, the exhausting fight parents face for diagnosis, and the damage caused by Donald Trump's baseless claims about paracetamol and autism.Follow @georgelewiscom on Instagram There are very few tickets remaining for George's stand-up tour ‘The Best Thing You'll Ever Do'. Visit georgelewiscomedian.com to buy tickets! You'll need to be quick! If you want to get in touch you can email us on shouldideletethatpod@gmail.com Follow us on Instagram:@shouldideletethat@em_clarkson@alexlight_ldnShould I Delete That is produced by Faye LawrenceStudio Manager: Elliott MckayVideo Editor: Celia GomezSocial Media Manager: Sarah EnglishMusic: Alex Andrew Hosted on Acast. See acast.com/privacy for more information.

Happy radio lads! Don't mind if I do.Ed shares a special message from our leader Tony Global, and there's two scoops for daddy in the form of Stevie Martin and a show debut for George Lewis!Thanks for downloading the podcast – remember, you can be an Early Worm and catch the show live on Radio X every Sunday 8am – 11am.Get in touch on sunday@radiox.co.uk@EdGambleComedy@matthewcrosby @5teviem@georgelewiscom

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. On tonight's edition of Obbligato on APEX Express, which focuses on AAPI artists, musicians, and composers in the classical music world, host Isabel Li is joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. Featured Music: Sonatrinas: https://richardan.bandcamp.com/album/sonatrinas i got the electroshock blues: https://rasprecords.bandcamp.com/album/i-got-the-electroshock-blues   RICHARD AN (b.1995) is a performer and composer, born and raised in Los Angeles. Richard plays new music – usually with House on Fire – co-founded the tiny backpack new music series, and has performed with Monday Evening Concerts' Echoi Ensemble, Piano Spheres, The Industry and on Bang on a Can's LOUD Weekend. Richard plays piano and percussion, and has been known to sing, conduct, and teach. Richard's music has been performed by the Los Angeles Philharmonic Orchestra, Calder Quartet, HOCKET, C3LA, and more. His music has been released on CMNTX Records. Richard has a BM in Composition from USC and an MFA from CalArts. He is on faculty at the Pasadena Waldorf School, Glendale Community College and Harvard-Westlake. He plays taiko and tabla, and makes YouTube videos. Learn more about Richard's work on his website: https://richardanmusic.com/ Richard's social media: https://www.instagram.com/richardanmusic/ If you are in LA and want hear Richard's work, he's playing with House on Fire at the Sierra Madre Playhouse on August 17! https://www.sierramadreplayhouse.org/event/richardan2025   Transcript Opening: [00:00:00] APEX Express. Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express. 00:00:46 Isabel Li Good evening and welcome back to a new episode of Apex Express on KPFA, 94.1 FM. We are bringing you an Asian and Asian American view from the Bay and around the world. I'm your host, Isabel Li, and tonight is a new edition of Obbligato, which explores AAPI identities and classical music. Tonight I'm joined by LA based performer and composer Richard An, who plays and creates new avant-garde music, usually with the ensemble House on Fire, and his music has been performed by the LA Phil and the Calder Quartet to name a few. Join us in our conversation, exploring the possibilities of avant-garde music, raising questions regarding Asian identities in the classical music world, and Richard's insights on art making during a time when Trump's cuts to the NEA are affecting artists and institutions nationwide. 00:01:41 Isabel Li Welcome to the show. Welcome to APEX Express, Richard. My first question for you is how do you identify and what communities would you say that you're a part of? 00:01:50 Richard An My name is Richard An I use he/him pronouns and I'm a second generation Korean American. My parents are both Korean. My dad came from Busan, which is a large city in South Korea, and my mom was born in Seoul and then moved to South America and then made her way up to Los Angeles where they met. And as for identity, like, I think Korean American would be the most accurate one. This is and I think an ever evolving part of first of all my identity and the way that it intersects with my practice and also I think that's the case with many Asian American artists, I mean artists from immigrant families, you know, the the matter of your identity, especially if you feel more distanced from it for one reason or another, is like an unsolved question for everyone like there is no one answer. That works for people and that's a thing that me people like myself I think will be exploring for our entire lives. When I introduce myself to people, I say that I'm a classical musician. And at the very core of it, that is true. That's not a lie. And I am, you know, a part of the classical music community in Los Angeles. But as time goes on, I have noticed and realized. That I tend to align myself more with like the avant-garde and experimental contemporary music communities of Los Angeles, which has certainly an overlap with the classical community, both in practice and historically, but yeah, I I would say those are the sort of two biggest ones, classical musicians and experimental avant-garde, contemporary musicians, whatever label you want to use for that. 00:03:47 Isabel Li Yeah. Some of our listeners might not know what avant-garde music entails. Can you — how would you describe avant-garde music to someone who might not be as familiar with this particular movement? 00:03:57 Richard An Yeah. So avant-garde music, a sort of flippant and joking way to to talk about it is ugly music or music. You know, my dad, for example, wouldn't like, but I think. It's music that either interfaces with elements or confronts facets or issues in music that aren't typical of other kinds of music. The music that you might hear that is labeled of on guard might be noisy or dissonant or uncomfortable, or any kind of, you know, adjectives that are synonyms for noisy or ugly, but I have come to love that kind of music, you know 1. Because of the the kind of questions that they might ask about our perceptions of music and two, because I guess one way to put it is that to be a classical musician, you need to be in a practice room for many hours a day for many years and go to what is unfortunately a college, which is usually very expensive and I guess for lack of a better term, paywalled for like you need to have the kind of resources that allow you to attend a four year undergrad and then a two year masters and then a three-year doctorate. But avant-garde music, contemporary music, experimental music doesn't necessitate that kind of thing. Often those musicians do have a background that gives them some amount of, you know, virtuosity or facility in an instrument. But like some of the best experimental musicians. Alive and some of the best ones that I know have no, like extensive training in a particular instrument and some may not have a degree in music at all. And that's one thing that I in like that separates it from classical music is that. 00:05:44 Richard An Classical music can be, unfortunately a little bit exclusionary. I don't think by any one specific design, but the fact that you need so many hours and very specific instructions from a mentor that necessitate that kind of relationship. But experimental music, I think does a little bit better job of diversifying or making it feel more equitable. 00:06:12 Isabel Li That's a great point, actually. One of my questions following up with that was what do you think is possible with this genre, which you kind of mentioned earlier with perhaps how this genre makes classical music a little bit more equitable for those who are interested in this field. In your experience, composing, what do you think makes the genre special, and how do you go about it? 00:06:35 Richard An One thing that I've noticed about being involved in the sort of contemporary experimental avant-garde music sphere is that it makes me a better listener, and I think other people who attend these concerts will agree. Like for example a large part of this kind of music is drone or repetition or, you know, like long spans of unchanging sound. And if the the sound that is being produced at face value is not changing, well then what do you notice about it? What do you grab on to and one of the most, I think, gratifying experiences is listening deeper and realizing that, ohh, even though you know for example this piano playing two notes for 30 minutes might not like the instructions will say to do the same thing for 30 minutes, but your experience as a human being will certainly change over those 30 minutes, even if the the notes are not like you will notice the slight fluctuations in the way that someone is playing, you will notice the beating patterns in the pitches on an instrument that may not be perfectly in tune, you will note other ambient sounds, you will note like you will notice so much more about the world when you are confronted with the kind of music that you know. You can say it forces you to listen to these sounds but also invites you to listen to these things. And I think that's really, really special. That's not to say that that can't happen with other kinds of music. Or even with classical music. Surely you know there are many, many ways to listen to everything. But I've noticed this within myself. When I listen to long, repetitive drone based music that it really opens my ears and makes me a more active participant as a listener. 00:08:30 Isabel Li It's a great point actually. Part of my work– because I studied music, history and theory in college– was how music can engage various listeners to participate. Have you composed anything that perhaps engages the listener in this more of a participatory setting? 00:08:47 Richard An Yeah. So I guess in order the some of the stuff that I've done to engage the audience, I guess both literally, and maybe more figuratively is, I wrote a piece last year for the Dog Star festival, which is a a contemporary and experimental music festival that is actually happening right now, at the time of this recording. It's a multi week long festival that focuses on music of this type that was founded by people in the sort of CalArts music world. But I wrote a piece for that last year for three melodicas, which are these basically toy instruments that look like keyboards, but you blow into them and you blowing air through these makes the sound happen. It's basically like if you cross a harmonica and a piano together. But I I wrote a piece for three of these, playing essentially the same notes. And because these instruments are pretty cheap, and they're often considered toys or, you know, instruments for children, they're not tuned to the exact way that, like a piano or a vibraphone or an expensive instrument might be. But I wanted to use that for my advantage. For example, if I play an F# on one melodica the same F# on another melodica will not be exactly the same and playing those two pitches together will produce what's known as a a beat or beat frequency. Which is, you know, a complicated, you know, mathematic physics thing, but basically 2 notes that are really, really close, but not quite together will create a kind of third rhythm because the the pitches are so close. Like, for example, if if I play an A at 4:40 and another A at 441, you will notice that difference of 1 Hertz inside of your ears. And that's a really cool phenomenon that happens explicitly because you were there listening to the piece. They don't happen necessarily, you know, like in, in recorded formats like, it's a very difficult thing to capture unless you are in the room with these instruments. And the fact that we had this audience of, let's say, 40 people meant that all forty of these people were experiencing these beat frequencies and another really cool factor of this is depending on where you are located in the room. With the way that the beats will sound in your ears are different and purely by the fact of acoustics like a wave bouncing off of the wall over on your left, will feel really different if you are closer or further from that wall. So not only do the audiences ears themselves, you know, invite these this this participation, but the pure physicality of each listener means that they will have a very slightly different experience of what the piece is, and again like this will happen in any concert. If you're at a classical show, if you're at a rock show if, if you're further from the stage, if you're further to the left or right, you will get a slightly different position in the stereo field that the musicians are playing in, but pieces like what I wrote and many others that exist emphasize this kind of like acoustic phenomena. That is really, really fascinating to listen to. 00:12:23 Isabel Li That's fascinating. And to get a sense of Richard's work, we'll be hearing coming up next. The short excerpt from his album Sonatrinas. This is the duo excerpt performed by Wells Leng, Katie Aikam, Kevin Good and composer Richard An himself. [COMP MUSIC: Sonatrinas (Excerpt: Duo)] 00:17:38 Richard An And so the back story for this piece is this was written for one of my recitals at CalArts. I was planning on playing this piece by Michael Gordon called Sonatra, which is a really, really beautiful and difficult piece for solo piano that I gave myself as an assignment, which I was not able to do with the amount of time. And, you know, like I just didn't give myself enough time to do this thing, so I still had this program of several pieces written with the idea of having this Michael Gordon Sonatra in the middle, but now that that sort of middle part was gone, there was a bunch of pieces about a piece that didn't exist. So in order to fill that hole, I wrote this piece called Sonatrinas which is a cheeky nod to the Michael Gordon Sonatra, but also to the fact that each part of this is kind of a diminutive Sonata form. Everything has a sort of ABA– here's some idea. Here's a different idea, and now we go back to that first idea. Every single part of this has a little bit of that in it. 00:18:51 Isabel Li Yeah, that's fascinating. Even the name itself reminds me of Sonata form in classical music, where it's kind of like an ABA section. As you sort of talked about earlier. And it's really cool that you're adapting this in a more avant-garde context. This is a reminder you're listening to Apex Express. Today we are interviewing composer and musician Richard An. 00:19:12 Isabel Li I think the general question that I have next is can you tell me a bit about what drew you to music and how you got your start in music, how you got introduced to it and what things have inspired you over the years? 00:19:24 Richard An Yeah. So a real quick sort of, I guess, history of my involvement with music is that I started piano lessons when I was pretty young, either three or four years old. I continued that until I was 12 or 13. I decided I really wanted to become a musician. I started taking composition lessons with this composer, AJ McCaffrey, who is really responsible for a lot of what I know and my successes, if you can call it that. He got me into a lot of the music that I am into now and set the foundation for what I would study and what I would write he was one of the instructors for this program called the LA Phil Composer Fellowship program, which back when I was a participant from 2011 to 2013, was a program hosted by the Los Angeles Philharmonic that took 4 high school age students every two years. And you know, they they taught us, you know, everything. How a young composer needs to know how instruments work, how to write a score, how to talk to musicians, how to do everything that a that a composer needs to learn how to do and at the end of this program, after the two years the young composers write a piece for the at the LA Philharmonic. So I was extremely lucky that by the age of 17 I was able to write a piece for orchestra and get that played and not just any orchestra, with the Los Angeles Philharmonic, you know, undisputedly one of the best orchestras in the world. Right. And then after that I I went to USC for my undergrad and then went to CalArts for my masters. And then here we are now. And that those are sort of the like, you know if someone writes a biography about me, that's what we'll be, you know, involved in the thing. But I really started to develop my love for music in my freshman and sophomore year. In high school I I started to get into more and more modern composers. I started to get into more and more noisy things and a lot of this coincided actually with the passing of my mother. She died when I was 14 and you know that in any human the death of a parent will cause you to reevaluate and rethink aspects of your life. Things that you thought were certainties will not be there anymore. So for me, I stopped taking piano lessons and I sort of went headfirst into composition and which is why my degrees are specifically in composition and not piano. Had my mother's passing not happened, you know, who knows what I would be doing now? Maybe I'm not a composer at all. Maybe I'm not into avant-garde music at all, but because things happen the way that they did, I suddenly took a quick turn into avant-garde music and my involvement there only grew more and more and more. Until you know where I am today, I'm almost 30 years old, so I've been listening to and a participant of this music for maybe 15 years or so and I'm quite happy. 00:22:43 Isabel Li That's awesome to hear. 00:22:45 Isabel Li And perhaps a testament to Richard one's very versatile compositional style and avant-garde music coming up next are three pieces from his album i got the electroshock blues. There are five pieces in the album in total, but we will be hearing three of them. The first one called “feeling, scared today,” the second one, “pink pill,” and the fifth one, “la la.” [COMP MUSIC: i got the electroshock blues: 1. “feeling, scared today”, 2. “pink pill”, 3. “la la”.] 00:36:41 Richard An Earlier last year, I released a collection of live recordings under the title of I got the Electroshock Blues. Electroshock Blues is a song by the band Eels I encountered at a pivotal moment in my life. This was right around the time that my mother passed and this record and this song is heavily centered in grief. The main musician in the Eels, Mark Oliver Everett, was dealing with the passing of multiple family members and people who were close to him so it hit me in just the right way at just the right time. And because of that, this song specifically has stayed with me for many, many years. I found myself coming back to the contents of this song as I was composing and all the pieces on this album, of which there are 5 heavily take material from this song, whether that's words, chords, the melody. I really, you know, take it apart, dissect it and use those as ingredients in the pieces that I have written here and all of these are live recordings except for the first piece which was recorded in my studio. I just sort of overdubbed the parts myself, and there are credits in the liner notes for this album, but I just want to say that. The first piece which is called “feeling, scared today,” was originally written for the Hockett piano duo, which is a duo comprised of Thomas Kotcheff and Sarah Gibson. Sarah Gibson was a really close friend of mine who passed away last year and now this piece which in some way came out of a feeling of grief now has renewed meaning and another facet or aspect of this piece is centered in grief now. Because this was dedicated to Thomas and Sarah. Yeah. So these pieces are all derived from this one song. 00:38:57 Isabel Li That's a beautiful response. Thank you so much. Kind of following along your background and how you got to where you are. How do you think your identity has informed your work as a composer and musician? And this could be– you can interpret this in any way that you wish. 00:39:11 Richard An Yeah, this is a really interesting question. The question of how my identity interfaces with my music. In my art, particularly because no person's answer is quite the same, and I don't necessarily have this figured out either. So for a little bit of I guess for a little bit of context on me, I'm second generation Korean American, but I've never been to Korea and I never went to Korean school. My parents never really emphasize that part of my education. You could call it assimilation. You can call it whatever, but I think they valued other aspects of my growth than my explicit tie to Koreanness or, you know my specific identity as a Korean or Korean American, and because of that, I've always felt a little bit awkwardly distanced from that part of my identity, which is something that I will never be completely rid of. So in in a world and the field where whiteness is sort of the default part you know, particularly because you know, classical music does come from Europe, you know, for hundreds of years, like all of the development in this particular kind of music did happen in a place where everyone was white. So because of that background of where I come from and where my musical activity comes from, whiteness has been the default and still feels like it is. So me looking the way that I do as, an obvious not white person, as a person of color will always have a little bit of an outsider status to the thing. And with that comes the question of what are you bringing to classical music? What do you bring to the kind of music that you're creating? Like for example, the most I think the most well known East Asian composers are people like Toru Takemitsu or Tan Dun, people who will interface with their Asianness, in many different ways, but that often involves bringing, for example, a Japanese scale into your classical composition, or bringing a Japanese instrument into your classical composition. Those are, you know, examples of of of pieces by Toru Takemitsu, and other, you know, very successful. Asian American composers now may do similarly. Texu Kim is maybe someone who can also give insight into this, but nothing about me feels explicitly Korean, maybe besides the way that I look. And besides, the way that I grew up a little bit like I've never been to Korea. What right does that give me as a Korean, to for example, use a Korean instrument or use a Korean scale? I've never studied that music. I've never studied that culture. I in in some arguments I would be guilty of cultural appropriation, because I, you know, have not done the work to study and to properly represent. And for example, like Pansori, if I were to use that in any of my music. 00:42:46 Richard An But then the the the difficult question is well, then who does have the right? Does being Korean give me all the license that I need to incorporate aspects of my identity? And if I am not Korean, does that, does that bar my access to that kind of music forever? Another way of looking at this is, I've studied North Indian Classical Hindustani music for a while. I've played tabla and and studied that music at CalArts and I really, really love playing tabla. It's it doesn't make its way into my composition so much, but it is certainly a big part of my musicianship and who I am and, like, but am I barred from using ideas or aspects of that music and culture and my music because simply for the fact that I am not Indian? Many musicians would say no. Of course you've done your homework, you've done your research. You're doing due diligence. You're you're representing it properly. And many people who study this music will say music cannot go forward if it's not like the innervated and continued and studied by people like me who are not explicitly South Asian or Indian. That's an example of the flip side of this of me using or representing the music from a culture that I am not a part of, but again, am I really Korean? I've never been there. I wasn't born there. I speak the language conversationally. But this is an extremely long winded way of saying that I feel a tenuous connection to my Korean this my Korean American identity that hasn't been solved, that isn't solved and probably will never be completely solved. But I think that's exciting. I think that's an evolving aspect of my music and will continue to be that way as long as I continue to be involved in music and as as long as I continue to write. 00:45:05 Isabel Li Yeah, absolutely. That's a wonderful response. Actually. I was, as I was studying different types of world music and learning how people kind of borrow from different cultures. There is this always, this kind of question like ohh, like which types of musical elements from which cultures can I incorporate and obviously the aspects of personal identity definitely play into that a little bit. And part of my senior thesis in college was studying AAPI artists in classical music, and specifically that there are a lot of Asian-identifying musicians in the classical music world. But as you kind of mentioned earlier, I think classical music is very much still like grounded in whiteness and has this kind of air of elitism to it just because of its roots. How do you think this kind of identity intersects with the classical music world? And forgive me if you've already kind of talked about it before, but it's an interesting juxtaposition between like, for example, musicians who identify as AAPI or Asian in this kind of genre that is very– it's very associated with whiteness. Could you kind of talk about the dynamics of how these two aspects of like culture kind of interplay with one another? 00:46:26 Richard An Yeah, absolutely. So, you know, there are ways that I personally feel like I intersect with classical music with reference to my identity, and that also plays with the sort of cultural expectations, like there are stereotypes of Asian musicians, of Asian classical musicians. But there are not necessarily the same the same kind of stereotypes with white classical musicians. A very dominant like stereotype that you'll run into is the young Asian prodigy who practices 10 hours a day and may therefore be labeled as mechanical or unfeeling or, you know, are involved in in this a lot. So much so to the fact to the to the point where to excel an Asian American classical musician or as an Asian classical musician, in general, seems to always carry that stereotype. Like you know, Seong-Jin Cho's success as a pianist may not necessarily be attributed to his musicianship or his skill as a pianist. Because he is an Asian person, an Asian guy. Like how much of his success is because of the perceived tiger mom-ness that he might have existed under? How much of it is attributed to the same type of stereotypes that are labeled like that that label the five year old pianist on YouTube that that is clearly better than I am? Like some of these stereotypes help and some of these don't, but the I think it's undeniable that they exist in a way that doesn't in a way that doesn't carry for white people in the classical music sphere. And I think part of that is that classical music is still rooted in its Eurological identity. I think I'm using that correctly. That's an idea from George Lewis. Eurological versus Afrological. The context that I'm using Eurological right now is specifically in reference to George Lewis, who is a composer, trombonist, and musicologist who, I think coined the two terms to differentiate the roots of different styles of music, and you know, I haven't read enough to confidently say, but classical music is Eurological by example and like jazz would be Afrological by an example and the contexts in which they develop and exist and grew up are fundamentally different, which is what makes them different from each other. And again like this needs a little bit more research on my part. 00:49:23 Richard An Yeah, and because the classical music is so rooted in this thing, I don't believe that the stereotypes that exist for Asian classical musicians exist for white people. And I think that is something that will naturally dissipate with time, like after another 100 years of Asians, and, you know, people of color in, you know, every country in the world, with their continued involvement and innova otypes will disappear like this. You know, it may require certain concerted efforts from certain people, but I do believe that after a while these things will not exist. They'll sort of equalize right in the same way. That the divisions that we make between a Russian pianist and a French pianist and a German pianist, though you know people still do study those things like those aren't really dividing lines quite as strong as an Asian composer or an Indian composer might be. 00:50:27 Isabel Li Thank you for that perspective. I think it's, I think these are conversations that people don't kind of bring up as much in the classical music world and it's great that, you know, we're kind of thinking about these and probably possibly like opening some conversations up to our listeners hopefully. And so my next kind of pivot here is as you know with our current administration, Trump has canceled millions of dollars in National Endowment of the Arts grants, and it's been affecting arts organizations all over the nation. And I was kind of wondering, have you been affected by these cuts to arts programs and what kinds of advice would give upcoming musicians or composers in this era? 00:51:07 Richard An Yeah, that's a yeah, that's a big thing. And like, you know, changing day by day, right. So the Trump administration's effects on my life as a musician is simultaneously huge and also not really that much. So in one way these grant cuts have not affected my personal musical life because I haven't ever received a government grant for any of my arts making. So in one way like my life is the same, but in many, many, many other ways it has changed. Like I am involved with and I work with concert series and organizations and nonprofits that do rely on NEA funding and other government arts based funding. And if they have less money to fund their next season, that means certain projects have to be cut. That means certain musicians have to be paid less. That means certain programs have to change, especially if these funding cuts are aimed towards DEI or quote and quote, woke programming like that is, you know this that will by design disproportionately affect people of color in this field, which already you know, like is in a Eurocentric urological tradition like this is already something that people of color don't have a head start in if the funding cuts are aimed at certain types of programming that will disadvantage already disadvantaged groups of people, well then I don't know, that's even–we're starting even later than other people might be, and you know, like, if a musicians, if a person's reaction to this is despair, I think that's reasonable. I think that is an absolutely, like that's an appropriate reaction to what is fundamentally an attack on your voice as an artist. But I I have for as long as I can, you know, I have always worked under the impression that I will have to do the thing myself, and that's in the piece of advice that I give for a lot of people. You shouldn't necessarily wait for this ensemble to come pick you to play or or to to, you know, commission you to write a piece if you want to write the piece, you should do it and figure out how to put it on yourself. If you want to perform you know music by a certain composer, you should do it and then figure out how to do it yourself. That certainly comes from a place of privilege, like I can do this because I have enough work as a musician to be able to pay for the the passion projects it comes from a place of privilege, because I live in Los Angeles and the resources and musicians and other people who I would like to collaborate with live here, so you know, completely acknowledging and understanding that I I do believe that it's better to ask for forgiveness than to ask for permission. I think if you're a young musician and are feeling some despair about these funding cuts and you know the many, many, many other transgressions against humanity by this current administration. 00:54:38 Richard An I recommend you just go out and do it yourself. You find your people, you find your community, you pull favors, you work long nights and you do it and the reward will firstly be the good you're putting out into the world and then the the art you're making. But also this will be paid in kind by the community you're building, the musicians you're working with. And the the connections you make like you know I I have, I am currently conducting this interview from a studio space that I am renting out in Pasadena that I have built over the last two years that I do all of my rehearsals and my performances in, and that I, you know, host rehearsals and performances for other people, and this cannot happen and could not have happened without the goodwill and help and contribution from other people. When I say go out and do it yourself, I'm not saying that you as a human being are alone. I'm saying you don't need to wait for institutional approval or permission to go out and do these things. Get your friends and do them themselves. And my optimistic belief is that the support and the work will follow. 00:55:53 Isabel Li Richard, thank you so much for sharing your perspectives and your voice on this show today. And thank you to our many listeners of KPFA on tonight's episode of Obbligato on Apex Express. Which focuses on the AAPI community of the classical music world. There were some inspirational words on arts and arts making by Richard An musician and composer based in Los Angeles. 00:56:18 Isabel Li Please check our website kpfa.org to find out more about Richard An and his work as well as the state of the arts during this period of funding cuts. 00:56:29 Isabel Li We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world, your voices and your art are important. 00:56:41 Isabel Li APEX Express is produced by Ayame Keane-Lee, Anuj Vaidya, Cheryl Truong, Jalena Keane-Lee, Miko Lee, Preeti Mangala Shekar and Swati Rayasam. Tonight's show was produced by Isabel Li. Have a great evening. The post APEX Express – 8.7.25 – Obbligato with Richard An appeared first on KPFA.

Comedian and writer, George Lewis, sits down with Gabby to speak about what it feels like to be reaching new heights in his career on the cusp of midlife! They chat about George's journey through comedy and how relatability is not something to be underestimated - he's proved that dad jokes are in fact very funny! He also gives a deeply emotional account of what it's like going through the process of having your child assessed for autism, and why he feels a diagnosis is important for both children and parents. George also talks about the innate gratitude he's had since he was young, and why it's more bucket hats than bucket lists for him! This is an unexpectedly philosophical chat, packed full of warmth and joy. George is running the 2026 London Marathon in aid of Autistica - the charity he is an ambassador for - and you can find out more about the charity at www.autistica.org.ukGeorge's tour Best Thing You'll Ever Do continues from 3rd September 2025, and tickets are available at www.georgelewiscomedian.com Hosted on Acast. See acast.com/privacy for more information.

MISHA MENGELBERG “DUTCH MASTERS” Milan, Italy, March 25, 1987Reef, Off minor, Reef [alt.]George Lewis (tb) Steve Lacy (sop) Misha Mengelberg (p) Ernst Reijseger (cello) Han Bennink (d) JUAN PABLO CARLETTI “BIGISH” Scholes Street Studio, Brooklyn on 9/20/22BigishKenny Warren, Thomas Heberer (t); Rick Parker (tbn); Ben Stapp (tub); Yoni Kretzmer (st); Christof Knoche (bcl) Peter Bitenc (b); Juan Pablo Carletti (dr). Continue reading Puro Jazz 13 de junio, 2025 at PuroJazz.

Send us a textWe are joined by vocalist Sam McCauley and bassist George Lewis of British rock upstarts Oversize, as they gear up for the release of their highly anticipated debut album, Vital Signs. Since their formation in 2019, the band has spent six years carving out their identity, culminating in a milestone moment—signing with the renowned SharpTone Records. The excitement surrounding their debut is palpable, blending nerves and anticipation with the confidence of a band ready to make its mark. Drawing inspiration from the raw energy of '90s grunge and alternative rock, Oversize injects their own modern edge into a sound that feels both nostalgic and fresh. If there's a blueprint for a debut album, Vital Signs may have just set the standard. Tune in now as we dive into the band's journey, and be sure to buy and stream Vital Signs, out February 28 via SharpTone Records. Stay connected with Oversize, visit: https://www.instagram.com/oversizeband/, https://www.facebook.com/oversizeband/, and https://sharptonerecords.co/collections/oversizeStay connected with IUF, visit: https://interviewunderfire.com/

CHICK WEBB THE JUNGLE BAND New York, June 14 & 27, 1929 Dog bottom (wp vcl), Jungle mama [Jungle blues Ward Pinkett (tp,vcl)Edwin Swayzee (tp) Bob Horton (tb) Hilton Jefferson, Louis Jordan (as,cl) Elmer Williams (bt,cl) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu) Chick Webb (d) New York, March 30, 1931 Heebie jeebies, Blues in my heartShelton Hemphill, Louis Hunt (tp) Louis Bacon (tp,vcl) Jimmy Harrison (tb) Benny Carter (cl,as,arr) Hilton Jefferson (cl,as) Elmer Williams (cl,ts) Don Kirkpatrick (p) John Trueheart (bj,g) Elmer James (tu,b) Chick Webb (d,celeste,bells) GEORGE LEWIS AND HIS NEW ORLEANS STOMPERS Edgar Mosley's Home, New Orleans, LA, May 15, 1943New Orleans hula, Don't go ‘way nobodyJim Robinson (tb-1) George Lewis (cl) Lawrence Marrero (bj) Sidney Brown (tu) Edgar Mosley (d) Live “Gypsy Tea Room”, New Orleans, LA, May 16, 1943Climax rag, Just a closer walk with thee, I ain't gonna give nobody none o' this jelly-roll, Careless loveKid Howard (tp) Jim Robinson (tb) George Lewis (cl) Lawrence Marrero (bj) Chester Zardis (b) Edgar Mosley (d) MIFF MOLE AND HIS MOLERS New York, August 30 & September 1,1927Imagination, Feelin' no pain, Original dixieland one-step, My gal SalRed Nichols (cnt) Miff Mole (tb) Pee Wee Russell (cl,ts) Fud Livingston (cl,ts,arr-1) Adrian Rollini (bassax) Arthur Schutt (p) Dick McDonough (bj-1) Eddie Lang (g) Vic Berton (d) JELLY ROLL MORTON Library of Congress, Washington, D.C., May 23-June 12, 1938“Tiger rag – Quadrille (y su metamorfosis)(Medley

Wednesday, February 5 -  Host and American Family Farmer, Doug Stephan www.eastleighfarm.com shares the news affecting small farmers in America, including the news that eggs have become political as the price continues to go up, yet the farmers are receiving even less of that money, and a focus on the Avian Flu and how that's also affecting the price and availability of eggs. Poultry farmers are being asked to tighten bio-security, a conversation on tax season. Doug discusses that, too. Then, we're introduced to George Lewis, President of Ventura Grain, a hometown store for everything lawn and garden serving the southeastern, MA, for over 90 years. George, grew up on a “gentlemen's farm,” studied at Bentley University with degrees in finance, economics, and earth sciences & sustainability before pursuing a post-college career as a private wealth advisor. Deciding to return to his agricultural roots, George purchased a 100-year-old grain mill. Ventura Grain continues to manufacture and sell their own brand of animal feed with a focus on quality. You can find George and his company online at VenturaGrainInc.com. Lastly, Farmer Doug opines ear tags for cattle, the modernization of the Dept. of Ag, and the Senate's agenda regarding climate change. Doug covers that, too. Website: AmericanFamilyFarmerShow.comSocial Media: @GoodDayNetworks

Loki chats with composer George Lewis about the "Composing While Black" anthology, his approach to furthering the tradition of "great Black music", and his upcoming collaborations with the New York Philharmonic, ICE, and others. Loki also responds to the Afromodernism concert he recently attended, presented by the New York Philharmonic. Support for this opus of TRILLOQUY comes from the New York Philharmonic. ICE/"Composing While Black"Association for the Advancement of Creative Music"Weathering" by George Lewis (perf. American Composers Orchestra)"Arcades" by George Lewis (perf. Black Box Ensemble) Afromodernism, presented by the New York Philharmonic  ★ Support this podcast ★

You've probably seen George Lewis's excellent takes on what life is like as a parent in today's world or even putting himself into the shoes of his kids thinking what life is like for them.  We learn all about how George became an online star and how he's been a successful  standup for over a decade. There is a slightly left-field suggestion for Harry's Virtual Graveyard, and as we're now in the grasp of Autumn we thought now would be the best time to speak to an expert on… barbeques!  Thanks to Christian Stevenson aka DJ BBQ for telling us how to bbq a turkey at Christmas! See Christian's YouTube channel and Instagram where he shares all his tips and tricks! Harry's new book How To Be Silly Every Day Of The Year is out, order here! Harry is also on tour across the UK  in 2025, get your tickets at harryhill.co.uk Get in touch with your jokes on a voice note, minor irritation, TV theme tune lyrics or to say hello at harry@arewethereyetpod.co.uk Website: www.harryhill.co.uk Instagram: @mrharryhill YouTube: @harryhillshow Producer Neil Fearn A 'Keep it Light Media' production All enquiries: HELLO@KEEPITLIGHTMEDIA.COM Learn more about your ad choices. Visit podcastchoices.com/adchoices

Comic and parenting observer George Lewis is in the Moon Under Water this week. Best known for his observant parenting sketches, George leaves the kids at the door to take Landlord Robbie and Regular Dan through his dream pub.And he takes us on a journey through gin in film canisters and neat Pepsi syrup to fashion a wonderfully wistful establishment we'd all love to be a part of.Plus there are some nice positive reflections on how having kids can lead to a healthier appreciation of having a drink.George is @georgelewiscom on Instagram, and is touring his stand up show throughout autumn and into the new year. But tickets are sparse!Check out the second part of the chat for his Dream Pub Companion and so much more!Want to share anything with The Moon Under Water? Reviews, places you've been, things you'd like to bar? Well it can feature on our weekly Pub Notice Boards. Just email robbie@moonunderpod.com to get in touch. Hosted on Acast. See acast.com/privacy for more information.

Sketch comic, the lovely George Lewis, has now built his dream pub (see the previous episode for that), so now it's time for head into even more that will round off the experience of walking into The Stumbling Turkey.There's some Oasis oneupmanship, talk of strapping wine to oneself and a very observant thing for George to bar from his pub. Plus there's a quiz that parents will thrive at.George is @georgelewiscom on Instagram, and is touring his stand up show throughout autumn and into the new year. But tickets are sparse!Want to share anything with The Moon Under Water? Or maybe you've got some thoughts on something George has had to say. Well it can feature on our weekly Pub Notice Boards. Just email robbie@moonunderpod.com to get in touch. Hosted on Acast. See acast.com/privacy for more information.

Unrestricted Warfare Ep. 135 | "Trump Shooting Decoded" with George Lewis Links: George H. Lewis Astrology Academy https://georgehlewisacademy.com/ Links: https://www.thebestimmunesupport.com/ Discount Code: Pro2024 for 10% off Pro Immune *Buy Master Peace Solution here to detox* - Purge the graphene oxide out of you https://masterpeacebyhcs.com/?ref=11350 Decentralized Media Coming 2024 Support James by Subscribing Early at www.decentralized.media Mushrooms https://redpills.tv/mushroom PTG Gold and Silver www.getgoldtoday.com www.redpills.tv/mypillow My Patriot Supply Be Prepared When Disaster Strikes redpills.tv/patriot The Redpill Project.. Find Us and Subscribe! Web https://redpills.tv Telegram http://t.me/RedpillsTV Rumble https://rumble.com/c/RedpillProject CloutHub https://clouthub.com/redpills GETTR https://gettr.com/user/redpill TikTok https://tiktok.com/@realjoshreid Foxhole App: https://pilled.net/#/profile/127862 Facebook: https://www.facebook.com/redpillproject DLive: https://dlive.tv/RedpillProject

Our fifth season of "Science Straight Up" kicks off with Dr. Michael Wasielewski of Northwestern University talking about the basics of quantum theory and how it will change our lives.  We can't beam people aboard the starship just yet, but teleportation of information using quantum techniques is happening right now. Many of us have heard about quantum computers and some of the amazing things that they will do, literally a “quantum leap” in performance. However, this is not the whole story. The quantum world and innovative technologies being developed from it will significantly enhance secure communications and be capable of sensing single atoms and molecules, even when they are within living cells. How does this work? Dr Wasielewski has some answers.  Our session was moderated by veteran broadcast journalists Judy Muller and George Lewis.

Amina Claudine Myers was one of the earliest members of the AACM, and if you're listening to this podcast, I'm pretty sure you know what the AACM is, but just in case you don't, the Association for the Advancement of Creative Musicians is an organization formed by Muhal Richard Abrams, Roscoe Mitchell and a few other musicians in Chicago in the mid-1960s. A tremendous number of the most important avant-garde jazz musicians of the mid to late 20th century and the 21st century have come out of the AACM, including Anthony Braxton, Henry Threadgill, Fred Anderson, the Art Ensemble of Chicago, Wadada Leo Smith, Matana Roberts, Nicole Mitchell, Tomeka Reid, and Amina Claudine Myers. There's a tremendous book by trombonist and composer George Lewis, called A Power Stronger Than Itself, that's the best possible introduction to the group. You should absolutely read that if you're a fan of any of the musicians I just named.Now, all the founders and early members of the AACM worked together, supporting each other, and moving the music forward in large part by composing and performing original work. What's interesting — and this is something we talk about in this conversation — is that Amina Claudine Myers' early albums included some original music, but they also included interpretations of other people's compositions, specifically Marion Brown and Bessie Smith. But she always paired that music up with pieces of her own that demonstrated a really fascinating compositional voice that was a combination of jazz, gospel, blues, and classical music. She took all her influences and early training and combined them into something that sounded like nobody else out there, and was incredibly powerful.In addition to making her own records, she's been a part of albums by Lester Bowie, Henry Threadgill, Muhal Richard Abrams, Anthony Braxton, Kalaparusha Maurice McIntyre, Bill Laswell, and many other people. Her latest release is a collection of duos with Wadada Leo Smith, the first time they've recorded together since 1969, and their first collaboration as leaders.I'm really glad I had the chance to interview her. We talked about a lot of things — the AACM, the role of spirituality in music and the way the term spiritual jazz is used to gatekeep certain things, her work with all the artists I just mentioned, her upbringing in Arkansas and Texas and how it influenced her writing... this is a really wide-ranging conversation that I think will be really interesting for you to hear. I thank you as always for listening.

Wie entscheiden Sie, welche Musik Ihnen gefällt? In der Regel ist es so, dass sich unsere musikalischen Vorlieben und Präferenzen auf bereits bestehendem Wissen entwickeln, auf Forschung und Recherchen von anderen. Wenn sich ein Werk oder eine Komposition im sogenannten Kanon durchgesetzt haben, dann sind sie da und eigentlich auch nicht mehr wegzudenken. Wer aber schreibt diesen Kanon? Welche Leerstellen gibt es, die zu füllen sind? Oder gibt es auch andere Perspektiven auf Musikgeschichtsschreibung? Den Musiker, Musikwissenschaftler, Buchautor Harald Kisiedu bewegen solche Fragen. Seit vielen Jahren beschäftigt er sich mit Komponistinnen und Komponisten afrikanischen Ursprungs, sein Fachgebiet ist also die sogenannte "afrodiasporische Neue Musik". Kisiedu beobachtet im klassischen Musik-Establishment eine Schieflage, zeitgenössische Musik werde als "weißes Feld" konstruiert. Darüber schreibt er in seinem Buch "Composing While Black" und wirbt für ein Umdenken im Musikbetrieb. Harald Kisiedu selbst hat in New York studiert, dort seine wissenschaftliche Laufbahn begonnen, ist als Saxophonist mit legendären Jazzmusikern wie Branford Marsalis, George Lewis oder Henry Grimes aufgetreten. Kisiedu lebt heute in Hamburg, unterrichtete Jazzgeschichte und Musikwissenschaft an Hochschulen in Osnabrück oder Leipzig. Über sein Leben und Werk, über Musik und Jazz spricht er mit Charlotte Oelschlegel in "NDR Kultur à la carte".

Joining us this episode to discuss the highs and lows of parenting (and life) is the brilliant comedian, writer, and social media content creating sensation - George Lewis. You can listen to George's fantastic podcast 'Save it for the podcast' HERE His book 'DON'T PANIC!: All the Stuff the Expectant Dad Needs to Know' is available to buy wherever you get your books. And tour dates tickets and info can be found HERE Parenting Hell is a Spotify Podcast, available everywhere every Tuesday and Friday. Please leave a rating and review you filthy street dogs... xxx If you want to get in touch with the show here's how: EMAIL: Hello@lockdownparenting.co.uk INSTAGRAM: @parentinghell MAILING LIST: parentinghellpodcast.mailchimpsites.com  A 'Keep It Light Media' Production  Sales, advertising, and general enquiries: hello@keepitlightmedia.com NEW ALBUM OF THE SAME NAME IS OUT MAY 10TH - PRE-ORDER HERE Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to a bonus episode of Tired and Tested. Join Sophie as she delves into her dusty old box to discover a nostalgic gem from her youth. This week, the girls are joined by comedian George Lewis to discuss the childhood bargains he picked up in pound shops - or, in his case, the Castle Street Bargain Centre. Brace yourself for chat about fluorescent hair gel and 'shag bands' Hosted on Acast. See acast.com/privacy for more information.

Welcome to another Tired and Tested podcast! In which Sophie welcomes another special guest... GEORGE LEWIS! Comedian! Author! Instagram's Funniest Dad! George joins Sophie and Lucy to talk about The Snip, take on a special Urban Dictionary Corner and a work-from-home Parenting Fail. Want to win a FREE ICONIC MASCARA? Submit your parenting tale to tiredandtested@acast.com - and if we pick yours, we'll send you a free mascara!Sophie is on a UK tour! Find out where you can see her hereTickets for Sophie's tour in Australia and New Zealand hereGeorge Lewis tour dates and more here Hosted on Acast. See acast.com/privacy for more information.

Welcome to Episode 121 of the A News You Can Use Podcast, broadcasting live from the Dallas on Air Podcasting studio in Dallas, Texas! In this episode, we had the pleasure of delving into a thought-provoking topic: the Burden of Masculinity, with the esteemed Dr. George Lewis. Dr. Lewis shared insights from his upcoming book, set to release in May, offering valuable perspectives on this important subject. Tune in as we explore this fascinating discussion! Dr. George Lewis serves our military veterans over at the VA where he practices as a Clinical Pharmacist. After stops in Houston and Chicago respectively for undergrad and graduate school he returns to his hometown of Dallas, Texas where he continues to have an impact on his community. He also serves as the Director of Advising for a leading non-profit over at Toast For Charity and leads the program “Professionals on the Block”. He is also the CEO of G.L.A. Enterprises. He has recently published his second book titled “The Burden of Masculinity” which will be available at the beginning of May. He is here today to discuss said book and the perspective that men should take when faced with the challenges of the burden of masculinity. Instagram: https://instagram.com/glewis_v --- Send in a voice message: https://podcasters.spotify.com/pod/show/news-you-can-use/message

Unrestricted Warfare Ep. 61 | "April 8 Eclipse in Days of Noah" with George Lewis Links: https://www.georgehlewis.com/ **Buy Master Peace Solution here to detox** Forever chemicals Chemtrails Graphene oxide Heavy metals https://masterpeacebyhcs.com/?ref=11350 Decentralized Media Coming 2024 Support James by Subscribing Early at www.decentralized.media Mushrooms https://redpills.tv/mushroom Kirk Elliott Gold and Silver www.getgoldtoday.com www.redpills.tv/mypillow My Patriot Supply Be Prepared When Disaster Strikes redpills.tv/patriot The Redpill Project.. Find Us and Subscribe! Web https://redpills.tv Telegram http://t.me/RedpillsTV Rumble https://rumble.com/c/RedpillProject CloutHub https://clouthub.com/redpills GETTR https://gettr.com/user/redpill TikTok https://tiktok.com/@realjoshreid Foxhole App: https://pilled.net/#/profile/127862 Facebook: https://www.facebook.com/redpillproject DLive: https://dlive.tv/RedpillProject

SIDNEY BECHET CLARENCE WILLIAMS' BLUE FIVE New York, July 30, 1923Wild cat blues, Kansas City man bluesTom Morris (cnt) John Mayfield (tb) Sidney Bechet (cl,sop) Clarence Williams (p) Buddy Christian (bj) New York, c. October 3, 1923Tain't nobody's business if I do, New Orleans hop scop blues, Oh daddy bluesTom Morris (cnt) John Mayfield (tb) Sidney Bechet (sop) Clarence Williams (p) Buddy Christian (bj) BUNK JOHNSON BUNK JOHNSON'S BAND New Orleans, LA -, August 2, 1944Weary blues, Royal garden blues, Cee Cee rider, Careless loveBunk Johnson (tp) Jim Robinson (tb) George Lewis (cl) Lawrence Marrero (bj) Alcide “Slow Drag” Pavageau (b) Baby Dodds (d) DON EWELL SOLO Baltimore, prob August 1946Just You, Just MeDon Ewell (p) solos Free ‘N Easy! Continue reading Puro Jazz 19 marzo 2024 at PuroJazz.

The SOS bar flings it's doors wide open this week with comedian George Lewis!!George tells some hilarious stories about his drinking days at university and Lou & Sally give us their opinion of George's hipster IPA.For tour shows, George's new book and more follow him on instagram @GeorgelewiscomAND stay tuned we will be taking a very short break but will be back in a few weeks with a new subscription service on Apple Podcasts and some brand new amazing episodes. Please subscribe, rate and review xx Hosted on Acast. See acast.com/privacy for more information.

Every week comedians Jake Lambert and George Lewis meet up and share their anecdotes of the week. This week they discuss George's shame on the school run, famous followers, Jake's recent trip to Dubai, Saltburn, and much more. SPOILER ALERT: We discuss Saltburn from 31:34 - 41:26. You can follow Jake and George: @jakelambertcomedy @georgelewiscom You can email Jake And George at jakeandgeorgepod@gmail.com Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Each week comedians Jake Lambert and George Lewis meet up and share their favourite anecdotes of the week. This week they discuss George sawing some wood, Jake's parents surprising him at a gig, being victims of crime, and George teaches Jake all about facebook market place. You can email Jake And George at jakeandgeorgepod@gmail.com You can follow both on instagram: @jakelambertcomedy @georgelewiscom Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Great early version of the George Lewis band, featuring the trumpet player the leader always said was his favorite - Elmer "Coo Coo" Talbert. Live and transcription recordings from 1949 to 1950 (when Talbert died) also featuring Jim Robinson, Alton Purnell, Lawrence Marrero, Slow Drag Pavageau and Joe Watkins --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Karen Gregory had just taken the next big step to moved in with her boyfriend. While he was away on a business trip out of state, she was going to spend the time unpacking and settling in to their new home. When Karen failed to answer the phone or contact him for nearly two days, he began to worry and called friends, family and a friendly neighbor.  That neighbor was the first to discover Karen's body and call first responders, or was she? It was another neighbor, George Lewis, that investigators inevitably had to set their sights on despite not wanting to believe the fireman and neighborhood watch leader could be responsible. However, he insisted that all he was guilty of was panic and making a bad decision not to call authorities. Join us as Savannah shares this story of a not so watchful neighborhood and learns what the Florida panhandle is while Elysia shares her deep fear of central Florida. Correction: Gulfport is, in fact, in the Tampa Bay area and not in the Florida panhandle. Geography is clearly not our strong suit.    Don't forget to leave us the weekly emoji! Find us on Instagram and Facebook!     Sources: https://www.oxygen.com/an-unexpected-killer/crime-news/karen-gregory-killed-by-neighborhood-watch-captain-george-lewis https://www.tampabay.com/news/courts/criminal/former-firefighter-george-lewis-convicted-in-1984-gulfport-murder-dies-in/2186636/ https://medium.com/the-crime-center/the-community-trusted-him-but-he-was-a-killer-inside-247cbce33cef https://thekillerqueenblog.com/the-person-you-least-suspect-the-murder-of-karen-gregory/ https://wickedness.net/murders/karen-gregory/ https://caselaw.findlaw.com/court/fl-district-court-of-appeal/1070509.html     Graphic Art By: Taylor Poe Music By: https://www.fesliyanstudios.com/royalty-free-music/download/shady-business/2181  

Perhaps the first true New Orleans revival session - George Lewis and His Band was essentially the same group that recorded with Bunk Johnson, but with Avery "Kid" Howard bringing a more modern style to the band. Jim Robinson, Lawrence Marrero, Chester Zardis, Edgar Mosely and "Jim Little" (Sidney Brown) round out the group. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

We're joined this week for a very funny episode with comedian and author George Lewis for a chat about parenting, Carl's booze advent calendar and much more!

The pod welcomes comedian, actor and writer George Lewis for the latest edition of Mesut Haaland Dicks, choosing his six most niche fascinations and irritations of football. Among George's selections are the HR-defying mythology of the dressing room, kids mindlessly emulating the mannerisms of star players, the rise of the words “we talk about...” in punditry and Coronation Street vs EastEnders in accurately depicting footballspeak. Meanwhile, the Adjudication Panel analyse some AI commentary of a famous Lionel Messi goal and pick apart some commentary highlights from the chaos of Spurs vs Chelsea. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week we are joined by Sky Sports' Cara Bostock (@carabostock_) and Matt Trumpets (@mattpt55) to dissect the 2023 Qatar GP, where Mercedes had a difficult weekend. We are a fully-independent podcast production. If you liked this episode please leave us a positive review on your podcast app, share it with your friends, and follow us on Twitter (https://twitter.com/mercf1pod) to help the project remain viable. Hosted on Acast. See acast.com/privacy for more information.

This week we are joined by F1 tech expert Bryson Sullivan (@NaturalParadigm) to review the 2023 Japanese GP where there was plenty of Mercedes on-and-off the track.P.S. Apologies about the audio quality in this episode, we made a little mistake when recording. We won't do it again! We are a fully-independent podcast production. If you liked this episode please leave us a positive review on your podcast app, share it with your friends, and follow us on Twitter (https://twitter.com/mercf1pod) to help the project remain viable. Hosted on Acast. See acast.com/privacy for more information.

In this episode, I sit down with Steve Lehman, visionary alto saxophonist and composer, to discuss his project "Ex Machina," a collaboration with the grammy-nominated Orchestre National de Jazz (ONJ). We talk in detail about his approach to composing and how the process varies according to the size of the group he's composing for—big bands versus quartets—and how he writes for other musicians so that they can shine while leaving space for his own solos. We compare classical to jazz and their differing approaches to improvisation, as well as improv in general, exemplified in his latest work, an interweaving of forms and patterns. Last but not least, we discuss his musical influences, including trombonist George Lewis and alto saxophonist Jackie McLean, with whom he studied for several years."Ex Machina" releases September 15, 2023MUSICIANS-Steve Lehman - alto saxophone, electronicsJonathan Finlayson - trumpetChris Dingman - vibraphoneMembers of Orchestre National de JazzFrédéric Maurin - direction, electronicsFanny Ménégoz - flute, alto flute, piccoloCatherine Delaunay - clarinet, basset hornJulien Soro - tenor saxophone, clarinetFabien Debellefontaine - baritone saxophone, clarinet, fluteFabien Norbert - trumpet, flugelhornDaniel Zimmermann - tromboneChristiane Bopp - tromboneFanny Meteier - tubaBruno Ruder - piano, synthesizerStéphan Caracci - vibraphone, marimba, glockenspiel, percussion, synthesizerRafaël Koerner - drumsSarah Murcia - double bassJérôme Nika - generative electronics creation & artistic collaborationDionysios Papanikolaou - IRCAM electronicshttps://www.stevelehman.com/

Welcome to the Quick Stop F1 Podcast! Big technical issues unfortunately blighted an incredible episode we had planned for you so Nyasha steps in to give you his insight into a crazy Austrian GP weekend which was marred by track limit violations, Mercedes' struggles with the car and George + Lewis and more! Plus, a story of how Nyasha ran into a certain former team principle on his lunch break... Shop for Quick Stop merch at - www.quickstopf1.com Join our Patreon - www.patreon.com/QuickStopF1 We are a small independent podcast and we really rely on every review on Apple podcasts and share, so please share us as far and wide as you can and remember to leave a review! You can also review on Spotify too, so make sure to drop us a five-star review. Make sure to follow us on social media: Twitter - https://twitter.com/QuickStopF1 Instagram - https://instagram.com/QuickStopF1 TikTok - tiktok.com/@quickstopf1 Thandie TikTok - tiktok.com/@thandiesibanda Follow Producer Mario on Instagram - https://www.instagram.com/mario_apm/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

The bizarre death of the town eccentric has people vying for his collection of Christian memorabilia, and the town barber has something to say about it.All episodes written and directed by Michael MauElliott Bales as the NarratorAryeh Krause-Nadler as Scooter FriendlyHannah Church as CharseyChrista Burton as SusabethHannah Dorph as the store clerkMusic for this episode by Johnny Dodds Trio, Frisco 'Jass' Band, George Lewis & His New Orleans Stompers, and Eddie Lang, all courtesy of Open Music ArchiveTrevor Tremaine composed the theme music.Geneva Hicks created the podcast cover artAdditional sound effects courtesy of PixabayWriter, comedian, and actor Nina Dicker helped produce this episode. Look for her memoir Tangerine Vagina where finer books are sold.Special thanks to assistant casting director Annie Weaver.You can find out more about our cast and crew at ablindplaypodcast.com or on Instagram @mauhausproductions  You can also head over to TeePublic.com/mauhaus for some great podswag including so many kitty cat shirts MauHaus Productions is hosting a writing contest to find new stories for Season Three. Head over to ablindplaypodcast.com and click on the season three link or go directly to filmfreeway.com/ablindplayOne grand prize winner will also get $300 in cash.   If you aren't already, please follow the show. Your podcast app should have a Follow Button. And please rate and review. Ratings and reviews are the lifeblood of podcasts, and they take so little time. Click those five stars. Tell us about your favorite episode. Share with friends and family. And thank you for listening.To find out more about our cast, to read the original short stories, or donate to the show so we can make an unforgettable second season, visit us atMusic by Trevor TremaineVoices:Aryeh Krause-Nadler Ethan HerschenfeldIrene SantiagoRonald Woodhead Danny GaviganReagan PrumCatherine GaffneyElizabeth PanEvan JudwayBryce TownsendCarrie GibsonJennifer KeaneRich Greene If you aren't already, please follow the show. Your podcast app should have a Follow Button. And please rate and review. Ratings and reviews are the lifeblood of podcasts, and they take so little time. Click those five stars. Tell us about your favorite episode. Share with friends and family. And thank you for listening.All episodes written and directed by Michael MauTheme music composed by Trevor TremaineMain title artwork by Geneva HicksTo find out more about our cast, to read the original short stories, or donate to the show so we can make an unforgettable second season, visit us at ablindplaypodcast.com or on Instagram @mauhausproductions.

Karen A. from Jerusalem, Israel is a proud Mommy and member of the Spiritual Gangsters fellowship. Karen had addiction running through her family and lost her baby brother to an accidental morphine overdose when he was just three days out of rehab. In 2014, Karen entered the rooms of OA when her doctor said she had the 4Fs - female, fertile, fat, and forty! She knew that a spiritual approach was the only solution to her food problem and all of life's other challenges, such as codependency, anonism, and love addiction. Today, Karen guides sponsees through the Big Book for any affliction, especially people addictions - CoDA, Al-Anon, Sex and Love Addiction, etc. and she specializes in carrying the message of Alcoholics Anonymous to Orthodox Jewish women worldwide who otherwise would not have access to recovery.  She speaks to us today on using the Big Book and Big Book principles in people and relationship addictions.Reco12 is an organization with the mission of learning and sharing the similarities of addiction of all kinds and gaining and sharing tools and hope from others who are walking a similar path.  We come together from all places, faiths and backgrounds to gain tools and hope from others who are walking a similar path.  Resources from this meeting: George Lewis 11st Step Evening MeditationSpiritual Gangsters FellowshipBig Book of Alcoholics AnonymousOACODAAl-AnonSLAAReco12 appreciates your help in keeping us working our 12th Step with these great resources and services for the addict and loved ones.  We gratefully accept contributions to help cover the costs of the Zoom platform, podcast platform, web hosting, and administrative costs. To become a Reco12 Spearhead you can quickly and easily become a monthly donor here: https://www.reco12.com/support  or you can do one-time donations through PayPal (https://www.paypal.me/reco12)  or Venmo:  @Reco-Twelve .  Thanks for your support!Outro music is “Standing Still” by Cory Ellsworth and Randy Kartchner, performed by Mike Eldred and Elizabeth Wolfe.  This song, and/or the entire soundtrack for the future Broadway musical, “Crosses:  A Musical of Hope”, can be purchased here:  https://amzn.to/3RIjKXs This song is used with the express permission of Cory Ellsworth.Support the showPrivate Facebook GroupInstagram PageBecome a Reco12 Spearhead (Monthly Supporter)PatreonPayPalVenmo: @Reco-TwelveYouTube ChannelReco12 WebsiteEmail: reco12pod@gmail.com to join WhatsApp Group