Podcasts about gershwin

La noche del 19 de agosto de 1960, el pianista canadiense Oscar Peterson, del que celebramos el año pasado el centenario de su nacimiento, se presentó en trío -Ray Brown al contrabajo y Ed Thigpen en la batería- en el Baker´s Keyboard Lounge, local mítico de la ciudad de Detroit. La grabación nunca se publicó. Hasta este 2026 en que se ha puesto en circulación 'The Oscar Peterson Trio at Baker´s Keyboard Lounge' -en abril en un disco con 9 temas, en mayo en tres LP´s con los 27 temas que se grabaron aquella noche de agosto-. Escuchamos 'Autumn leaves', de Kosma, Prevert y Mercer, 'Django' de John Lewis, 'Confirmation' de Charlie Parker, 'Whisper not' de Benny Golson, 'Ill wind' de Arlen y Koehler, 'I didn´t know what time it was' de Rodgers y Hart, 'Liza' de los Gershwin, 'Yesterdays' de Jerome Kern y Otto Harbach, 'Softly, as in a morning sunrise' de Hammerstein II y Romberg, 'S´posin' de Andy Razaf y Paul Denniker y 'Satin doll' de Duke Ellington. Escuchar audio

Le premier film « parlant », Le chanteur de jazz, a remporté un succès fou en Amérique. Son acteur principal, Al Jolson, était déjà célèbre pour ses interprétations de Gershwin.En octobre 1927 à New York, le film Jazz Singer d'Al Jolson marque un tournant historique pour l'industrie cinématographique. Jusqu'alors, le cinéma était muet et les salles équipées de pianistes pour accompagner les projections. Mais avec l'arrivée du film parlant, c'est toute une époque qui bascule.

Le carnet de voyage musical proposé par la percussionniste bulgare emprunte à Jean Cras, Gershwin, mais aussi Vivaldi et Debussy.

Conductor Ben Gernon and baroque recorder player Heidi Fardell open the new series alongside Jeffrey Boakye and Anna Phoebe as they add the first five tracks, taking us from a steamy New York summer to a celebrated Bach composition that violinist Joshua Bell has described as 'not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history'. Throw in Gershwin, Louis XIV and a very serious musical accident, and you've got a cornucopia of an opening episode.Producer Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Summer in the City by The Lovin' Spoonful An American in Paris by George Gershwin Overture to Phaëton by Jean-Baptiste Lully Ain't It Strange by Patti Smith Violin Partita No. 2 in D Minor (the Chaconne) by J.S. Bach Other music in this episode:Batman Theme by Neil Hefti & his Orchestra 12 Sonatas Op. 11 'Parensi': No 7 in A Minor: II. Allegro by Robert Valentine, performed by Heidi Fardell Because The Night by Patti Smith

Sof was unfortunately too sick to drive this week, so we present a solo drive with Elle this week.  We hear an interview with Sans Merit, about his sophomore release Trolley Polly.  Tune in to hear about Dolly Parton, Gershwin and Van (people or cats? you decide).  Thanks as always to The Beer Spot! 

Who survived the install, who made it to the desktop, and who learned the hard way that one little mistake will blow up the entire BSD box.Sponsored By:Jupiter Party Annual Membership: Put your support on automatic with our annual plan, and get one month of membership for free!Managed Nebula: Meet Managed Nebula from Defined Networking. A decentralized VPN built on the open-source Nebula platform that we love.Support LINUX UnpluggedLinks:

durée : 00:19:34 - par : Lionel Esparza - Felix Slatkin, père du célèbre chef d'orchestre Leonard Slatkin et lui-même chef renommé de musiques de films hollywoodiens, a dirigé et enregistré de nombreuses œuvres avec l'Orchestre symphonique du Hollywood Bowl, parmi lesquelles le célèbre "Américain à Paris" de George Gershwin. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:19:34 - par : Lionel Esparza - Felix Slatkin, père du célèbre chef d'orchestre Leonard Slatkin et lui-même chef renommé de musiques de films hollywoodiens, a dirigé et enregistré de nombreuses œuvres avec l'Orchestre symphonique du Hollywood Bowl, parmi lesquelles le célèbre "Américain à Paris" de George Gershwin. - réalisation : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Gershwin és Bernstein: két zseni Amerikában

durée : 00:23:30 - par : Laurent Valière - Of Thee I Sing est une comédie musicale satirique américaine créée à Broadway le 26 décembre 1931. - réalisation : Céline Parfenoff, Martine Mony Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:32 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le premier album de l'ensemble Les Impertinences explore le répertoire du XVIIe siècle à travers la représentation animale dans la musique. C'est aussi un florilège de chefs-d'œuvre qui vous attend ce matin avec la "Rhapsodie in blue" de Gershwin, un concerto de Mozart et une sonate de Brahms. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 01:27:32 - par : Emilie Munera, Rodolphe Bruneau-Boulmier - Le premier album de l'ensemble Les Impertinences explore le répertoire du XVIIe siècle à travers la représentation animale dans la musique. C'est aussi un florilège de chefs-d'œuvre qui vous attend ce matin avec la "Rhapsodie in blue" de Gershwin, un concerto de Mozart et une sonate de Brahms. - réalisation : Pauline Boisaubert Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Ollie spends time backstage as a group of Yellowknifers prepares a Gershwin musical for the NWT stage, and hears from Kathryn Patel about the online second-hand bookstore she's opening on May 1.

Richard Glazier was born in Indianapolis, Indiana, to a family that had grown up in a small Jewish enclave on the city's South Side. In this podcast, we discuss his family's struggles with poverty and its eventual successes. Richard began studying piano at the age of six. When he was nine, he watched the 1943 film "Girl Crazy,” which featured a score by George and Ira Gershwin. Enthralled by the music, he wrote a fan letter to lyricist Ira Gershwin.Over the next three years, Glazier and Gershwin exchanged letters, culminating in an invitation for Glazier, then twelve years old, to meet Ira in Beverly Hills. During this visit, Ira asked Glazier to play a Gershwin tune on the piano that had once belonged to his brother, the legendary composer George Gershwin. Inspired by Ira's encouragement and interest, Glazier devoted himself to studying the Gershwin repertoire and the American popular songbook. Glazier earned both his Bachelor's and Master's degrees in Piano Performance from the Indiana University School of Music, and he later obtained a Doctorate of Musical Arts from the Cleveland Institute of Music

durée : 00:27:34 - par : Gabrielle Oliveira Guyon - Au programme ce samedi un épisode de la série Le Voyage d'Ulysse du podcast Les Contes de la Maison Ronde, une œuvre de jeunesse de Gershwin, la suggestion de Léonore, 10 ans, et la question de Nico dans le Labo Musical de Nico : Pourquoi les Quatre Saisons de Vivaldi sont si célèbres ? - réalisation : Delphine Keravec, Geneviève Cras Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

"Gershwin, la vida en azul" con la participación de Alondra de la Parra, Thomas Enhco, Robbie Fairchild, Olivia Chindamo y Sara Esty. Las noticias en lopezdoriga.com

SUMMARY: Nug Nahrgang brings AEW's RJ City to the show! We talk about RJ's career swing from wrestling to stand-up comedy and what they have in common. Paul asks whom in the AEW roster is best suited to other professions. Plus, RJ meets the guy who was bequeathed Wayland Flowers' "Madam" doll, the awkwardness of well-intentioned racism, and a group-themed Scoopardy.

durée : 01:02:46 - L'histoire de la comédie musicale à travers le prisme du jazz. Entre légèreté et grands standards, retour sur les morceaux qui ont défini le genre, portés par les interprétations d'artistes tels que John Coltrane ou Eartha Kitt. - réalisation : Marjolaine Portier-Kaltenbach, Mathieu Durand, Denis Soula Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Adelanto del disco 'Brasilidade. A Jazz portrait of Brazil', del bajista y compositor Matheus Prado con Leandro Freixo (piano) y João Di Sabbato (batería), que se publicará en mayo: 'Sapato novo', 'Saudades da América', 'Choro pra elas' y 'Baião nº2'. Del disco de Stacey Kent 'A time for love', 'God only knows' de Brian Wilson y Tony Asher, 'La javanaise' de Gainsbourg y 'As' de Stevie Wonder; del disco de Tierney Sutton con Tamir Hendelman 'Spring' las canciones 'April, come she will' de Paul Simon, 'S´wonderful' de los Gershwin y 'Double rainbow' de Jobim. Cierra Vitor Araújo con la Metropole Orkest y 'Toque N 1'Escuchar audio

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunitySummaryDr. Bob Lawrence explores the core principles of jazz melody, focusing on how to develop musical clarity and expressive phrasing through the analysis of Gershwin's 'I Got Rhythm.' This episode emphasizes understanding musical facts, phrase shaping, and stylistic interpretation to enhance your jazz piano skills.KeywordsJazz piano, melodic analysis, I Got Rhythm, musical clarity, jazz improvisation, phrasing, jazz education, practice strategiesKey  TopicsMusical facts foundational to jazzMelodic phrase shaping and interpretationPracticing jazz melodies with clarity and expressionTitlesMastering Jazz Melody: The 'I Got Rhythm' Approach7 Musical Facts Every Jazz Pianist Must KnowSound Bites"Sound is produced harmonically and melodically.""Stop seeing notes and start seeing melodic shapes.""Great musicians can make wrong notes sound right."Support the show

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

The Music That Made WE volume starts up with PNW luminary Obscura Fox who has chosen 10 songs that up her story, with a soundtrack that includes Crywolf, Linkin Park, Daddy Yankee, and more. + Stick around for Viktor's hidden bonus track. more Obscura: https://www.instagram.com/obscurafoxburlesque/ The Music That Made WE is a creation of WEBurlesque Podcast Network, produced by Viktor Devonne. For the extended VIDEO version of this presentation, please visit our Patreon.com — all episodes of this series are available under the $1 threshold. that's patreon dot com slash we burlesque [Copyright Disclaimer Under Section 107 of the Copyright Act in 1976; Allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. All rights and credit go directly to its rightful owners. No copyright infringement intended.]

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunitySummaryDr. Bob Lawrence discusses the challenges of modern music education, emphasizing the importance of structured, foundational practice in jazz piano. He guides listeners through a detailed analysis of Gershwin's 'I Got Rhythm,' highlighting key concepts in harmony, melody, and rhythm, and shares effective study strategies.KeywordsJazz Piano, Music Education, Harmonic Analysis, 'I Got Rhythm', Practice Strategies, Music Theory, Improvisation, Jazz StandardsKey  TopicsChallenges of modern music educationImportance of foundational skills in jazzHarmonic analysis of 'I Got Rhythm'Practice strategies for jazz musiciansListening skills and musical understandingTitlesMastering Jazz Fundamentals: The 'I Got Rhythm' ApproachThe Essential Elements of Jazz: Harmony, Melody, RhythmSound Bites"Music at its core is not complex.""Listening is a skill that must be practiced.""Listen in two stages: macro and micro."Support the show

Gershwin Bonevacia is dichter, schrijver en theatermaker. Afgelopen januari won hij de Gouden Ganzenveer 2026, een prijs die jaarlijks wordt uitgereikt aan een persoon of instituut vanwege zijn of haar grote betekenis voor het geschreven woord in de Nederlandse taal. Bonevacia ontvangt de prijs vanwege zijn ‘opvallend fijngevoelige taalgebruik'. Van maart 2019 tot januari 2022 was hij stadsdichter van Amsterdam. Hij bracht verschillende dichtbundels uit, zoals 'Ik heb een fiets gekocht', 'Toen ik klein was, was ik niet bang' en 'De stad is ook van mij'. Daarnaast is hij theatermaker, performer en podcastmaker. Presentatie: Carine van Santen 

This week Karen talks the underrated show, Crazy for You! An old school jukebox musical - Gershwin standards anyone! - this show hits on all the musical theatre contrivances. Love at first sight! Mistaken identity! Heroine finds out the Hero lied to her and leaves! Funny side characters who fall in love! It has everything! @downstageleftpc downstageleftpc@gmail.com

We've got rhythm this episode as we head to France for the 1951 Gershwin musical ‘An American in Paris starring Gene Kelly and Leslie Caron. Former GI Jerry resides in the capital city as a struggling artist and finds himself involved in a love triangle. Grab a brioche and tune in….who could ask for anything more?!?

This week on Jazz After Dinner, Joe features Pianist Sir Roland Hanna from his 1993 LRC Records recording titled “Roland Hanna Quartet Plays Gershwin.”

For forty-plus years, beyond being the soloist and/or pianist with many of the most renowned symphonies in the U.S. and beyond, Jeffrey Siegel has been performing/presenting "Keyboard Conversations." This is a concert setting, though before each piece he explains not only a bit of the history behind it and things to look forward to within the piece, but also some interesting facts one might not know, unless you happen to have REALLY studied the piece or composer. And then there's a Q&A after the concert to cover anything else.David Fleming speaks with Siegel about this series - including the next one, "Music of Joy and Peace coming up soon at McCallum Theatre in Palm Desert. And a bit of a sidetrack to Gershwin.

This week on Classic Vinyl Podcast, Justin and Tyler listen to and review Big Brother & The Holding Company and their version of a Gershwin classic, Summertime. Give it a listen and let us know what you think. 

Once A DJ is brought to you by:https://www.vinylunderground.co.uk - 10% off your next order using code onceadjhttps://www.sureshotshop.com/ - Record adapters (including customs) & accessorieshttps://myslipmats.com/ - Custom and off the shelf Slipmats, dividers and more.Once A DJ is a https://remote-ctrl.co.uk productionOther ways to support the showFollow the show on Spotify or Apple PodcastsAny feedback or questions? Hit up the Once A DJ Instagram PageSubscribe to the Once A DJ PatreonBuy your Once A DJ Sureshot 45 adapter clampsDJ Super Dmitry | Dee-Lite, Nauti Siren & The Sound of a Life Lived in MusicThis week on Once A DJ, Adam is joined by DJ Super Dmitry — one third of Dee-Lite, the group behind one of the most joyful and enduring records in dance music history. But Dmitry's story goes far beyond 'Groove Is in the Heart', and this conversation goes all the way back to the beginning.Dmitry grew up in Soviet Ukraine as a third-generation musician. His grandmother — unable to afford a piano during the disruptions of the Russian Revolution, Civil War and World War Two — cut piano keys from paper so she could practise by hand. That love of music carried through the family, and Dmitry began lessons at five, was attending a conservatory music school by seven, and was already writing his own compositions in the style of Gershwin and Scott Joplin by eight.Western music was tightly controlled. Records could only be obtained on the black market — for around $50 each — and were copied onto reel-to-reel before being traded on. A track from Jesus Christ Superstar introduced him to something funky he couldn't yet name, and the search for that sound would shape the rest of his life.At 14, Dmitry and his family left the Soviet Union — the first in their town to do so, and treated as traitors for it. After periods in Austria and Italy, where he discovered punk (the Pistols, the Damned, X-Ray Spex, Iggy Pop), the family arrived in New York in 1978. On Halloween. In a Black neighbourhood in Brooklyn. Having never seen Black people before.From a 50-cent bin in a record shop, he picked up 'The Clones of Dr. Funkenstein' by Parliament because the cover looked insane. That was the moment. 'There it is,' he thought. 'That's the sound I've been looking for.' He's been a funkateer ever since.New York in the late 70s and early 80s was extraordinary — punk, disco, hip hop, and house all converging in the same sweaty rooms. Dmitry became an elevator operator at Danceteria, practising guitar in the lift between floors while Sisters of Mercy and the Sugar Hill Gang did soundchecks below. He ran into the pre-fame Beastie Boys regularly, worked at the Pyramid Club (run by drag queens, and a real education in showmanship), and played for Kool Herc and Grandmaster Flash at block parties in Harlem and the Bronx.Dee-Lite formed as a direct attempt to bridge the gap between house and funk. They built a following through monthly shows drawing up to 1,500 people, which caught the attention of a Billboard writer and eventually sparked a label bidding war. They signed to Elektra — choosing them because their A&R, Nancy Jeffries, had signed Iggy Pop and Bjork, and that felt like the right kind of open-mindedness.Elektra didn't believe 'Groove Is in the Heart' had any traction. They let Dee-Lite do the video anyway, and Dmitry remembers the precise moment he knew it had crossed over: standing in a grocery store queue when it came on the radio and the cashier started dancing at her till. 'That's my jam,' she said. 'That's my jam.'Q-Tip turned up to the studio, listened for 15 minutes, jotted notes, and nailed it in two takes. Bootsy Collins casually mentioned he had 'some friends' who might be able to play horns — those friends were Fred Wesley and Maceo Parker, who arrived as near-strangers to each other after five years apart and immediately played like they'd never stopped.Their first proper gig with a full live band was in front of 300,000 people at Rock in Rio. The second album was recorded expensively in a big studio; Dmitry considers it their weakest. The third, Dewdrops in the Garden, went back to basics and home recording, and he's proud of how well it still sounds.The band broke up when Dmitry and Kier's relationship ended, and he eventually made his way to Berlin — partly drawn by its thriving club culture, partly pushed out of New York by Giuliani's crackdown on clubs. He played Tresor, won a Best Techno DJ award at Ibiza despite not really being a techno DJ, worked with Julie Cruz, remixed Chaka Khan and Ziggy Marley, and kept making music.Then during the pandemic, a friend sent him a vocalist called Jessie Evans. He sent her some dub tracks that had been sitting on his computer for years. She recorded them one by one, sending back a finished song every couple of days from Brazil — while caring for two young children. Before they had ever met on video, they had an album's worth of material. That project became Nauti Siren. She moved to Germany, they got married, and they now have around five albums' worth of music ready to release. The first, 'Rising', is out now.This is a remarkable conversation with someone who has lived inside the history of popular music for fifty years — and who still has plenty more to say.Find DJ Super Dmitry:Instagram: @superdjdmitryNauti Siren 'Rising' — out on Bandcamp and all streaming platformsOnce A DJThe podcast that looks at what brings us together and what sets us apart. Subscribe wherever you listen to podcasts.

The Jokermen welcome Aaron Olson, the busiest man in the Los Angeles indie rock scene, back to the program to consider George & Ira Gershwin, Judaism, and the purpose of Brian Wilson circa 2010. FOLLOW AARON ON INSTAGRAM

Episode 139: More Of The Great Rock From The 60s & 70s And Beyond March 3, 2026 April 13, 2024 Some summer songs, some blues from Super Session, Janis and Lee Michaels, a Gershwin treatment, an hour filled with tasty treats. Thanks for listening today.  My email is talesvinyltells@gmail.com.  If you want to hear a Tales Vinyl Tells when it streams live on RadioFreeNashville.org, we do that at 5 PM central time Wednesdays. The program can also be played and downloaded anytime at podbean.com, iHeart podcasts, Player FM podcasts, Listen Notes podcasts and many other podcast places. And of course you can count on hearing the Tales on studiomillswellness.com/tales-vinyl-tells anytime. PLAYLIST: 139.1 Icarus-Paul Winter Consort 139.2 Free as a bird-Beatles 139.3 Hot summer day-It's a Beautiful Day 139.4 Slow ride-Bonnie Raitt 139.5 Love stands on its toes-Top Model 139.6 Love is a beautiful thing-The Rascals 139.7 For what it's worth-Buffalo Springfield 139.8 Really-Mike Bloomfield, Al Kooper, Stephen Stills 139.9 Stormy Monday-Lee Michaels 139.10 Maybe-Janis Joplin 139.11 Cleveland Rocks-Ian Hunter 139.12 Summertime-Billy Stewart 139.13 She waits-Jason Isbell and the 400

Orli Shaham collaborates with a teenage pianist on a Mozart Sonata for four-hands. We also hear from a trumpeter who plays Gershwin and a 17-year-old violinist performing Beethoven.To manage podcast ad preferences, review the links below:See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

The final podcast on Have You Ever Seen in Black History Month talks for the 4th time about a movie with a primarily black cast. Otto Preminger often directed Issues Movies and here he's dealing with the Gershwin opera that's all about murder, rape, drug addiction, fishing and poverty…with some racism thrown in there too. Porgy And Bess is set-bound and melodramatic though. Bad print aside, the story and the execution often feel phony. The actors DO sell the passion better than the script or maybe even the original opera does. Sidney Poitier, Dorothy Dandridge, Brock Peters, Diahann Carroll and Sammy Davis Jr. actually do a terrific job with this not-always-effective material. So tune in for this 721st episode as I tackle yet another musical here in 2026: Porgy And Bess. Well, Actually: George Gershwin DID write the song "Summertime" for the 1935 opera, but DuBose Heyward came up with the lyrics. Also, for those interested in my quest to see absolutely, positively everything AFI-related, there are developments on that front (other nominated films on various lists) that will be discussed in future shows. Subscribe to the channel in your podcasting app. Rate the show with a delightful 5 stars, but also write a little complimentary review. And on the note of reviews, I talk about various flicks on Letterboxd: RyanHYES. Contacting suggestions: email (haveyoueverseenpodcast@gmail.com), Twi-X (@moviefiend51) and Bluesky (ryan-ellis).

This week we'll be talking about the life and career of the man that many call the Father of American opera: Carlisle Floyd. Our guests are Floyd's neice, Jane Matheny, and his biographer, Thomas Holliday. A native of Latta, South Carolina, Carlisle Floyd became a professor of composition at Florida State University in 1947. His magnum opus, Susannah, was first performed in 1955 and became the most performed American opera, second to Gershwin's Porgy and Bess.Floyd was both composer and librettist of his operas, which typically portrayed themes common to rural America, especially the post-Civil War South. 2026 in the centennial of Carlisle Floyd's birth and today we'll talk with our guests about his long life and his career.

Podcast PacketsIllustrationsLead SheetsPlay AlongsForumsJazz Piano Skills CommunityKeywordsJazz Piano, Melodic Analysis, Embraceable You, Seven Facts of Music, Articulation, Jazz Education, Improvisation, Practice Strategies, Music Theory, Jazz TechniquesSummaryIn this episode of Jazz Piano Skills, Dr. Bob Lawrence delves into the melodic analysis of the Gershwin standard 'Embraceable You.' The discussion begins with an introduction to the structured approach of the Jazz Piano Skills program, emphasizing the importance of harmonic and melodic analysis. Dr. Lawrence introduces the Seven Facts of Music, which serve as foundational concepts for understanding music theory and practice. The episode then transitions into a detailed exploration of the melody of 'Embraceable You,' focusing on articulation, phrasing, and expression in jazz performance. The session concludes with practical applications of the learned concepts through various jazz treatments of the melody, encouraging listeners to engage with the music expressively and creatively.TakeawaysEstablishing a well-structured practice approach is crucial for success.Understanding music conceptually simplifies the learning process.The Seven Facts of Music are foundational for all musicians.Articulation in jazz is primarily legato, imitating vocal styles.Jazz melodies should be played with intentional phrasing and connection.Listening to various interpretations enhances musical understanding.Melodic analysis involves identifying phrases and target notes.Improvisation is rooted in understanding scales and arpeggios.Using backing tracks can significantly improve timing and expression.Confidence in playing comes from a deep understanding of musical concepts.TitlesUnlocking Jazz Piano Skills: A Melodic JourneyMastering 'Embraceable You': A Jazz AnalysisSound bites"Confidence replaces hope.""Connecting notes is everything.""Jazz lives in phrases."Support the show

durée : 01:29:01 - Peter Allen, dans les pas de George Gershwin - par : Laurent Valière - Le public français connait de lui surtout "Je vais à Rio" adapté par Claude François. Peter Allen était un auteur compositeur comédien brillant qui a aussi créé une comédie musicale. Lawrence Schulman lui consacre une biographie : "Peter Allen, Somebody's Angel » et, est l'invité de Laurent Valière. - réalisé par : Céline Parfenoff Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week on Jazz After Dinner, Joe features Pianist/Composer Herbie Hancock from his 1998 PolyGram Records recording titled “Gershwin's World.”

Steve Moffic, MD (aka Dr Jazz) joins Jon in a wide-ranging conversation about cults, bullying, race, culture, jazz and Uncle Tom Cobley and all (and all).Here's the NYT editorial that started the convoBuy Jon's Opening Our Mindsand Jon's latest book, If Scientology Ruled the WorldAnd listen to a free sample hereJon's translation of Tao Te Chingget your FREE predator poster download hereSpike's note: Although many sources cite Gershwin's "Summertime" as the most recorded song of all time, other sources say that the record is held by McCartney's "Yesterday", or "Amazing Grace", or even "Silent Night."

A primeira do ano a gente nunca esquece. E o Boia começa 2026 em modo de expansão de um dos melhores episódios do final de 2025, onde entrevistamos Nelson Machado, criador e patrocinador do Waimea 5000. Achamos um estudo acadêmico sobre o impacto da etapa brasileira do circuito da IPS na imprensa internacional, que rendeu pano pra manga e papo pra horas. Ainda falamos das mudanças de patrocínio de campeões mundiais brasileiros e prestamos homenagem ao melhor de Brigitte Bardot, sem esquecer que toda cara bonita pode não passar de fachada. Nas orelhas, soltamos Smoove com The Revolution Will Be Televised, o clássico de Gershwin, Summertime, nas cordas de nylon da Rosinha de Valença, e a comovente Naquela Mesa, nas cordas vocais de Nélson Gonçalves

Al Jolson packed at least eight bars of ten Gershwin songs in this 4 minute excerpt of his Colgate radio broadcast of 5 Jan 1943. He ended it with a rousing "Strike Up The Band" addressed to the wartime audience. Much more material is in the complete program. The complete broadcast recording, along with other Jolson radio shows circulates on the Official Al Jolson Website at www.jolson.org.

Host Scot Bertram sits down with Hyperion Knight, concert pianist and distinguished fellow at Hillsdale College, and discusses the newest Hillsdale College online course: “The History of Classical Music: Chopin through Gershwin.” Also, we count down the most popular episodes of 2025. See omnystudio.com/listener for privacy information.

Host Scot Bertram sits down with Hyperion Knight, concert pianist and distinguished fellow at Hillsdale College, and discusses the newest Hillsdale College online course: "The History of Classical Music: Chopin through Gershwin." Also, we count down the most popular episodes of 2025.See omnystudio.com/listener for privacy information.

Al Jolson was a guest on the Bing Crosby program, and made his entrance with this spirited version of George Gershwin's "Swanee." Much more material is in the complete program. The complete broadcast recording, along with other Jolson radio shows circulates on the Official Al Jolson Website at www.jolson.org.

Born in Taiwan, raised in Austria, and educated in Europe and America, Pianist Jenny Lin has built a vibrant international career, notable for innovative collaborations with a range of artists and creators. In recent seasons, Jenny has performances – both digital, and in person – for Washington Performing Arts; at Hudson Hall performing the American premiere of William Bolcom's Suite of Preludes; at Boston Conservatory's piano series; at Little Island in NYC; and at Winnipeg New Music Festival. She now serves as director of music for The Phillips Collection in Washington, DC.Recently, she performed a recital of Philip Glass's music for the Morris Museum – a continuation of a close collaboration with Glass, with whom she has appeared regularly since 2014.  This experience has inspired the creation of her own commissioning initiative, The Etudes Project, in which she works with a range of living composers to create new technical piano etudes, pairing each new piece with an existing etude from the classical canon.  Her catalogue includes more than 50 albums.A passionate advocate for education, Jenny created “Melody's Mostly Musical Day“, a musical album and picture book for children, following the adventures of an imaginative little girl from breakfast to bedtime, told in a collection of 26 classical piano works from Mozart to Gershwin.  We'll hear some of these in this episode.Fluent in English, German, Mandarin, and French, Jenny Lin studied Noel Flores at the Hochschule für Musik in Vienna, with Julian Martin at the Peabody Conservatory in Baltimore, and with Dominique Weber in Geneva. She has also worked with Leon Fleisher, Richard Goode, and Blanca Uribe, and at Italy's Fondazione Internazionale per il pianoforte with Dimitri Bashkirov and Andreas Staier. In addition to her musical studies, Lin holds a bachelor's degree in German Literature from The Johns Hopkins University. Jenny Lin currently resides with her family in New York City and serves on the faculty of Mannes College The New School for Music.

'Tis the season to celebrate Christmas with the St. Louis Symphony Orchestra! Peter Henderson (SLSO Principal Keyboard player joins Andy and Sarah to talk about his time with the SLSO, what he loves about playing Christmas programs with the SLSO, what makes these programs so special for the St. Louis community, and the line up for this year's celebration. Learn more about how you can attend at slso.org. -------------------------------------------------------------------------- Handel's Messiah | Joyful Praise Friday, December 12, 7:30 CST Saturday, December 13, 7:30 CST Sunday, December 14, 3:00 CST   Nicholas McGegan, conductor Sherezade Panthaki, soprano Sara Couden, contralto (SLSO debut) John Matthew Myers, tenor Philippe Sly, bass-baritone St. Louis Symphony Chorus | Erin Freeman, director   G.F. Handel's Messiah:   G.F. Handel's Messiah has stood the test of time. Originally written as a retelling of Jesus' life through text compiled from the King James Bible, the oratorio has gained prominence as a holiday favorite, especially the “Hallelujah Chorus.” Nicholas McGegan, one of the world's foremost experts on Handel's music, conducts the SLSO and St. Louis Symphony Chorus in this beloved holiday tradition. Joining McGegan is a quartet of vocal soloists, including soprano Sherezade Panthaki, mezzo-soprano Sara Couden in her SLSO debut, tenor John Matthew Myers, and bass-baritone Philippe Sly.   -------------------------------------------------------------------------- IN UNISON Christmas with the Clark Sisters Thursday, December 18, 7:30 CST Friday, December 19, 7:30 CST   Kevin McBeth, conductor The Clark Sisters, vocals St. Louis Symphony IN UNISON® Chorus | Kevin McBeth, director Repertoire and additional artists announced later. Supported by Bayer Fund.   A beloved holiday tradition for decades, the SLSO and St. Louis Symphony IN UNISON Chorus celebrate the season with soulful melodies of Christmas favorites. This year, the ensembles are  joined by gospel legends the Clark Sisters. This festive concert brings together a beautiful blend of gospel, jazz, and traditional holiday tunes. As a group, the Clark Sisters have won two Grammy Awards and are the highest-selling female gospel group in history. In 2020, the Clark Sisters were honored with the James Cleveland Lifetime Achievement Award at the 35th Annual Stellar Awards. In 2022, the group was inducted into the Black Music & Entertainment Walk of Fame.   -------------------------------------------------------------------------- Mercy Holiday Celebration Saturday, December 20, 2:00pm & 7:30pm CST Sunday, December 21, 2:00pm & 7:30pm CST Tuesday, December 23, 2:00pm CST   Stuart Malina, conductor Kennedy Holmes, vocals St. Louis Symphony Chorus | Erin Freeman, director Repertoire and additional artists announced later. Presented by Mercy.   Experience the magic of the holidays as St. Louis native Kennedy Holmes joins the SLSO to perform seasonal favorites and exciting twists on timeless classics. A cherished tradition, this festive performance promises to fill the air with cheer. From the joyous sounds of sleigh bells to new renditions of beloved tunes, this concert brings the holiday season to life in a way that only the SLSO and hometown favorite Holmes can. Holmes originally rose to fame during season 15 of the NBC hit show “The Voice” and has since performed with the SLSO several times.   -------------------------------------------------------------------------- Home Alone in Concert Saturday, December 27, 2:00pm & 7:00pm CST Sunday, December 28, 2:00pm CST   Joshua Gersen, conductor The St. Louis Children's Choirs | Dr. Alyson Moore, artistic director John Williams Home Alone   A true holiday favorite, this beloved comedy classic features renowned composer John Williams' charming and delightful score performed live by the SLSO. Macaulay Culkin stars as Kevin McCallister, an 8-year-old boy who's accidentally left behind when his family leaves for Christmas vacation and who must defend his home against two bungling thieves. Hilarious and heart-warming, Home Alone is fun for the entire family. The SLSO is joined by the St. Louis Children's Choirs for this holiday treat.   -------------------------------------------------------------------------- New Year's Eve Celebration Wednesday, December 31, 7:30pm CST   Stéphane Denève, conductor Stewart Goodyear, piano   Leonard Bernstein Candide Overture Georges Bizet Selections from L'Arlésienne Jacques Offenbach Excerpts from Gaîté Parisienne Orchestrated by Manuel Rosenthal George Gershwin Rhapsody in Blue Orchestrated by Ferde Grofé George Gershwin An American in Paris Revised by Frank Campbell-Watson   Break out the bubbly and ring in the new year in style with the SLSO's sparkling New Year's Eve Celebration, led by Music Director Stéphane Denève. Denève pays homage to two countries in this rousing program: his native France and his adopted home of the US, concluding with George Gershwin's An American in Paris, capturing the essence of his two home nations. Canadian pianist Stewart Goodyear returns to the SLSO for Gershwin's iconic Rhapsody in Blue. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

Disney legend Jodi Benson - the iconic voice of Ariel in The Little Mermaid - returns to The Art of Kindness with Robert Peterpaul to catch up on how kindness is showing up in her life and more. This episode covers: Learning self-kindness while leading a life of service. Working on new projects like Wingfeather Saga. Lessons learned from Ariel and Disney, plus more. JODI BENSON is best known around the world as the beloved voice of Ariel in the Academy Award-winning Disney feature film, The Little Mermaid. She also gave voice to Barbie in Disney/Pixar's Toy Story 2 and Toy Story 3 and delighted Disney fans with a surprise cameo in Disney's Live-Action The Little Mermaid, Disney's Enchanted and reprising her role as Ariel in Ralph Breaks the Internet. In 2011, Disney honored Jodi's contributions by making her a Disney Legend. An accomplished singer, dancer, and actress, Jodi made her starring role debut on Broadway, performing the iconic song "Disneyland" in the Howard Ashman/Marvin Hamlisch musical Smile. She earned a Tony nomination for her role as Polly Baker in the hit Gershwin musical Crazy for You. Still entertaining audiences across the country and around the world, Jodi is currently living in North Georgia with her wonderful husband, Ray. They enjoy spending time with their amazing children, their daughter Delaney, their son McKinley, and his wife Mackenzie. Follow Jodi: @jodi.benson Follow us: ⁠@artofkindnesspod⁠ / ⁠@robpeterpaul⁠ ⁠youtube.com/@artofkindnesspodcast⁠ ⁠Support the show⁠! (⁠https://www.buymeacoffee.com/theaok⁠) Got kindness tips or stories? Want to just say hi? Please email us: artofkindnesspodcast@gmail.com Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Running the marathon and doing two Broadway shows in the same day — I've never felt more New York than that day." Did you hear about the man who ran the 2025 New York City Marathon and then went on to star in two performances of Wicked on Broadway that same day? That man is Jordan Litz, who is currently starring as Fiyero in Wicked on Broadway. He's the longest-running Fiyero in Wicked history, having performed the role more than 1,500 times. And two of those times were immediately after he crossed the finish line at his first marathon, the New York City Marathon. In this conversation, Jordan talks about how he pulled off this tremendous physical and mental feat — and how it felt to run 26.2 miles and then get through "Dancing Through Life," twice! FOLLOW JORDAN @litzjordan SPONSOR:  New Balance: Click here to get your hands on the just-released Rebel v5! In this episode: How Jordan is feeling post-NYC Marathon, and why he wanted to run a marathon and perform in two Wicked shows in one day (2:35) What it was like being spoofed on Saturday Night Live the night before the marathon (5:30) Jordan's snapshot moment from Sunday, November 2 (7:30) What it's like starring in Wicked right now (14:00) How, when, and why Jordan — a former competitive swimmer — became a runner (19:30) Jordan's impressions of the running community (25:05) How Jordan met his now-wife, Julie (26:45) All about Jordan's NYC Marathon training (32:55) How Jordan spent the days before the race (38:20) Jordan recaps his race (44:00) What it was like going from the finish line to the Gershwin (53:00) Follow Ali: Instagram @aliontherun1 Join the Facebook group Support on Patreon Subscribe to the newsletter SUPPORT the Ali on the Run Show! If you're enjoying the show, please subscribe and leave a rating and review on Apple Podcasts. Spread the run love. And if you liked this episode, share it with your friends!

We end the futile struggle, embrace the toxins, and become one with our mould brethren.The full episode is available to Patreon subscribers (2 hours, 38 minutes).Join us at: https://www.patreon.com/DecodingTheGurusSupplementary Material 3800:00 Intro02:54 Boomer Matt reacts to Twitter videos07:31 Shellenberger and Tucker discuss the 9/11 Files12:42 Eric's Google Ngram Investigations17:08 Vindication on the Elephant Graveyard22:00 Eric's ARC lecture goes viral25:24 Andrew Huberman is NOT a phrenologist...29:06 Eric Weinstein vs. Piers Morgan33:44 Everyone knows Eric is a serious thinker46:09 Peterson is taken out of the Gurusphere by Demons and Toxic Mould52:09 Gurus and Bespoke Alternative Health57:00 Social Contagion Hypocrisy01:02:55 Toxic Mould Symbiosis?01:04:46 Pewdiepie, Diogenes, and the Seeker Mindset01:16:14 The Wisdom of the Ancients01:21:01 The Meaning Crisis and Christian Pivots01:22:29 Konstantin Kisin's surprising Christian pivot01:25:17 The best person Konstantin ever met (not Francis)01:30:22 The Fifth Column Agrees with Megyn Kelly 88% of the time01:33:07 Megyn Kelly explains how the Democrats crossed the line and must pay01:41:35 Intellectual Clerics for MAGA01:43:16 Slightly Adversarial libertarians for hire01:47:00 Drew Pavlou and Fluid Populism01:50:17 Two Varieties of Online Derangement: Noah Smith's Hot Takes01:53:57 Need for Attention = Desire for Virality01:57:23 Status Seeking Networkers vs Paul Bloom02:01:27 Reflecting on the Al Murray Interview02:02:22 The struggle of podcasters02:04:52 Paul Bloom: The best person in the world?02:06:00 Mike Israetel's Thesis Controversy02:10:30 What does a PhD mean?02:16:55 David Deutsch visits Curt Jaimungal02:22:32 The Dangers of Doubling Down: Pirate Software02:23:32 Hasan Piker and Shock Collar-gate02:27:15 Matt's Take on Shock Collars02:33:51 Dystopia Update: Putin wants Trump to win the Nobel Prize02:37:11 OutroSourcesShellenberger and Tucker discuss the CIA's role in 9/11Grok pressing Eric to get specificThe Elephant GraveyardViral post about Eric's ARC speech on scienceHuberman's phrenology endorsementJordan Peterson's Health Update from MikhailaChris Williamson: It's time to talk about my health.Chang, C., & Gershwin, M. E. (2019). The myth of mycotoxins and mold injury. Clinical Reviews in Allergy & Immunology, 57(3), 449–455.Borchers, A. T., Chang, C., & Eric Gershwin, M. (2017). Mold and human health: A reality check. Clinical Reviews in Allergy & Immunology, 52(3), 305–322.

On January 3, 1924, 25-year-old George Gershwin was shooting pool in a Manhattan billiard hall when his brother Ira Gershwin read aloud a shocking newspaper article: "George Gershwin is at work on a jazz concerto." There was just one problem—George had never agreed to write any such piece.What happened next would change American music forever. In just five weeks, the son of Russian-Jewish immigrants raced to compose what would become "Rhapsody in Blue," breaking down the barriers between popular music and the concert hall. From that snowy February night at Aeolian Hall to today's reinterpretations by contemporary artists, this is the story of how a newspaper lie became a masterpiece—and how one young composer captured the sound of Jazz Age New York in music.Featuring original audio clips of George Gershwin, Ira Gershwin, and orchestrator Ferde Grofé, plus the historic 1924 recording of the premiere performance.The Bowery Boys podcast is supported by Founded by NYC, celebrating New York City's 400th anniversary in 2025.This show was edited by Kieran Gannon