Podcast appearances and mentions of George Lewis

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.

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

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

The quintessential moment of a jazz funeral is the playing of “Just a Closer Walk to Thee.” Some say this custom goes all the back to early days of the New Orleans music scene nearly a century and half ago. It's a lovely story… and, well, untrue.The jazzman most associated with playing this beautiful song — New Orleans' legendary clarinetist George Lewis — revealed the tune actually has a much more recent history, one in which a barroom jukebox plays a prominent role.“The first time I played it was in the The Eureka Band” in 1942, Lewis told his biographer Tom Bethell. “We heard it on a music box, and a woman asked us to play it for a funeral” for her murdered husband.The MurderThe victim in this story, said Lewis, was in an uptown bar in one of New Orleans' rougher neighborhoods known as “The Battlefield.” He was just putting a nickel in the jukebox when someone stabbed him in the back.When the widow later learns that the song the poor man wanted to hear on that fateful evening was the new Sister Rosetta Tharpe recording of “Just a Closer Walk with Thee,” she asked George Lewis'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 it at funerals ever since.The Song's Story“Just a Closer Walk with Thee” is a surprisingly modern song. It was published in 1940 in Chicago by Kenneth Morris, though Morris never claimed to have actually written the melody. In his book The Golden Age of Gospel, Horace Clarence Boyer tells how Morris was riding a train from Kansas City to Chicago. Along the way, he stepped off at one of the stops for some fresh air; while there, Morris heard a station porter singing a song. “He paid little attention at first,” Boyer wrote, “but after he re-boarded the train, the song remained with him. It became so prominent in his mind that at the next stop, he left the train, took another train back to the earlier station and asked the porter to sing the song again.”Morris wrote down the words and music — later adding a few lyrics of his own to provide more breadth — and published “Just a Closer Walk with Thee” that same year.RecordingsThe first known recording was by the Selah Jubilee Singers for Decca Records on Oct. 8, 1941.It didn't take long, though, for the song to get a jazzier treatment. Two months later, also for Decca, Rosetta Tharpe waxed the disc that would wind up on a jukebox in New Orleans and change George Lewis's life. After Lewis recorded it on his 1943 New Orleans Stompers album, “Just a Closer Walk with Thee” became his most requested tune for the remaining 25 years of his life.Our Take on the TuneRecently when Danny Cox read here how The Flood played “Just a Closer Walk with Thee” at a friend's memorial service 20 years ago, he said, “Why don't we do that song anymore?” Well, why indeed? So lately the guys have been dusting it off and just listen to the soulful, sassy spin the lads have put on it. Here's a take from last week's rehearsal.More Churchy Stuff, You Say?If this week's selection has you in the mood for a little more of The Flood's brand of reverence, you might enjoy the “Gospel Hour” playlist on the free Radio Floodango music streaming service.Click here to read all about it. 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

durée : 00:15:24 - Journal de la création du dimanche 24 novembre 2024 - par : Laurent Vilarem - En France, la réflexion sur les compositeurs/ices issus des minorités émerge peu à peu : George Lewis proposait ainsi un premier concert “Composing while black” à Paris. Par ailleurs, Benjamin Attahir présentait à Tourcoing "Le Jardin d'Afrique", opéra de chambre sur la tragédie des migrants - réalisé par : Céline Parfenoff

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.

Comedian Colin Hoult and his pal Jamie Firth continue their journey into Colin's neurodiversity and brains in general this time with very special guest and hopefully Colin's future best friend George Lewis SUPPORT THE SHOWpatreon.com/colinhoultFOLLOW USTweet: @colinhoult Insta1: @neuroversepodInsta2: @colinhoultcomedyWeb: iamcolinhoult.comBOOK MEhwilson@unitedagents.co.uk for acting and comedy workcolinhoultcomedy@gmail.com for smaller gigs, podcasts, requestsMESSAGE MEI am hoping to grow a little Neurodiverse community here - send me you thoughts on what you like and what you would like to hear to my email or on the smelly socials.THANKS TO @eyesonlegs for wonderful music, image design and editing@edshots for the original photo 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/

Cancer biopsies are scary. The patient gets tissue removed from his or her body, the sample gets sent off to the lab and then there's the agonizing wait for the results.  Dr. Stephen Boppart of the University of Illinois Urbana-Champaign, both a physician and an engineer, is working on instant biopsies that will produce results in minutes. Using laser light and artificial intelligence, Dr. Boppart and his colleagues have been able to identify cancers early and accurately. Moreover, this technique promises to identify conditions in the body that might lead to future cancers by looking at tiny vesicles, liquid-filled sacs that act as messengers.  His "Town Talk" sponsored by Telluride Science, was recorded at the Telluride Mountain Village Conference Center in Colorado.  The program was moderated by veteran broadcast journalists Judy Muller and George Lewis.

Our experience with mRNA vaccines during the COVID pandemic showed us the possibility of  designing other RNA-based drugs in a flexible and efficient manner. Dr. Athma Pai of the UMass Chan Medical School talks about how her research into RNA therapeutics and the immense promise it holds for conquering a wide range of diseases, from. cancer to sickle cell anemia, and more.  Veteran broadcast journalists George Lewis and Judy Muller moderated the session with Dr. Pai, recorded at the Telluride Conference Center in Mountain Village, Colorado

Dr. Amy Mueller and her team are measuring the vital signs of cities, gathering data that will inform future additions and improvements to our urban areas. How do we build cities in a sensible, sustainable way? Key to this work is getting communities involved and arming them with the information they need to make strategic decisions about the future.  Dr Mueller is an associate professor of marine and environmental science and civil and environmental engineering at Northeastern University in Boston.  She spoke at a "Town Talk" sponsored by Telluride Science and the session was moderated by veteran broadcast journalists Judy Muller and George Lewis.

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

Quantum Dots are marvelous little crystalline structures that work as electrical semiconductors and emit light.  But that's not all they do.  Dr. Jennifer Hollingsworth of the Center for Integrated Nanotechnologies at the Los Alamos National Laboratory, talked about the many potential applications of these tiny wonders.  Veteran broadcast journalists Judy Muller and George Lewis moderated the talk with Dr. Hollingsworth. 

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.

American agriculture contributes about 10 percent of this country's greenhouse gas emissions, but done right, it can absorb rather than produce carbon and help overcome the problem of man-made climate change.  This exciting possibility is the subject of a Telluride Science panel moderated by Adam Chambers of the U.S. Department of Agriculture.  Panelists include Tony and Barclay Daranyi, who practice regenerative agriculture at their farm 33 miles northwest of Telluride; Chris Hazen, from the San Miguel County Payment for Ecosystem Services Program and Cindy Lair, deputy director of the Colorado STAR (Saving Tomorrow's Agricultural Resources) program.Our podcast is hosted by award-winning broadcast journalists Judy Muller and George Lewis.

We've long thought that aging was just a part of life but now science is beginning to view aging as a disease that can be treated. This, as research on aging is exploding and some scientists speculate people could live 150 years or more.  Our aging expert, Dr. Kristin Slade, Associate Professor of Chemistry at Hobart and William Smith Colleges in upstate New York says, "We already know what is going on with aging at the people level, but I was determined to get inside the cell and discover what was going on at the molecular level.” Indeed, that could be the key to slowing down the aging process. She spoke before an audience at the Conference Center in Mountain Village, Colorado and the discussion was moderated by noted journalists Judy Muller and George Lewis.

Great brass band recordings for American Music (Bunk Johnson with Kid Shots Madison, George Lewis, Jim Robinson, Baby Dodds, Lawrence Marrero, Joe Clark, Isadore Barbarin and others) and Riverside (George Lewis with Kid Howard, Peter Bocage, Robinson, Dodds, Marrero, Barbarin, Joe Howard). .done in 1945 and 1946 in New Orleans --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Ten Years After "I May Be Wrong, But I Won't Be Wrong Always"The Pogues "White City"Ruth Brown "It's All In Your Mind"Eilen Jewell "Silver Wheels and Wings"Tommy Tucker "Hi-Heel Sneakers"Adam Faucett "Day Drinker"Country Jim "Sad And Lonely"Buddy Emmons "Witchcraft"Twain And The Deslondes "Run Wild"Nappy Brown "The Right Time"Loretta Lynn "The Darkest Day"Furry Lewis "Casey Jones"She & Him "I Could've Been Your Girl"Bing Crosby "Where the Blue of the Night (Meets the Gold of the Day)"Otis Redding "Try a Little Tenderness"Bob Dylan "Floater (Too Much to Ask)"Oscar 'Papa' Celestin And His New Orleans Band "Didn't He Ramble"Valerie June "Shakedown"Jimmy "Duck" Holmes "It Had to Be the Devil"The Breeders "Saints"Tom Waits "Get Behind the Mule"Ella Fitzgerald "In the Still of the Night"John Prine "Often Is a Word I Seldom Use"Annisteen Allen "Fujiyama Mama"Fastbacks "In the Summer"The Replacements "Left Of The Dial"Bob Wills & His Texas Playboys "Milk Cow Blues"Gordon Lightfoot "The Wreck of the Edmund Fitzgerald"Clifford Brown & Max Roach "I GET A KICK OUT OF YOU"Elvis Costello & The Attractions "Every Day I Write the Book"ZZ Top "Waitin' for the Bus"ZZ Top "Jesus Just Left Chicago"George Lewis "Burgundy Street Blues"Webb Pierce "Slowly"Gang of Four "Armalite Rifle"J Mascis + The Fog "Ammaring"Gillian Welch "Tennessee"Lucero "Nothing's Alright"Drag the River "Tobacco Fields"Pretenders "Mystery Achievement"John Coltrane "Ev'ry Time We Say Goodbye"

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

Today we're talking to George Lewis, VP of Strategic Business Development for PTC. We discuss the current disheveled state of the supply chain; why collaborating on design in the cloud saves time and money; and how George balances his work and family time as a tech leader. All of this right here, right now, on the Modern CTO Podcast!  For more about PTC, check out their website: https://www.ptc.com/en

The Wall Street Journal says, “George Lois is the one the only prodigy or fathead, founder of agencies, creator of Legends, George Lewis is a genuine advertising superhero”. George Lois is well known if not famous for designing culture, changing cover images for Esquire magazine, and his “call your cable company and tell them I want my MTV”. That campaign made the music video category and made MTV the Category King. In his life and career, he broke every rule, created legendary categories and brands, and he did it in a brash, bold, exciting way. Sadly, we recently lost this legend at 91 years old. George Lois died just three months after his beloved wife, Rosemary died. And he is one of my heroes, a man that so many of us in marketing owe so much. And yet, most young people in entrepreneurship, marketing and creative endeavors and design. Don't really know of him. But if you've ever done anything in entrepreneurship in category design or marketing, that breaks boundaries, you're following in George's footsteps, and you might not even know it. Today, let's dig into some of George's life's teachings. Because if you want to become legendary, you have to study the legends. Welcome to Lochhead on Marketing. The number one charting marketing podcast for marketers, category designers, and entrepreneurs with a different mind. George Lois and a Damn Good Advice George Lewis was born in June 1931, and he passed in November 2022. And it is said that in the end, we are all remembered for two dates, and a dash. And I'm here to tell you that George made some legendary shit out of his dash. I want to focus on a book of his called Damn Good Advice for People with Talent, How to unleash your creative potential by America's master communicator, George Lois. If you have not read this book yet, I would suggest you do so. What I want to share with you are some of the learnings from this book – not all of them, but some of them that really have spoken to me over the years and made a big difference for me that I think might make a big difference for you. Force a Choice Idea number one is to Force a Choice. At the very beginning of damn good advice, George says this: “There are only four types of person you can be: one, very bright, industrious, [your perfect]. Two, very bright lazy [a damn shame]. Three, stupid lazy, you'll sit on your ass, so you're a wash. And four, stupid industrious [uh oh, you're dangerous]. If you're a number one or a number two, you'll get a lot out of this book, if you're number three, or number four, why you reading this book?” – George Lois So right off the top and this landmark piece of work by George, he's doing what legendary brands do, which is they attract who they are for, and they repel who they are against. Legendary brands force a choice, not a comparison. And best I can tell, that's how George lived his life. You are who you are Big Idea number two: Around here, we would express it as Follow Your Different. In George words, he writes: “Whether you're male, female, black, Hispanic, Native American, Asian, ethnic, or gay, and wherever you work, you are who you are. And that's what you are, and be damn proud of it. Don't change your name. Don't change your accent, don't change your heritage, don't denigrate a humble upbringing. Be true to yourself, and you'll ring true to the world.” – George Lois To learn more about the different teachings of George Lois, download and listen to this episode. Bio George Lois Links Learn more about George Lois Website | Wiki | Books More about George Lois: NYTimes The Atlantic Washington Post We hope you enjoyed this episode of Lochhead on Marketing™! Christopher loves hearing from his listeners. Feel free to email him, connect on Facebook, Twitter, Instagram, and subscribe on iTunes!