Podcasts about Greg Sanders

Raven and Nick review season 4, episode 4 of CSI: Crime Scene Investigation titled "Feeling the Heat". They also discuss some Spot the Guest Stars, heat waves and artic freezes, Greg Sanders being left at the lab, and an instance of good cop/bad cop with Nick and Sara.As promised, the article that Raven mentions several times in this episode can be found at Fatal Distraction: Forgetting a Child in the Backseat of a Car Is a Horrifying Mistake. Is It a Crime?Support us on Patreon!We are now on Bluesky!Follow us on Facebook, Instagram, and Twitter/X.

Welcome to Episode #141 of the Blue-in-Green:PODCAST which this week sees Imran connect with Lophae founder, Greg Sanders. The release of 'Perfect Strangers' marks another in a string of successes for guitarist, composer and producer, Sanders. Establishing his phenomenal credentials via Teotima's two scintillating full-lengths ('Counting the Ways' and 'Weightless'), Sanders has amassed recent acclaim as a key collaborator for vocalist Juanita Euka, Jonny Wickham and Billy Marrows, amongst a litany of other artists. His penchant for Latin-infused contemporary jazz has yielded some sensational projects which now include the 'Perfect Strangers' album courtesy of Sanders' new quartet, Lophae. Pronounced "lo-fi", the collective is further comprised of top-tier collaborators in drummer Ben Brown, bassist Tom Herbert and saxophonist Sam Rapley who breathe sparkling life into 'Perfect Strangers'. We're so appreciative of Greg's time for this conversation which sees us delve into the Lophae project, life as an independent artist, past collaborations, the concept of ego and Vipassana Meditation retreats. For more information about Lophae's 'Perfect Strangers', please feel free to visit the band's Bandcamp page: https://lophae.bandcamp.com/album/perfect-strangers-2 www.blueingreenradio.com www.blueingreenradio.com/p/listenlive.html TuneIn: bit.ly/2LBK0BD The Blue-in-Green:PODCAST runs in conjunction with the online radio station, Blue-in-Green:RADIO which celebrates 21st century soul, jazz, funk, Latin & hip-hop music. These shows are designed to give you some insight into the incredible range of talented presenters we're so lucky to host from all over the world and to geek out musically with us.

Send us your thoughts! Guitarist, producer, composer & arranger Greg Sanders is an integral part of the UK's alternative world & jazz scenes. Greg was a founding member of three influential underground world/jazz/fusion groups that formed studying at London's SOAS  University from 2008 - 2011:         - alternative afrobeat / post-punk trio Ruby & The Vines with bassist & vocalist Binisa Bonner   (Ata Kak) and drummer Ben Assiter (James Blake);   - London latin cult legends Wara (with Eliane Correa);   - and psychedelic jazz / live hip-hop collective FURGreg went on to create the jazz / world ensemble Teotima, releasing two critically acclaimed LPs on First Word Records (Counting The Ways, 2013 & Weightless, 2019).As a collaborator, Greg is sought out for his deep musicality and versatility, and has performed and recorded with Senegalese kora master Kadialy Kouyate, Zambian singer-songwriter Namvula, Portuguese singer-songwriter singer Inês Loubet, jazz bass bandleader Jonny Wickham, Brazilian jazz artist BABO MORENO, Brazilian MPB party favourites Big Ben Jorge, as well as Samba Azul, Irini Arabatzi, Hannah Brine and others.From 2016 - 2018, Greg completed an MA in Jazz Performance & Composition at London's Royal Academy of Music, studying with UK jazz legends including Chris Montague, Mike Walker, Pete Churchill and Nick Smart.Greg works closely with Congolese-Argentinian singer-songwriter Juanita Euka, and co-wrote, produced and arranged Juanita's debut LP 'Mabanzo' (Strut Records, 2022), and is the musical director for live shows.The trio LP Eight Songs (2022) (with Tom Herbert and George Bird) was Greg's first small-group jazz project as a leader. Today he joins the show to preview his new album, Perfect Strangers. Support the show

Raven and Nick review season 3, episode 18 of CSI: Crime Scene Investigation title "Precious Metal". They also discuss a few Spot the Guest Stars, a plethora of walk and talks, friends trying to play matchmaker, and a solid episode for Greg Sanders.Support us on Patreon!We are now on Bluesky!Follow us on Facebook, Instagram, and Twitter/X.

Lauren and Nick review season 3, episode 7 of CSI: Crime Scene Investigation titled "Fight Night". They also discuss several Spot the Guest Stars, Science with Nick, pifflings, and a great scene for Greg Sanders.Support us on Patreon!Follow us on Facebook, Instagram, and Twitter/X.

Today we mostly talk about Greg Sanders and Adrian Chase but we also touch upon the fistful of other characters who have carried the Vigilante name! Unsurprisingly, with such a generic name, it's many, and they sure are working outside of the law (even though some of them are literally inside the law). Today's mentioned & relevant media: -Action Comics (1941) #42-198, 403, 405 -Seven Soldiers of Victory Archives Collecting Leading Comics (1941) -Justice League of America (1960) #78-79, 100-102, 111-112, 144, 193 -Adventure Comics (1938) #417, 422, 426-427, 438, 442-443 -World's Finest (1941) #214, 244-248 -New Teen Titans (1980) #23, 26-27, 29-30, 33-35, Annual #2 -Vigilante (1983) -All-Star Squadron (1981) #29, 56, 59-60 -Tales of the Teen Titans (1984) #53-54 -Crisis on Infinite Earths (1985) #12 -DC Comics Presents (1987) #92 -Deathstroke (1991) #6-12, 21, 29-30, 33, 38-39, 0, 41-42, 46-48, 53-60, Annual #1 -The New Titans (1984) Annual #8 -Vigilante: City Lights, Prairie Justice (1995) -Impulse (1995) Annual #2 -Resurrection Man (1997) #25-27 -Stars and S.T.R.I.P.E. (1999) #9 -Seven Soldiers (2005) #0 -Vigilante (2005) #1-6 -Seven Soldiers: Bulleteer (2005) -Nightwing (1996) #133-137 -Gotham Underground (2007) #4, 6-8 -Superman's Pal, Jimmy Olsen Special (2008) -Batman and the Outsiders (2007) #13 -Vigilante (2009) #1-12 -Teen Titans: Deathtrap (2009) -The Shade (2011) #4 -Convergence: World's Finest (2015) -Vigilante: Southland (2016) -Deathstroke (2016) #6-7, 12, 18 -Infinite Frontier (2021) #0 -Stargirl Spring Break Special (2021) #1 -Fence Challengers: Long Shot (2024) #1 first look -X-Factor (2024) #1 -From the DC Vault: Death in the Family: Robin Lives! (2024) #2 -Batman: Wayne Family Adventures Ep. 117 Thanks to Victoria Watkins for our icon! Support Capes and Japes by: Checking out our Patreon or donating to the Tip jar Find out more on the Capes and Japes website.

Mark “Murch” Erhardt and Mike Schmidt are joined by Matt Corallo, Greg Sanders, Sivaram Dhakshinamoorthy to discuss ⁠Newsletter #315⁠. News Faster seed exfiltration attack (1:24) Block withholding attacks and potential solutions (17:21) Statistics on compact block reconstruction (21:47) Replacement cycle attack against pay-to-anchor (36:23) Proposed BIP for scriptless threshold signatures (42:24) Optimistic verification of zero-knowledge proofs using CAT, MATT, and Elftrace (50:40) Bitcoin Core PR Review Club (33:15) Releases and release candidates Libsecp256k1 0.5.1 (53:11) BDK 1.0.0-beta.1 (53:43) Notable code and documentation changes Bitcoin Core #30493 (54:38) Bitcoin Core #30285 (57:33) Bitcoin Core #30352 (1:02:26) Bitcoin Core #29775 (1:02:39) Core Lightning #7476 (1:08:21) Eclair #2884 (1:08:55) LND #8952 (1:12:10) LND #8735 (1:13:40) BIPs #1601 (1:14:44)

Vintage City Church // The Book of Revelation: Revelation 5:1-14 Pt. 2 // Greg Sanders.

Vintage City Church // The Book of Revelation: Revelation 5:1-14  // Greg Sanders. 

On this episode of First Pressing Mark is catching up with old friend and mentor Greg Sanders of Gun Fever Music. Growing up in Armadale, the musician and label head first remembers getting swept up in the magic of indie rock listening to Weezer on his walkman. This love extended into adulthood with the birthing of Gun Fever Music, an independent record label championing local indie sounds from the the likes of Mezzanine, Dead Owls and beloved local outfit Pat Chow. He's currently spending time on his own projects while continuing to spread the word and champion some of the finest indie music in Boorloo. You can check out all the independent artists featured in season two of the podcast on [this Spotify playlist](https://open.spotify.com/playlist/6DKN3CmZZOLhrUr6jSGNVb?si=5c83ba865cec454f) which will be updated weekly. https://rtrfm.com.au/wp-content/uploads/2023/02/spotify-podcast-badge-blk-wht-165x40-1.png

On this episode of First Pressing Mark is catching up with old friend and mentor Greg Sanders of Gun Fever Music. Growing up in Armadale, the musician and label head first remembers getting swept up in the magic of indie rock listening to Weezer on his walkman.  This love extended into adulthood with the birthing of Gun Fever Music, an independent record label championing local indie sounds from the the likes of Mezzanine, Dead Owls and beloved local outfit Pat Chow. He's currently spending time on his own projects while continuing to spread the word and champion some of the finest indie music in Boorloo. 

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Greg Sanders with the USDA to hear the livestock trends this past week.

Mark “Murch” Erhardt and Mike Schmidt are joined by Olaoluwa Osuntokun, Greg Sanders, and Pieter Wuille to discuss Newsletter #268. News Specifications for taproot assets (1:10) LN messaging changes for PTLCs (53:22) Bitcoin Core PR Review Club BIP324 (28:31) Releases and release candidates LND v0.17.0-beta.rc2 (1:18:22) Notable code and documentation changes Bitcoin Core #26567 (1:20:52)

Mark “Murch” Erhardt and Mike Schmidt are joined by Greg Sanders and Bastien Teinturier to discuss Newsletter #261. News Simplified LN closing protocol (1:03) LN Summit notes (10:48) Selected Q&A from Bitcoin Stack Exchange How can I manually (on paper) calculate a Bitcoin public key from a private key? (57:18) Why are there 17 native segwit versions? (59:43) Does `0 OP_CSV` force the spending transaction to signal BIP125 replaceability? (1:03:04) How do route hints affect pathfinding? (1:08:23) What does it mean that the security of 256-bit ECDSA, and therefore Bitcoin keys, is 128 bits? (1:12:26) Releases and release candidates HWI 2.3.0 (1:15:09) LDK 0.0.116 (1:16:37) Notable code and documentation changes Bitcoin Core GUI #740 (1:17:18)

Geszti Péter és Edit: "Sok hullámvölgyünk volt" NLC     2023-04-06 18:01:10     Bulvár Geszti Péter A Geszti+ podcast legutóbbi adása nagy figyelmet kapott, ugyanis a népszerű zenész, dalszövegíró vendége a felesége és üzlettársa, Ditz Edit producer volt, akivel kendőzetlen őszinteséggel beszélgettek a kapcsolatukról. Milyen reakciókat kaptak az adásra? Voltak tabutémák? Megmutatnák a lányaiknak az adást? Felhívtuk őket, hogy megkérdezzük. Kamerába beszélő romák szembesítenek minket a rasszizmusunkkal Telex     2023-04-06 22:04:54     Film Cigányság Polgárpukkasztás, érzékenyítés, művészieskedés vagy társadalmi szembesítés? A Háromezer számozott darabra mindegyik jelző ráilleszthető, de egyik sem igaz rá teljesen. Kritika. 5 kiváló minisorozat, ha a Netflixen töltenéd a hosszú hétvégét Hamu és Gyémánt     2023-04-07 07:45:00     Film Hétvége Netflix Sonka Ha a sonka és a kalács után nincs kedvünk kimozdulni, mutatunk pár jó egyhétvégés sorozatot. Hihetetlen Inspired by real events, a teen reports and eventually recants her reported rape, while two female detectives, states away, ... Nem emberekre, fákra lesz szüksége a Földnek 24.hu     2023-04-06 20:58:38     Film Ha Tarr Béla rendezett volna science fictiont, talán valami hasonlóval állt volna elő, mint a Műanyag égbolt. Bánóczki Tibor és Szabó Sarolta több mint hét éven át készült animációs filmje különleges teljesítmény. Kritika. Régi kedvencek térnek vissza a Helyszínelők: Vegas második évadában theGeek     2023-04-07 06:12:34     Film Mozi Mozi Hírek – A népszerű krimisorozat új részeiben Catherine Willows és Greg Sanders is feltűnik, akik az eredeti Helyszínelők-ben is szerepeltek. A rajongók már alig várják a régi csapat újraegyesülését, amelyet most előzetes képek is fokoznak. A Helyszínelők: Vegas a Helyszínelők című sorozat folytatása, amely 15 évadon keresztül futott a CBS-en. A kis hableány: A Disney megváltoztatta a dalszövegeket, hogy hangsúlyozzák a beleegyezést és női emancipációt Mafab     2023-04-07 08:20:02     Film Interjú Disney Alan Menken, A kis hableány zeneszerzője a Vanity Fairnek adott új interjújában elárulta, hogy az eredeti animációs film két dalának szövegét is átírták az új élőszereplős adaptációban. „Mélabús emberek nélkül a világ egy még bolondabb hely lenne” WMN     2023-04-07 06:36:00     Film A Nádas Péterről készült Saját erdő című filmet nem csupán az író rajongóinak, olvasóinak ajánljuk. Hanem mindenkinek, aki tiszta gondolatokra és éteri – bár földi – szépségre vágyik. Michelle Yeoh az egyik legkiemelkedőbb példája a nők szerepének megváltoztatására Librarius     2023-04-07 09:59:16     Film Cannes Az idén Oscar-díjjal elismert Michelle Yeoh kapja a filmművészet női kiválóságait elismerő Women in Motion-díjat Cannes-ban.   Egész napos eseménnyel ünnepli 50 éves jubileumát a Muzsikás Papageno     2023-04-07 06:52:39     Zene Müpa Muzsikás Ötvenéves a világban is leginkább elismert magyar zenekar, a Muzsikás, amit a Müpában április 10-én egész napos jubileumi esemény ünnepel. Családi filmek péntekre port.hu     2023-04-07 00:00:00     Film Tavasz Végre itt a szünet, kicsit lehet szusszanni, és ha az időjárás is észbe kap, hogy tavasz van, akkor talán a kinti programok sem dőlnek dugába, addig meg a fázósaknak filmeket ajánlunk. Már nézhetőek online az utóbbi évek legjobb magyar filmjei hvg.hu     2023-04-06 19:16:00     Film Felkerült a nagyon erős Larry című film a Filmióra, de több korábbi nagyszerű alkotás is elérhető már a neten.

Geszti Péter és Edit: "Sok hullámvölgyünk volt" NLC     2023-04-06 18:01:10     Bulvár Geszti Péter A Geszti+ podcast legutóbbi adása nagy figyelmet kapott, ugyanis a népszerű zenész, dalszövegíró vendége a felesége és üzlettársa, Ditz Edit producer volt, akivel kendőzetlen őszinteséggel beszélgettek a kapcsolatukról. Milyen reakciókat kaptak az adásra? Voltak tabutémák? Megmutatnák a lányaiknak az adást? Felhívtuk őket, hogy megkérdezzük. Kamerába beszélő romák szembesítenek minket a rasszizmusunkkal Telex     2023-04-06 22:04:54     Film Cigányság Polgárpukkasztás, érzékenyítés, művészieskedés vagy társadalmi szembesítés? A Háromezer számozott darabra mindegyik jelző ráilleszthető, de egyik sem igaz rá teljesen. Kritika. 5 kiváló minisorozat, ha a Netflixen töltenéd a hosszú hétvégét Hamu és Gyémánt     2023-04-07 07:45:00     Film Hétvége Netflix Sonka Ha a sonka és a kalács után nincs kedvünk kimozdulni, mutatunk pár jó egyhétvégés sorozatot. Hihetetlen Inspired by real events, a teen reports and eventually recants her reported rape, while two female detectives, states away, ... Nem emberekre, fákra lesz szüksége a Földnek 24.hu     2023-04-06 20:58:38     Film Ha Tarr Béla rendezett volna science fictiont, talán valami hasonlóval állt volna elő, mint a Műanyag égbolt. Bánóczki Tibor és Szabó Sarolta több mint hét éven át készült animációs filmje különleges teljesítmény. Kritika. Régi kedvencek térnek vissza a Helyszínelők: Vegas második évadában theGeek     2023-04-07 06:12:34     Film Mozi Mozi Hírek – A népszerű krimisorozat új részeiben Catherine Willows és Greg Sanders is feltűnik, akik az eredeti Helyszínelők-ben is szerepeltek. A rajongók már alig várják a régi csapat újraegyesülését, amelyet most előzetes képek is fokoznak. A Helyszínelők: Vegas a Helyszínelők című sorozat folytatása, amely 15 évadon keresztül futott a CBS-en. A kis hableány: A Disney megváltoztatta a dalszövegeket, hogy hangsúlyozzák a beleegyezést és női emancipációt Mafab     2023-04-07 08:20:02     Film Interjú Disney Alan Menken, A kis hableány zeneszerzője a Vanity Fairnek adott új interjújában elárulta, hogy az eredeti animációs film két dalának szövegét is átírták az új élőszereplős adaptációban. „Mélabús emberek nélkül a világ egy még bolondabb hely lenne” WMN     2023-04-07 06:36:00     Film A Nádas Péterről készült Saját erdő című filmet nem csupán az író rajongóinak, olvasóinak ajánljuk. Hanem mindenkinek, aki tiszta gondolatokra és éteri – bár földi – szépségre vágyik. Michelle Yeoh az egyik legkiemelkedőbb példája a nők szerepének megváltoztatására Librarius     2023-04-07 09:59:16     Film Cannes Az idén Oscar-díjjal elismert Michelle Yeoh kapja a filmművészet női kiválóságait elismerő Women in Motion-díjat Cannes-ban.   Egész napos eseménnyel ünnepli 50 éves jubileumát a Muzsikás Papageno     2023-04-07 06:52:39     Zene Müpa Muzsikás Ötvenéves a világban is leginkább elismert magyar zenekar, a Muzsikás, amit a Müpában április 10-én egész napos jubileumi esemény ünnepel. Családi filmek péntekre port.hu     2023-04-07 00:00:00     Film Tavasz Végre itt a szünet, kicsit lehet szusszanni, és ha az időjárás is észbe kap, hogy tavasz van, akkor talán a kinti programok sem dőlnek dugába, addig meg a fázósaknak filmeket ajánlunk. Már nézhetőek online az utóbbi évek legjobb magyar filmjei hvg.hu     2023-04-06 19:16:00     Film Felkerült a nagyon erős Larry című film a Filmióra, de több korábbi nagyszerű alkotás is elérhető már a neten.

On this weeks episode of CSITalk, we brokedown the latest episode of CSI: Vegas "The Promise", including the prodigal son's return: Greg Sanders and how him and Penny are besties now, and the team being there for Max! Make sure you're following us on our social media: twitter- @csitalkpodcast, instgram- @csi.talk ! If you have any inquires, suggestions on topics you would like us to talk about, or just wanna chat about CSI, email us at: csitalkpodcast@gmail.com ! Stay safe, we love you! See you next week!

Mark “Murch” Erhardt and Mike Schmidt are joined by Calvin Kim, James O'Beirne, and Greg Sanders to discuss Newsletter #242. News Service bit for Utreexo (1:28) Releases and release candidates Core Lightning v23.02.2 (22:04) Libsecp256k1 0.3.0 (25:47) LND v0.16.0-beta.rc3 (29:01) Notable code and documentation changes Bitcoin Core #25740 (30:01)

Mark “Murch” Erhardt and Mike Schmidt are joined by James O'Beirne and Greg Sanders to discuss Newsletter #241. News Alternative design for OP_VAULT (0:41) New Optech Podcast (23:29) Bitcoin Core PR Review Club Bitcoin-inquisition: Activation logic for testing consensus changes (24:33) Releases and release candidates Core Lightning 23.02 (38:01) LDK v0.0.114 (40:00) BTCPay 1.8.2 (40:52) LND v0.16.0-beta.rc2 (41:40) Notable code and documentation changes LND #7462 (42:48)

Happy International Womens Day to every woman and everyone who identifies themselves as women! On this weeks episode of CSITalk, we breakdown the episode "Ashes, Ashes", how this could be the return of Natalie Davis and maybe Greg Sanders? Make sure you're following us on our social media: twitter- @csitalkpodcast, instgram- @csi.talk ! If you have any inquires, suggestions on topics you would like us to talk about, or just wanna chat about CSI, email us at: csitalkpodcast@gmail.com ! Stay safe, we love you! See you next week!

On the Trucking Tower Podcast today, we discuss:☑ TIA and their involvement in 3 key legislative areas:    •           Unauthorized Double Brokering    •           Dispatch Service Companies     •           Motor Carrier Safety Selection Standard Act To reduce your fuel spend by $0.26 to $0.95 per gallon, please click below:    ▶         https://truckingtower.com/cyberfuels-trucking-tower/ To learn more about RDS Capacity Solutions, please click below:    ▶ https://rdscapacitysolutions.com/ To your success,Andy HedrickCEO – TruckingTower.com #TIA #legislative #trucking #safety #legal

Greg Sanders of Blockstream joins me to talk about Transaction Pinning, ANYPREVOUT and eltoo. We discuss a range of questions: What is Transaction Pinning? How does mempoolfullrbf help? Transaction Pinning vectors and possible fixes v3 transaction relay Overview of ANYPREVOUT Improvements with eltoo LN Penalty contrasted with LN Symmetry Scaling Bitcoin longer term Relevant episodes: SLP200 Christian Decker – ANYPREVOUT, MPP, Mitigating LN Attacks SLP298 Rusty Russell – Lightning Offers / BOLT12: The next big thing in Lightning? Links: Twitter: @theinstagibbs Github: Gregory Sanders Sponsors: Swan Bitcoin Mempool.space Unchained Capital (code LIVERA) CoinKite.com(code LIVERA) Buildonl2.com BTCPrague.com Stephan Livera links: Follow me on Twitter @stephanlivera Subscribe to the podcast Patreon @stephanlivera

On this weeks episode of CSITalk, we talk about Greg Sanders, what we hope he might be doing now and how he could help Catherine get this season's serial killer! Happy New Year! We've got a lot of content coming for you in 2023, so make sure to not miss any notification from us! Make sure you're following us on our social media: twitter- @csitalkpodcast, instgram- @csi.talk ! If you have any inquires, suggestions on topics you would like us to talk about, or just wanna chat about CSI, email us at: csitalkpodcast@gmail.com ! Stay safe, we love you! See you next week!

Mark “Murch” Erhardt and Mike Schmidt are joined by Greg Sanders and Larry Ruane to discuss Newsletter #229.

Greg Sanders with the USDA to hear this week's hay report.

Tony and I are joined by Greg Sanders, the lead pastor at The Assembly in Cabot, AR. https://www.theassemblycabot.com/https://podcasts.apple.com/us/podcast/the-assembly-cabot/id1326725197 Hosted on Acast. See acast.com/privacy for more information.

The national defense strategy the Pentagon published in 2017 emphasized a shift to great power competition. And new technology development. So has DoD been putting its money where its mouth is? A new analysis of contracting data by the Center for Strategic and International Studies shows some glimmers of a shift in spending priorities starting in 2019. For more, Federal News Network's Jared Serbu spoke with the Deputy Director of the Center's Defense-Industrial Initiatives Group, Greg Sanders.

Markets were closed yesterday due to Labor Day, so let's go to Greg Sanders with the USDA to hear more on the most recent Beef Export Report.

Be A Success Maverick Vol 3 is NOW available!To get your own copy, go to: https://beasuccessmaverick.com/author/jenniebellinger/Includes additional authors such as Drew Berman, Paul Finck, Colleen Rekers, Greg Sanders, Marshall Sylver, Rae Ann Hall, Forbes Riley and MORE!

What do you do when your gut says "something's wrong" and yet you're not sure what to say, so . . . ? Join us for an honest conversation about what it takes to break the silence. Attendee Gift from Greg Sanders: MAX Community - Free Membership         https://ezcard.com/max1         The MAX Community helps business owners to choose the right technology for developing a profitable online business, and then we support them with our community of users and experts. Just launched!

Greg Sanders is the CEO of RDS Logistics Group headquartered in Fontana, CA. Greg has over 30 years of industry experience and has built multiple companies. We touch on multiple topics, and this one you truly do not want to miss! Make sure to connect with Greg on LinkedIn! To find out more about RDS, check out their website! https://rdsrally.com/  

Promotion for Prairie Justice: A Greg Sanders Vigilante Podcast Approximately 1 minute. email: vigilantecast@gmail.com

Wheat prices surged at the end of the week, while cattle followed trend finishing the week strong. Let’s go to Greg Sanders with the USDA to hear more on the CME Weekly cattle update.

Greg Sanders, CEO, RDS Logistics Group joins FreightWaves President George Abernathy for this edition of Supply Chain Spotlight. Supply Chain Spotlight is a biweekly show on FreightWavesTV that highlights our industry's thought leaders. The show is hosted by JT Engstrom and George Abernathy. Watch Listen on Apple PodcastsSubscribe on Spotify 

How does a team get into the top 5 for production in the country? Today, I sit down with Greg Sanders from the Sanders Group & Realty One Group Edge in Atlanta, Georgia.  Greg opens up his playbook on how they were able to rank #3 in the US.

Richard Maxwell has created and runs one of the most unique and inspiring creative musical arts and sciences program in the nation. For me, it reminds me of the entry level sound recording program I went through in college, only Richard's students get into the creative process early because of what he had the guts to create. This program happens in an area of the school campus where they have their own section of rooms that is their facility. It's made up of a larger classroom if you will that doubles as a performance room plus they have 15 Pro Tools stations and Pro Tools running in their A and B recording studios. They learn how to be expressive without fear of judgement, they write songs, they mutually assist and critique each others work in a helpful, loving way and it's magical to see what happens on a daily basis. Richard is a loving, caring person who, by his own efforts and fortitude, has created a platform where he can give the students, his very best in regards to guidance, ideas and processes.If you love music, talking about music, the process of making music, what music looks like in today's world, interested in how music could be handled in schools or always wondered how a single person can make a huge change in our education system, these episodes split into Part 1 and Part 2, are for you! Enjoy, share and spread the musical love. Richard Maxwell's Links: Richard's Website: https://sites.google.com/view/richardmaxwell CMAS Program: https://sites.google.com/view/arcadiacmas YouTube: https://www.youtube.com/user/RichardMaxwellMusic/videos Facebook: https://www.facebook.com/richard.maxwell.3538 Instagram: https://www.instagram.com/rchrdmxwll/ Twitter: https://twitter.com/rchrdmxwll LinkedIn: https://www.linkedin.com/in/richard-maxwell-235ab513/ https://youtu.be/KPMuQNW9GL4 ********** Podcast Music By: Andy Galore, Album: "Out and About", Song: "Chicken & Scotch" 2014 Andy's Links: http://andygalore.com/ https://www.facebook.com/andygalorebass/ ********** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests. 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I'm glad you could come on the show. And as you know, I'm a huge fan and when I reached out, I figured, you know, while we're all in this COVID-19 thing, you aren't quite as busy as you usually are. So I'm glad Richard: Different Joe: I was able to Richard: And Joe: Get you in here. Richard: Different, busy? No, I'm I'm I am as I'm I'm as big of a fan of yours as you are always so kind to me as well. So Joe: I Richard: I think Joe: Appreciate Richard: A Joe: It. Richard: Mutual admiration society. But that's Joe: Awesome. Richard: A Joe: Yeah. Richard: That's a good thing. I'm flattered to be here. Joe: So I know just from my own personal experience with you that you are a multi instrumentalist because I know that you and I have a kinship with drums for sure. Richard: Yes, we do. Joe: But that's pretty much where my talent starts and stops. And then you go on to songwriting and playing guitar. And I'm sure you play the keys. Richard: Yeah, but. Joe: So. Richard: Yeah. But to be fair, your skill you have in, like your little finger in drums eclipses my entire rhythmic independence and abilities beyond belief. Joe: Now that you talk about being too kind, that's too kind. Right. Richard: Well, no. I mean, you are a masterful musician in your own right. Absolutely. Joe: Well, Richard: I am Joe: Thank you. Richard: A jack of all trades, master of none in some ways. But I think that I mean, for what it's worth, the multi instrumentalist thing is partially due to the control freak nature of my personality, I think. I've had time to analyze this over the years and some of that I'd like you know, I'd like to be able to sort of be like, yes, I love playing all these instruments and I do. But some of it is because somewhere along the line, it was hard to find people that I felt like I could say, hey, let's do it this way, you know, and some of that was because I was probably not probably I was really difficult to work with. I think myself. So I started just kind of trying to figure out ways to do it on my own. On the other hand, you do learn a lot when you explore other instruments. So there's a lot of instruments that I will pick up and play badly just for the sort of joy of seeing what it does. What's that? But I like that. I think I think I think musically, there's something about process for me. You know, I'm I'm at an age where, you know, there's a lot of "what ifs" in my life and in my career musically. So now, you know, it's interesting because, like, I think you're, you're in, you're at a point in your thirties where you like all of those things are sort of like, oh, man, if only I had. If only I had. And then, weirdly enough, you get to a point where you're like, wait a minute, I actually now this actually means like artistic freedom. Which has been fascinating for me, and I know we also want to talk about, you know, the program at the school and stuff, but it sort of relates to it like, like you start to realize, like sometimes that's actually more valuable. Like there's a ya know, there obviously we all want to be Springsteen or Taylor Swift or whoever is that, you know, that that A-list group. Of course. I mean, who wouldn't want Joe: Yeah. Richard: That lifestyle and and those opportunities and I think that anybody who says they don't, is probably not being entirely honest. On the other hand, you know, I remember, I've been biking through this COVID stuff as much as I can so I, I have one ear with a couple different podcasts that I listen to and when John Prine died, when and if you know who he was or Joe: Yeah, Richard: Not, is Joe: Absolutely. Richard: Really a brilliant songwriter. So there was this one podcast that was talking about him that had said something that just stuck with me. I was never a huge John Prine fan. I mean, I respected the guy, but they were saying how he looked at his career and at one point, the fact that he never had, like, that top 10 smash hit was a detriment. But then the music critic who, who's pretty, pretty brilliant guy, he goes, yeah, but on the other hand, when you talk to people about his entire catalog, everybody's like, yeah, but everything's brilliant and not having that hit, like, he wasn't identified by a particular sound or of particular time and he could always kind of do what he artistically wanted. I've become more fascinated by, by that than, than anything else. And I talk a lot about that with my students, you know, in their process to like, you know, that thing that you love is wonderful. But what's like, what's the step before and maybe what's the step after? And are you and frankly, are you allowed to even take it? You know, we get very critical of artists and what we see on TV and on, you know, any video and YouTube now and everything else, but sometimes I wonder, you know, man, it's that the pressure to sustain that, whatever that thing is for them. I don't know. I know it sounds weird to maybe people would say, oh, he's just copping out for whatever. I don't know if I'd want it at this point in my life. Joe: Yes Richard: You don't. I mean. Joe: That's funny because I've had the same conversation with myself. I totally in my heart and in my soul and to be truthful to myself, that's all I ever wanted. And then it took me until I don't think it was that long ago that I actually was able to look myself in the mirror and go, you just didn't put in the work. You didn't put in that extra thing to allow yourself to rise above to be noticed. It just, it didn't and I know that, you know, I just I just never went that last whatever it was Richard: Sure. Joe: To get Richard: But then, Joe: It done. Richard: On the other hand, you know that what's the cliche about, you know, one. One door opens and another and one closes and another opens. I mean, you just you know, I've come to realize that. That that. Things happen for a reason like, like, you know, along the lines of what you're talking about. So, like, I never took the risk to, like, go out to, I've been to L.A. enough times that I kind of have a love hate relationship with that city in some respect, I think, like everybody does. And places that nature in terms of the industry. But I never when I was in my early 20s, you know, I didn't do the stereotype I wanted to but the thing of it is, is that I know now, looking back, if I'm like you're saying, being truly honest with yourself, I'm truly honest with myself, I know for a fact that if I had gone out and done that, then, it wouldn't, I would have, I would have destroyed myself, probably like I wasn't going to hit it, like it wasn't going to happen then. It Joe: That's Richard: Just Joe: Interesting. Richard: It just wasn't I wasn't ready. Joe: The. Richard: I wasn't you know, I am a very slow process learner. It takes me a long time. I guess I'm not OK with it, you know? I mean, I'm sitting in this, you know, not to sound funny, but on the other hand, I'm this is everyday for me where I am right now. Like, Joe: Right. Richard: This is you know, I was I was in a position we were able to get a house built. And it's not like it's that fancy. And I'm not going to show you. I could show you what I'm looking at out my window. But like, if you saw like, there's just gear and stuff everywhere, it's a mess in the studio. But the fact that I'm able to sit in a studio every day, I have opportunities where I can make music on my own terms. You know, I'm thinking about everybody I grew up with and stuff like that, that's, that's not so bad. You know, I mean, I'm not like like taking a, like, sort of second place on that either, I mean, you know, I have I have friends, I have students who tour, former students who tour all over the world now. And I'm so proud of them. And it but it's brutal, I mean, it's just I mean, not even I'm not even talking about, like, the COVID stuff. I mean, just that lifestyle in general and trying to maintain that, I mean, it, it I did I did some of that, you know, like one hundred years ago. But, you know, it's I guess, I guess maybe I feel lucky we live in a time where I can feel fulfilled in some ways. Joe: Yeah, yeah, and it's so funny because I just the last guests that I had on it, we actually talked for two and a half hours and I won't do that to you. And it was I'm going to actually blame it on him because he's such a great storyteller. But I had Nate Morton on who is the drummer for The Voice, and him and I have become good friends over the past few years. And, you know, we went through his early childhood then, you know, going to engineering school, of all things, and quitting it because it was he knew it wasn't in his heart. Going to Berklee and then the connection that I'm making here was you talking about L.A., is he said that I knew I had to go where the gigs were of of the caliber that I wanted. I know I could have stayed in Boston, but I wanted to play on a hit TV show or I wanted to tour with the best of the best. And so he said, I just knew that that's the only move that I had with the two things that he he points out the two biggest things, decisions he's ever made in his life, even to this day was, number one, going to Berklee and number two, going to L.A. And without those combination of those two things, you wouldn't be where he is today. Richard: Sure, sure, Which Joe: So, Richard: Totally makes sense. Joe: Yeah. Richard: Which makes sense and for everybody, you know, and you've got to find your place in it. I don't know. Who knows? I mean, we're not that old. You never know. It's, I mean, to me, mean and the industry is different now. And there's, you know. I mean, because I work obviously I work with a lot of teenagers and a lot of 20 somethings and they're all and they're wonderful. But it is interesting how, like, you really can almost you can almost like feel the sort of like flash in the pan kind of vibe of whatever they're, they're currently into. Joe: Yeah. Richard: Which I don't see that as a criticism. I just mean, you know. Sometimes you, you know, I wonder, like, yhere are certain artists or certain bands and, you know, they used to get like, you know, the joke was like the oldies circuit kind of thing. But at the same time, you look at what those musicians are doing and there's something about the fact that they're that they're playing like, like I feel like that state, even with all the technology and I am a technology guy, let's not kid ourselves. Joe: Right. Richard: At the end of the day, it can't be about the technology. And I feel like there's something, you know, like. And I know they have all kinds of ups and downs with personnel and issues of personality. But like journey of all the, you know, sort of like stereotypical cliche kind of bands in a way. But it is interesting to me that decades on, when you see them play they're play like they're actually are playing Joe: All right. Richard: Late. And I think that's the right partially think that that's a big part of the reason I think that people go and see the Rolling Stones play. Because they're playing like like it's not tracks, it's not you don't you know, you don't go into their show going, well, they're going to produce it this way or produce it that way. And I don't think that has so much to do with age. I think that has to do with approach. I've become a big fan of all crazy things. I tell my students I always find this funny. I found myself a few years ago and I couldn't figure out what it was. At first I would I would be in here like in the studio and just kind of like I'd be doing like paperwork or like just whatever, like just I wasn't working on something, but I'd want happened in the background and I would find myself streaming from YouTube, live bluegrass. And I could not for the life of me, I don't like, I'm not like a country guy, I don't, what in the world is happening? You know, that's like my having, like, some sort of, like, long, weird dystopian out of body midlife musical crisis... Richard: I mean, like because I mean, I was, you know, my first musical love was classical and in prog rock. And then I got into rock and anything else. So like bluegrass is is just. We're, we're, we're moving on in a chain that was so bizarre and then I finally figured it out and it was because it was pure, like it's a bunch of guys and girls sitting with acoustic instruments, basically, and they have to play them. The instrument has to respond. You don't get the benefit of, you know, all the other stuff if you don't do it, it doesn't happen. And I have that has become incredibly compelling for me. And now so I've been spending years and I don't know if you want to get into this part of it or not. But I've been spending years trying to figure out a way to marry the two. How can you like my big thing right now is. How do you take like I love loopers, for example? The textures you can create. I really dislike the lack of in the moment control you have, though, with a looper, because once you do a loop, you're basically stuck with it. Joe: Right. Richard: You know, you can stop it. You can start it and sign. But in real time, I want to sit down like, like when you sit down behind a kit, you know, I want the high hat to respond as I'm playing it, not in some prefabricated way that I can no longer alter in any way. So I've been working on trying to figure out a way to play with all of the layers, but have them respond to me like I was sitting down behind the kit and doing it organically or at a piano or on a guitar or just, you know, a kazoo. I don't care what the instrument is but the idea that it responds immediately to me, that's a more interesting use of all of this. So anyway. Joe: What are you doing? Yeah. Not to go too far because we know, but it's interesting now, what are you doing to do that? Richard: So a lot of it has to do with um, figuring out ways to like, look what makes up the layer that you need. Do you know what I mean? So like like a loop for me, when I was like, you know, you there's there's people that are brilliant data. I mean, and that's the other thing, too. You know, you're you know, Ed Sheeran is a brilliant songwriter. He is gifted on so many levels and he's kind of perfected the looping thing. You know, Tash Sultana, I don't know who she is or not. Joe: I don't Richard: You should definitely look her up. She Joe: Work. Richard: Is. Oh, my gosh. She is about the most organic looper I've ever seen in my life to the point where you can tell that something glitched or made a mistake. And it's like she does it, it doesn't stop. She's so in the moment about the music she's making and it's it's just frickin' brilliant. It's unbelievable. But the point is, is that, you know, you start to look at all these textures and you start to see some commonalities. And then funny enough, I, I started looking at, well, what do I really need? Like like when when I when a singer songwriter starts a loop performance, a lot of times, you know, they start with like a drumbeat kind of thing, right? And, you know, they've got their acoustic guitar and they're doing all kinds of stuff. And there's not I mean, it's cool. But then it's like, well, what is that really about? You know? And so I had gotten really heavy into Mumford and Sons, of all things. And I'm watching Marcus Mumford, especially when it's just the four guys. Sorry, four guys [shows fingers]. And, you know, and the and he's doing you know, he's just got that kick drum and he's got that weird little pedal mechanism for the tambourine. But it's essentially he's doing all that momentum off of a kick drum. And because it's so well played organically, you can hear the rest of the drumkit, but you don't actually need it. I know for a fact that you in studio work because, you know, I've talked about this. You have a less is more kind of approach. You know, you don't have to you know, don't get me wrong, we're all fans of Neil Peart. I mean, Joe: Yes. Richard: You know, God rest his soul. The man was a genius on so many levels, but we're not gonna be able to pull that off. Like, I mean, he he could he could fill the space and you didn't go "Well, that was gratuitous." Joe: Yeah. Richard: You know, that's a I mean, you know, he's like he's not the only drummer. I think that could really get away with that consistently. Simon Phillips may be another one. But that's just and that's just just my opinion. But my point being, what I've basically been doing is I'm looking at the layers of what can you actually do and then essentially it's a variation on voice splitting. So if I take a tone and I branch it out and I noodle with it and essentially process it in a certain way, you don't necessarily know what it is that I'm playing from. But then it goes even further, and I promise we won't stay too long on this. But just because this is where my brain goes, Joe: That's right. Richard: Still, I had developed this hole and there's some video and stuff you can I mean, I'll send you some links and stuff of early, like prototypes of what I was doing and it's fun. But it's are real, first, I was a real pain to get a song prepped. Like the irony of the amount of time it would take me to get a song prep so that it could feel natural and organic was just like killing me. Like it, it became so creatively so, so I went back, I've gone back and I've read redressed it. And the crazy thing is, is so I started looking at instead of for the drum kit, I started looking at the relationship between the kick drum and the bass drum. And part of that was because at one point years ago, I had developed this really cool way to simulate what sounded like drums off of an acoustic guitar without having to play it as a loop like it was coming essentially off the strings, believe it or not. And it sounded really cool. And then I would do like some coffeehouse gigs or some, you know, whatever, some small shows and things, theater kind of gigs and stuff. And I realized that people like if they knew what I was doing, they'd be all over it. But just as a listener, it was like, oh yeah, he's got backing tracks. An I'm like, no wait, you've missed the whole point. And then I realize. And then. And then you like and I know, you know, you perform all the time. You can't really blame your audience if they if they don't get what you're doing, that's on you. You know, there's only so far you can go. Oh yeah. They didn't understand like Joe: Right. Richard: I mean, it's just, you Joe: Right. Richard: Know, you can't play that game successfully. I don't think anybody can. So I've gone back now and I've started to look at what really is required for momentum. And can I treat like for some reason, hearing a bass line off of a guitar? We'll make that jump. I'm still trying to figure out how far do I go with the actual percussion sounds and things, but that's also to me, part of it is I'm a big process guy. I come back to that all the time. This, to me is fascinating. I've been playing with this concept since before my oldest son was born. And I'm really, really freakin old. It's been a long time, Joe: No, Richard: But Joe: I Richard: I. Joe: Really friggin old. Richard: Fair enough... Joe: I Richard: Off. Joe: Don't. Richard: Fair enough, now you're not. And it's just a number anyway, Joe: Right. Richard: Even if you were. And even if I was. No. But seriously, you know, to me, it's the process. I think that. That's the fascinating part. I am reminded Mick Jagger has been asked how many times what you know, "How do you write a hit song?" And I love his response in certain in one interview. He's like, "I don't know and as soon as I figure it out, I'm probably done." Joe: Yeah, Richard: Like, I don't want to know Joe: Yeah, it's interesting. Richard: Why it looked like it. It kind of ruins the magic of it. Joe: Right. Richard: I think there's great merit in, you know, I think art in all of its forms. And for me, it's music is its own, kind of like its own living, breathing entity. And you communicate with it. And, you know, if you if it's if you're working with it collaboratively, it's there's some way, you know, these amazing things will happen. And if you piss it off, it's like it takes its toys and goes home and then you're stuck. And I don't know what to do anymore. I mean, that's but that's that's literally my my thing. Which maybe I don't like I said, I can talk for like I went two and a half hours. I can so beat that Joe. I have. Oh my gosh. I love Joe: So Richard: The sound of my own voice. Joe: That Richard: I'm not going do that. I won't do that to you. Joe: No. Richard: But I know what it's like about the program. Joe: Well, no but, but because we talked about a couple of things here, I'm just going to put. Just add my own two cents based on, you know, the whole looping thing for me. I also love and I'm enamored when I watch it done. The problem that I have when it's in a live situation and I deal with it with the people that, you know, my other persona is being the owner of Onstage Entertainment, right? So booking a lot of entertainment in here in both Arizona and Colorado. I, I have to ask some of them that, OK, I don't mind you looping, but you have to get into the song within the first, like, minute to loop the layer, you know, the layers. And there's I don't know, I don't loop I mean, I don't do it. So I don't, I can't tell them what to do and I can't feel their pain. But if you're going to do it, you got to be quick at it and you got to figure out how to get into the song quickly because people whose interest it just. Richard: Well, you're not wrong. I mean, that's the other thing. I mean, you know, mostly, you know, you do the looping thing and it's like the first time, the first song. That's really a two and a half minute song that takes you 12 minutes to perform. And the audience is like, okay, that was cool. Three songs in and I can tell you this from experience. Some of this is because I don't have the gift that certain people do for looping, which is probably why I gave up on looping in some respects, and now but now I mean, like again a door closes. This is so much more creatively interesting for me. But, you know, three or four songs in the audience is always like we've seen this trick before. We know. We know they. They don't know what's gonna happen specifically, but they kind of know where it's headed. And I think some of that's the lack of interaction in all honesty, I think that's why you see some people like, you know, time. But the looping thing I've I. The one thing that fascinates me about Ed Sheeran is genius level songwriter, brilliant performer. Albums sound nothing like the live show albums are basically a band. Then he goes out by himself, which is very fascinating to me, you know, but on the other hand, I kind of respect it because that kind of I absolutely respect it because to me that's using looping in an effective way, using technology in an effective way. But I'm with you. I, I can imagine, you know, that battle. You're right, people don't, but especially, you know, bars and clubs and stuff. There's Joe: Yeah. Richard: Only so they that you can go and. And again, I think one of the things I know I deal with this a lot with my students is, you know, there is a line that you have you have to accept the fact that if you're going to go off on those musical tangents, that may be incredibly invigorating for you personally, you have to be willing to accept the fact that, you know, you may not get all the gigs you want. You know, or you may not get the type of gig that you think you deserve because people are going to you know, if that's you know, if that's not what the listener wants, that's not what the listener wants. And then, then and then that needs to, but that has to be OK, too. I mean, I think, you know, I firmly believe it's kind of like there's two music industries in a way. There's the industry that we see on TV that, you know, is, you know, is is the big influencers and stuff. And the award shows and everything else. And God love him for it. I like I said, I would love to have their problems, but then there's all this other stuff, but isn't going to make it beyond, you know, it's going to play the smaller clubs and it's going to be in in more intimate settings. Richard: But that's OK, you know what I mean? Like, that's OK. And at least now that's when you and I were growing up. You know, we were we were still of the generation where if it did come on the radio, you didn't hear it. You know, or you had to really I mean, I can remember you would spend hours at a record store. Because you couldn't return it. You know, I mean, you really chose carefully, you know, those, those you know that 10 bucks or 20 bucks or whatever it happened to be, you know, before we really got into the whole Napster opens up streaming for us. You know, world. You know, it's a totally different thing in it's interesting talking to my students about that, because some of them... It's that they are still very careful and they'll tell me they're like, my time is valuable to me. And they'll stay, but, but there's still even with them, there's still a sense of acceptable risk. You know, for, whatever, 10 bucks a month or whatever you spend for whatever streaming platform. I mean, that's like, ya know, that's insane to me. Joe: Yeah, Richard: I mean, Joe: Yeah. Richard: That you can get pretty much every recording that exists for 10 bucks a month. Which Joe: Yeah, Richard: Then also Joe: It's. Richard: Begs the begs the question, is it worth being worried about signing the big record deal anyway? Because you're not gonna make any money for it anyway. Maybe just go make what your heart wants you to make artistically. You know, 50 percent of not much. OK, now you are getting that much in the first place. But. Joe: Yeah, yeah, and it's, it's for them, you know, for all of us these days with the streaming part of it, it's like drinking water through a firehose when it comes to the amount of content you can actually take in. Where you? Yeah, and you and I are talking. It's like, yeah. Go to the right. You know, you you mowed for lawns. You have ten bucks to go buy the one album that you've been waiting to get Richard: Exactly. Joe: In. Richard: Exactly, exactly. But Joe: Yeah. Richard: It made it so much more, you know, I cannot remember buying an album and not sitting down and listening to it, track for track, multiple times all the way through. Joe: Reading all the liner notes, Richard: Exactly. Joe: Knowing Richard: Exact. Joe: Everybody who played on it every yeah, Richard: Yep, yep, Joe: Yeah. Richard: Or like I can remember. I can't remember what album it was, but I can remember buying an album, taking it home to listen to and then we like I remember my parents were like, we have we have something to go to in like 20 minutes or something. And I can remember sitting there thinking, ok do I put on listen, like the first two tracks or do I wait till I get homesick and listen to the whole thing? And I waited. You know, because there was something about that experience. And even now I find myself, you know, fast forward and, you know, I mean, it just did it. It's I find myself with some of those bad habits a little bit that I wish I didn't, necessarily...but it is what it is. Joe: Yes. Well, and two other things you touched upon that I know you. You brought it up and it's something that I deal with. But I took a position a long time ago and I started Onstage, that I actually don't hire anyone that runs tracks. And I did it purely for the fact that I didn't want any musicians being put out of work on basically my watch for lack of a better term. Richard: Oh, that's awesome. Joe: So that's just the position I took. And I don't have anything, you know, like there's a like I had a corporate gig. So when I say that, it's really like the local type stuff. So I'm not going to, I'm not going to put a single guy in a resort and put a bass player and drummer out of work because he walks in with bass and drums on tracks and back and backup vocals. And, you know, these other people are sitting home and not working. But the caveat with that is if I there's a corporate band that I hired out of Montreal, Canada, who had amazing tracks that they had built from scratch for themselves. Now, the difference between them is that every single track that they had, there was literally an instrument onstage playing it. So all it was for was for the thickness of the sound. Richard: Sure, sure. Right. Joe: There was literally not one sound on those tracks that did not exist as a human being on the stage. Richard: Right. See, and I think that you're hitting on something to me that's really important, which is intent. Like, I think that gets lost in all of this because we're so we're so caught up in the spectacle. Or the site. You know, I was just at a wedding not too long ago for for one of my nephews and it was interesting because the band, the band was they were good. This is back in Ohio where I grew up, but it was lots of tracks. And it was interesting the way, you know, I'm sitting there picking the thing apart because that's where my head goes. But the rest of my family's just enjoying the sound. You know, almost to the point where, like I've seen deejay's lately, do a thing, oh, sorry, my son's come in and Joe: Hmm Richard: Interrupt Joe: Hmm, hmm, Richard: Here Joe: Hmm, Richard: For a second. Joe: That's Richard: We have Joe: Totally Richard: To Joe: Fine. Richard: Apologize. My apologies, Joe. Joe: No, Richard: That's Joe: It's all Richard: My Joe: Good. Richard: Ex, Gray. He's gone and he's gone in for your drumming job. Joe: All right, perfect. Richard: His no, but I think I'm, you know, like deejay's lately, you see them like they'll travel with a drummer. And I actually think that's a really good thing. You know, it's, it's, it is a little bit in the other direction, because I actually I respect that decision you've made and I actually I did not realize that that's awesome. And I think, I think the world of professional musicians would be better off if more of the owners of these companies, such as yourself, took a stance like you do. But on the other hand, you come from this as a player. So you have a you know, I think some of this is, you know, that battle. You know what that's, you understand on a different level. And nothing against promoters, managers and anybody else out there but a lot of them don't. Is my as a you know, they're well-meaning, but they don't you know, they don't get it. You know. Joe: Yeah, we've talked about this a lot. You know that the success of what happened with my booking agency is the fact that I take the position and I also have the business acumen part of it. So I'm kind of a hybrid in a way where I can understand what I have to deliver to the end client and how professional all of that has to be and at the same time, I have to put my self in the position of the performers or performer, either one. And that, you know, when it's really hot outside, they need shade and if it's too hot, it's just impossible to perform outside in Arizona. And yet, because we live in Arizona and it's the desert, you know what? It gets freaking cold in the wintertime. So, and the fact that other than a singer who then has to worry about catching some sort of cold or bronchitis or something, that all the musicians use their fingers and as soon as your fingers freeze up, the performance goes downhill and everyone's upset and it just doesn't make for a good... So in our contracts, it's very in-depth about, you know, needing shade and needing heaters in the winter and then if it's too hot or too cold, that has to be moved inside. And we, had ad nauseum, I could talk about all Richard: No, Joe: This, Richard: Of course. Joe: You know, circumstances, but that's the approach that I took. Richard: But it's interesting, too, because like as you're as you're describing all of us, I keep coming to the word legacy like like like your own sort of personal legacy and all of this like, you know, and I've known you now for years. So I kind of I feel like I, I. I can say this maybe with a little bit of insight, if you like. I know you to be like you need to be able to sleep at night like you don't like it. But that's important. Like, look, I know that, you know, some of that's just because you couldn't send somebody on a gig that you yourself wouldn't feel comfortable taking, which I think is important, because, again, I think, you know, again, I deal with a lot of younger musicians, you know, a lot of teenagers, lot of 20 somethings with, you know, with the the college stuff folks that I work with, too. And, you know, you do have to kind of be aware, you know, the pay to play thing that goes on a lot. I see a lot of younger musicians that get really excited over gonna get this gig at blah blah, blah, blah plays. That's awesome! Can you buy a ticket? Because we have to sell 200 of them Joe: Yeah, Richard: To get Joe: Yeah. Richard: The opening spot. I'm thinking to myself, I know I get it. I mean, I you know, I understand there are costs and everybody needs to be able to make a living and provide for themselves and their families. And I really do understand that. But it's, there's something off putting about like, like to me, I feel like art's disposable enough, like it's treated almost like a fast food meal sometimes that, that going into that world, I don't know. I just, I just feel like, you know, one of the things I'm always telling kids is, you know. To me and this is this has always been my approach, and if I ever decide that I want to get myself out of this studio environment here where I noodle around, which I might, you know, in my midlife extended crisis of who knows what the heck's going on right now. I actually had plans and then the COVID thing kind of hit. But that's a separate conversation, I suppose. But no, but to think about, you know. We look at gigs, I think, especially younger musicians, they look at gigs in this context of, I have to get the gig for the exposure and the, quote, "fame." But I also equally need the money from the gig, and I think that that's in some ways, the problem. Everybody's got to eat, everybody needs to. I get, I understand that. But I do think that when you can eliminate either one or the other from the equation, you actually give yourself more opportunities. Joe: Yeah, it's. Richard: You know, like if you can, you know, and now I realize I'm in a very unique situation. I could take a gig or not just for the joy of the gig. And then one of the reasons why I started to think about I should really start playing out again just for my own sense of self and to noodle around with this not looping looper thing, to be perfectly honest with you in front of people, was because I realized I don't really care if I make any money doing a gig. Of course, I would love to get some cash, you know, some money in my pocket for for for performing. But at the same time, it's like you priority, you know what what matters? And I think that that's part of it, you know, especially now, you know, because there isn't you know, it's really tough. As you know, being a gigging musician is really brutal and obviously right now it's basically impossible, Joe: All right. Richard: You know, with with the situation we're in. But I do think. Like, it's funny, like I've had a lot of conversations with a lot of my, my students about the fact that I know and just a lot of people in general. There are some you know, this is horrible right now. I mean, it just it is devastating the live music industry, which is like, what, eight billion dollars annually or something at a minimum is just devastated right now. And all of the ripple effect of it is, is just it's gutting. But I do think there is also some good possibly to come out of this. The number of people I talk to, younger people that are so excited at the notion of when I can go see another show, like the appreciation for it. You know, like when you're younger and like you can go to any show you want, anytime you want, basically because you've got all your income is basically disposable and, you know, whatever else or even if it's not but you can you can seriously prioritize it. You know, you not to worry about house and car and bubble on food. And I know some kids do, I'm, I'm speaking generalities, but just in general. Joe: Yeah. Richard: When that's been removed now. It is so interesting, the number of conversations I've had with kids that are like, WOW!, I'm just so appreciative of when I'll be able to do that again. Or, or the realization that that because we would we talk about it all the time and might within my classes, like, OK, you go to that show. I don't care what show it is. That person onstage, even if it's a soloist, isn't the only person involved in you seeing that show. They just aren't. There's no circumstance where it's just them. And you start to really now understand how it all changes, you know? You know, or not changes but how, I mean, it's gone right now, you know, and they're talking about 2021 before major tours happen again, major festivals and things like that. I want to get all the pressing and down on stuff. But but Joe: Oh, Richard: I think. But I mean, it's like you don't already know this. I'm sure you. Joe: I have. I have tickets to see the Doobie Brothers and the Eagles. Yeah. And and that the Eagles, I think, was supposed to happen in April. That's been delayed, I think, until October or December and you know, there's a good chance they're all going to be moved until 2021 to just Richard: Yeah, Joe: Me. Richard: It. Joe: No one's gonna want to go to a concert and sit, you know, six feet apart from the person they went with and sit, you know, have every other row with someone, it's just it would be weird Richard: Well, and Joe: Because. Richard: Not to even some more paranoid, but like I've been reading about different things about like I guess they did a study recently about that choir that had that rehearsal before anybody realized it was a pandemic. But then like 40 out of the 60 people that were in the choir wound up getting tested. They're testing positive. Joe: Oh, wow. Richard: And they you know, I mean, it's a horrible tragedy, I think like two or three of them passed away from it and the whole circumstance was awful and they were going off of all the information they had, which at the time was nothing. And I mean, the whole thing is a terrible tragedy. But out of that, they recreated the circumstances. They obviously didn't infect people again, but they started to look at how singing and things of that nature, what it does to the transmission of a disease, you know, of a virus of this nature and then you think about people that like an event where they're shouting or screaming or singing along and all this other stuff. And you just think to yourself, you know, how is this going to look? Joe: Yeah. Richard: You know what we know? I don't know. It's it's, a it's an interesting. If it wasn't so devastating to the to people that I personally know and just to the industry that I'm aware of and the ripple effects of all of that, it would be just fascinating. But instead, it's just I mean, it's just. Joe: Yes. Richard: It is really. It just makes me really sad and I'm really grateful, like I feel weird sitting in a studio talking to you right now because I feel like almost like I'm, I'm unintentionally flexing and I don't mean to be. It's just, you know. I never thought my life musically would be in a place where I could feel musically secure more than most musicians out there in the world. That is such a bizarre moment of clarity for me. I almost feel obligated to be making more music right now. Not because anybody needs to hear it or that it'll be any good, but almost because I feel like if I don't, I'm being incredibly selfish, that I have the option to do it and I'm not Joe: Right. Richard: Taking advantage of it. Joe: A. Richard: I feel like, you know. You can believe this, but I feel like I would just do like such an ass, like if Joe: Now I get it. Richard: I feel like, I feel like I believe in karma. And I just, I just feel like I have I have an obligation, especially I'm about to head into summer, which changes up my teaching obligations and my, you know, Joe: Yes. Richard: Obligations of that nature. And running the studios are going to be very different for the foreseeable future, at least. Joe: Yes. Richard: Wrote Joe: And it's then Richard: permanent excuse Joe: It's like, no, yeah. No. And I get it. And it's in a lot of our talent is struggling. You know, that that I personally know and had, had helped to get a fair amount of work that they, you know, at times where they don't have work and they're struggling just to put food on the table and pay their car payment, keep a roof over their head. They now are sort of forced into possibly going into debt to buy a webcam and a microphone and and learn, you know, some sort of software if need be, or if they just end up going live on Zoom or Facebook or any of the streaming platforms. But, you know, they're putting in there they're Venmo and PayPal handles as a virtual tip jar just to try to make any sort of money. Richard: Yeah, anything is Joe: And Richard: Anything. Joe: Yeah, Richard: Mm Joe: And Richard: Hmm. Joe: It's it's really tough. So, yeah, I keep brainstorming on ways to try to figure out a way to help. And I haven't come up with it yet. I but I'm working on it. It's not like I'm sitting here, I'm not you know, I'm lucky enough that I had a business where because at one point I was the seven day week musician, you know, I was playing, you remember, and Richard: I do. Joe: That's all I Richard: I Joe: Did Richard: Do. Yeah. Joe: Before. Richard: Yeah. You were impossible to get a hold of because it would always be like a message back, like dude I'll call you later, I'm on, I'm like, you know, 17 gigs today. Joe: Yeah, right. Yeah. But so I get it. Again, we go back to. I've I've lived it and I understand where it's all coming from. Now I just have to figure a way to help and so that's a struggle for me. But that's that's a whole like you said, it's a whole different conversation. And the one last piece that you touched upon that I don't want to forget is that in the conversation I had with Nate Morton, the drummer from The Voice, there's a connector in L.A. that you may or may not have heard of that that I knew when I wanted to, you know, possibly get a tour. A guy named Barry Squire and Barry is basically the music matchmaker out there. So if Cher is looking for a band, Barry will put out the notice that Cher is about to go on tour and they need this, this and this. Same thing with Pink or any of those, Barry was the guy to basically piece these bands together in L.A. for these big tours. Richard: Interesting, Joe: And Richard: I did. Joe: And so now the listing and Barry puts these listings up now on, on Facebook and it's obviously become a lot easier as part of the discussion I had with Nate, where it used to be, hey, you go to this executive's office and you pick up a C.D. or tape, you learn these three songs on it, you come to this studio/soundstage on the Saturday at 1:00, you play the songs and we'll let you know kind of thing. Now, Barry posts these things on Facebook and its he post the requirements. And, you know, everyone has to be pretty much for the most part, 25 or younger, you know, there's there's no none of these things that are going to take all these old dudes like us out on tour. Richard: Right. Joe: Her Richard: Right Joe: Or me Richard: Now, of course. Joe: Anyhow. Richard: No, no, no, no, no, I'm right there with you. I'm Joe: But Richard: With you. Joe: But the instead of it being the old style that you and I are used to, which is, you know, bass, drums, maybe two guitars, keys and a couple of back, backup singers or maybe a horn section. Now it's guitar, drums and a multi instrumentalist that knows Ableton. So it's, it's that and Barry and Nate were talking, they went to lunch a few weeks ago. They'll always be a drummer because the visual part of it, of of that makes it look like it's a band. So that that one seat, you know, thankfully, has not been necessary, eliminated as much as the others. But it's just so weird and Nate and I were talking was like, I mean, I know I, I don't know Ableton anywhere near that I could say I could do it to go get a gig and neither does Nate. But that's the state of things right now. And then, and then Nate's talking and he's like, and if the band becomes, you know, popular and there's more money in the budget, they don't turn around and then start adding bass and guitar and keys that they add more production, they add dancers, they are they whatever. It's just it's so weird to me. Richard: Well, yes, the idea of a show, it's different, you know. That's why, that's why it still comes back to me of this idea of playing. And I think that, I don't know, Like like, do you still sit down to play just for the joy of playing? Joe: I, I do here and there, but nowhere near as much as I should. Richard: Well, nobody ever does that as much as they should. Joe: Yeah. And it's like we Richard: But. Joe: Played a gig last Wednesday and we played out in the parking lot at an assisted living complex for Richard: Oh, Joe: The Richard: Cool. Joe: For the residents because these elderly people had not been out of this place for the last two months or whatever. Richard: Oh, Joe: They're Richard: My Joe: Just Richard: Gosh. Joe: Going stir crazy. Richard: Sure, Joe: So Richard: Sure. Joe: There was four different jazz combos and we were setup out in the parking lot where the people could come out on their balconies and Richard: Oh, Joe: We played to Richard: How Joe: Them. Richard: Cool. Joe: Yeah, it was fun and it was cool. And at the end, like all the guys in the band are like, God, I so misplaying, like I just the hell with practicing, I just want to play because there's that interaction on stage and anticipating where that that other player is going to next and just being able to interact and lock in with somebody. And because I left the gig going I really got to practice. And everybody's like, no, we're just gotta play, we just it's more fun just playing. So, Richard: Yeah, yeah, Joe: Yeah. Richard: And that's I think that I think there's something about that visceral live element. You know, Joe: Yeah. Richard: We it's funny when, when when, when the COVID shut down happened, it sort of sent obviously a lot of chaos into the whole educational system, especially into arts education, which regardless of titles and everything else, I am basically running an arts program. You know, call it what you want, but it's an arts program. And it's been it was interesting what wound up happening very much and that's why I truly thought I'm going to get all these kids that are just going to send me you know, here's this recording I worked on at home, here's this work and I've got a lot of those. I mean, that's. And it's great. But the lot of them, first of all, a lot of them, you know, you started to really see the demographic of the students and who had what available to them. Joe: Yeah, Richard: Lots of posturing and Joe: Yeah. Richard: In high school certainly about that and that's fine. But I don't begrudge because any we've distributed gear as much as possible in that. But it was, you know, was interesting how a lot of them really enjoyed the live streams we did more than anything else. So we wound up doing our big annual end of year concert anyway. But we did it online on Zoom. It was clunky we were subjected to all kinds of elements related to streaming and what mics they had and Wi-Fi connectivity and everything else and yet in the moment, the fact that it wasn't taped, that we, you know, like Joe: Yeah. Richard: I had some kids that played some sessions, that we just kind of watch the sessions on the screen, which was still cool and it was really awesome. I had one group that actually did go in and they pre-recorded their parts and filmed themselves while they did it and then we spliced it together into kind of like a live video and and whatnot. But most of it was a kid with their guitar, at the piano or whatever it happened to be singing. You know, in some cases it was just through their phone and imperfect, absolutely! But, it it had that kind of because you knew it was right then. And there wasn't a well, we're going to go back and fix it in post kind of option. It was interesting that, that, you know, you still got a little bit of that same charge. I mean, it was different because obviously you don't get the you know, you don't hear the applause in the same Joe: Yeah, Richard: Way that you're hopefully Joe: Yeah. Richard: Getting you know, there wasn't really production in terms of lights and stuff that we normally would do. But, you know, because I asked a lot of them, you know, should we be prerecording this and some of them are like, yeah, that would be better for me. But that was because of nervousness that they always have had inherently. You know, these are kids that don't like to get up on stage, even though they're wonderfully talented. They just may be, you know, at that age, they're, they're they get freaked out by it or whatever. But the vast majority wanted it live and in the moment, warts and all. And I found that to be very fascinating. Joe: Yeah, Richard: And Joe: That's cool. Richard: We wound up, you know. We did a tie. I think we did. I think we did like seven or eight live broadcast. We're still doing them. We've done a bunch of podcasts, but it's been interesting watching the students. Their response, and maybe it's not an entirely, like I'd like, I don't think that I can, I always look at my own students and I go, I probably shouldn't be lumping you in with every other teenager is like a generality because they tend to be a little bit of a unique and and if we're being honest, I probably do have a bit of an influence on their approach Joe: Right. Richard: In that regard. Joe: Yeah. Richard: Hopefully a good way. But I do think it's interesting, like what you're saying, that there's something about a live response, even if it's remote, even if it's from streaming, it still beats the just watching video. Joe: Yeah, Richard: There's something. And organic and visceral about it. Joe: Yep. Richard: Which is Joe: All Richard: Important. Joe: Right, well, you know, since we are now, you know, sort of talking about the graduation piece, I wanted to...so I always refer to it as CMAS and I think that's probably what most of you do. But it's Creative Musical Arts and Science program, correct? OK,  So this is happening at Arcadia High School here in, are we, this is considered Phoenix. You're right down the street from me, right? So it's Phoenix. Richard: Yes, well, I'm yeah. Joe: The border is. I don't know. Richard: Yeah, it's Scottsdale Unified School District, but it's technically in greater Phoenix we're like I want to say, what's 48 Street and Indian School and what is it? 56th is the line into Scottsdale. Joe: Ok. Richard: I don't actually know. I mean, I've been at that school for, gosh, 20 plus years, if you can believe that...long time. Joe: Yeah. Richard: I don't know. I was long before my time how they managed to carve out that section of, you know why it's Scottsdale and not in Phoenix Union, I don't know. Joe: All right. OK. So you just mentioned 20 some years ago, so when did you get to this school? Richard: Ok, so let me see. How do I explain this? 1990 or something so I'm at the U Of A Joe: Ok. Richard: I have finished my second master's degree in orchestral conducting, which I still miss, I, you know, if only for not having enough time in the day. Basically, I start working in Tucson at one of the high schools and a middle school, I've got an orchestra program that I love. I am always still for years and years and when I did it, I grew up in the Midwest. So as an undergrad and as a grad student and at different times and in different places, I was always gigging as a very mediocre drummer. I like to say I was, I was sort of the, the, would you want to call it? I brought the game down for everybody else, But um..but, you know, and so I done some touring, nothing, nothing fancy. So but I had done a lot of it, I loved the studio experience and also their stuff. But there was no at the time at least available to me, you only were really able to do that kind of independently and on your own. And there was very much this sense of, you know, we were we were talking before about two different music industries well, there were sort of like two different musical experiences. You had the experience you could have as a student. I mean, you know, you know, it was one thing and there were in it, it was great. I mean, don't get me wrong, I have such fond memories of growing up. And I still every now and then I am lucky enough, I guess. I've talked to my old high school band director a few times, he's long since retired. He drives trains now, of all things Joe: Wow. Richard: Which he just loves. Old, old military, retired guy, sweetheart of a guy, brilliant musician, far more, I didn't realize his musical chops. This is another problem I have like I hadn't like it takes me a while to realize something in the moment. Oh my gosh. The level of lost opportunity on my count two, like not tap into more of his experience as he came out of a military band experience but he had this incredibly open view of what music was for, even if he had a particular love of a certain style and what not. But I'm I've Joe: Wait, Richard: Got this. Joe: Before before you leave, that point is just amazing that you just said that because I look at you and go, God, if I only had a band teacher in high school like you. My teacher, and God rest his soul, I think I'm sure he's gone by now but I was just there doing it, collecting the paycheck, Richard: Sure, Joe: Going through the Richard: Sure. Joe: Motions. Just it was just the worst. And. Richard: And it can't. Yeah, I mean, I. I don't know, I can't speak to that. I mean, the educator in me says, you know, at a certain point you can it's very easy to get disenchanted if you get wrapped up in it and you never know. I mean, you know, the further back you go. People that I get asked all the time, you know, did you have something like CMAS when you were in high school or whatever? And I can't tell if they're sometimes I wonder if they're being sarcastic, if they've completely misjudged my age, if, you know, I don't even know where it's coming from. But, but the truth of the matter is, is that it's not a matter of if I did or not, it wasn't even an option. It just literally wasn't a possibility. I can't, I can't fault Pete Metzker was his name, is his name or Jeff Bieler or Bob Wagner. I literally remember all of these people...West Frickey. They were brilliant! They didn't, if they, if you would come to them and said, we have this idea and you described what I built with the CMAS Program, what I designed, honestly, I think they would have been like, OK, that's really cool! We can't, like we, if we could figure out how to do that in the architecture or the in, the in, the the infrastructure, if you will, of music education at the time, I really think they probably would have been like, OK, sure! Let's do it! I don't think it was an option. I mean, I really think that, you know, there's a prospective element. I'm not that old but it does remind me a little bit of what I have conversations with students about classical music, for example. And I always tell them the same thing. Richard: You know, you can't, you can't fault Beethoven or Mozart and say you don't like their music because there's no electric guitar. Because there wasn't even electricity at the time. You can't you know, you're missing the whole point. You don't think, like that can't be your thing. In the same way when I have students who are very, very much of a more and this is fine too, but we'll say a more traditional mindset. I'm like, you can't look at a kid who wants to do like turntables and say that's not a legitimate musical instrument. You do it, for the same exact reason because you've got to deal with intent, you just you just have to. And that's the thing that like I said, I look back on those that band director and those teachers, all of them throughout all of my school years, as it were. And Dave Vroman, I mean, I could list all these professors throughout, you know, college that some of which I'm still friends with, which is really wonderful too, you know. Sorry, I, I have to I have to namedrop Molly Slaughter, I don't have anyone to know who she is but just for me, I got to say it karma again, and there's lots of others. Greg Sanders, Steve Heineman I'm gonna shut up now, okay...Ed Kaiser God, we would be here for a long time, but, but all of them would tell you...but, but the thing of his you is the best musicians are about intention. You know, Springsteen walks up onstage with the E Street Band and it's unbelievable and then the band takes a break for a minute and he sits down with just as acoustic guitar and it's unbelievable. Joe: Yeah. Richard: And it's I mean, look, the guy's a genius. And I mean, that's you know, you don't need me to say that. But I think the reason it works in both settings is because of his musical intentions. Joe: Yeah. Richard: It comes out different, of course, it comes out differently when you have more people and you can interact. And again, we go back to that visceral thing, but it's about intent. And I think that's what I've carried with me from all of those people. Joe: Right. Richard: I go on in any case, so I go, I go to Bradley University and become their first music educator, excuse music composition and theory graduate ever out of that university. I don't, I don't know if that's like I have two distinctions being a Bradley, one is I'm the first person ever to receive that degree from that institution, which I'm very proud of and two, I was probably the most arrogant pain in the butt student that's ever been through there in the history of that university's music school. And it was a brilliant place, it was wonderful. They had an old Moog synthesizer, that had been installed by Robert Moog himself. Joe: Oh. Richard: But it unfortunately didn't work. If I could go back now...know, you, you know, you always say if you know, if I knew then what I know now. But they allowed you know, they bought some equipment. We had, you know, an old Mac computer and we were able to do some sequencing and learn some bit. And I just kind of got bit by the bug of it. I just found it so compelling and so interesting. Didn't know what I was doing, had a couple of microphones, couldn't even tell you what they were. Probably a 58, like a beat up condenser, by whom...You know, I want to say there was a, I don't know, I want to say it was like an old Rode or an AKG or something, but it was I mean, we you know, we didn't know what we were doing. But freedom to explore the process. I mean, again, in hindsight, I see all of us greatest gift possible. Graduate, don't know what I'm going to do. So the Youngstown's, I don't know if I'm gone too far back Joe: No, Richard: Or Joe: No, Richard: Not in the story. Joe: No, no, no. Richard: So I'm going to I go to university, so Youngstown State University. Partially out of desperation, partially out of you know, I didn't, I was wandering in sort of like the the desert of my own immaturity and unawareness, you know? I just, I just I had this thought in my head that I was gonna be the next Leonard Bernstein. Not realizing that basically even the next Leonard Bernstein wasn't going to be the next Leonard Bernstein because that world doesn't exist. And it wasn't like people were telling me that but it doesn't, I mean, it just doesn't exist. And and I didn't, I wasn't that guy. I mean, that's, you know, kind of like what you were talking about before, which I disagree with your assessment of your skill set but we can have that conversation off of air sometime. But no, but, but in all seriousness, I mean, you know but I wasn't that guy. I mean, that's just that's a reality, I wasn't that guy. But while I'm in Youngstown, Stephen Gage, who's another one of these sort of like ah ha moment people. I'd done a lit..I'd done some conducting. I even put together for my senior recital at Bradley, I put together my own sort of like mini orchestra of friends just for the heck of it. And I seem to remember Vroman, Dave Vroman, who was head of the music department, and that can be one of the main conductors there, I seem to remember him saying, you know, we could have like. Richard: To help you out with this, like you didn't have to, like, do it covertly here. He's a guy I really did not appreciate nearly as much as I should have at the time, brilliant man, just brilliant, wonderful guy. But anyway, he, um, so but so Steve Gage basically goes, you know, I need a, I, I've got an opportunity for graduate student. And he was the band conductor is like, but you'll also work a little bit with the orchestras as well. And you'll get to do you know, you'll get to conduct and I'll teach you how to and he was my first real conducting teacher that I took seriously. I had taken cond

5.14.20 Q & A: Governor Lamont answers 10 questions you need to hear!Bob Joyce asks: In what phase of the reopen Ct do you see the possible resumption of youth sports and will there be restrictions from traveling town to town – state to state?Sandy D in East Hartford asks: I’m in the 65 + crowd that we keep hearing needs to remain home if possible. Since the bulk of this state are people like me, how are we so supposed to react and are you concerned about age discrimination from employers who will choose to bring back their younger employees and use this suggestion as a reason?Greg Sanders from Wallingford asks: I hear many changes and updates to the reopen CT plans and the phases. I’m to be married August 22 – but I’m seeing fairs and long standing events for that weekend being cancelled. While I realize you may not be able to answer directly, your complete honestly would be appreciated if you think we can legitimately have this wedding of 126 people plus our dog? It is an indoor wedding with an outdoor cocktails and indoor seating. We are holding our breath with your answer and will either keep or postpone, thank you. Greg, Crystal and Ozzy.Julie Reibold of Naugatuck asks: Will there or is there a place to access to KN95 PPE for frontline non-medical people?Dylan in New Haven asks: Are the daily Covid 19 updates including the children now included with the figures and what steps is the state taking with the reopen process with camps and summer schools now that children seem to be a new target for this sickness?Marilyn in Somers asks: The unemployment figures are heartbreaking, I work at Foxwoods and will be laid off with no benefits at the end of the month with no return date – as in – I think I am out of a job. I watched the President say there will be no new stimulus plan on a national level – will you be able to anything locally?Archie in Westport asks: Why did you choose a firm out of state to help reopen ct and are taxpayers helping to pay their fee?Susan from Hartford asks: My question specifically is for Mayor Bronin, but thought you could answer on a state level too, how is the city functioning with its residents- and how is city handling planning and zoning applications, license and inspections, permits...things that usually are done in person with meetings?Diane in Simsbury asks: We were watching the news last night and heard the CDC now say the droplets can last in the air for 8 minutes, will this change any of your reopen updates and does our Department of Health meet with Dr Fauci for updates and then advise with guidelines?Bonus Question from me: With hunger as one of the side effects to Covid-19, we are seeing people pulling together to help one another, but the need is almost too much, the food lines are getting longer and food is running low and prices are going up. Do you have an authority to cap pricing at CT grocery stores to help people put food on their tables?

Organizational impact is a result of effective leadership! The SynerVision Leadership Nonprofit Reactivation Symposium is a one-day intensive virtual event for you to learn the skills to stand up or grow your nonprofit, recruit the right board and volunteers, create a winning strategy, and attract donors to support your mission. This symposium is designed to equip nonprofit leaders and clergy to break through barriers in performance for themselves, boards, staff, and volunteers; and to attract the funding to support the fulfillment of the organization's mission. To register for this Virtual Symposium go HERE   Read the Preview Conversation Dr. Thyonne Gordon: Well, I guess we can introduce ourselves, huh? I am Dr. Thyonne Gordon. I am here in sunny Los Angeles, California. I am your story strategist. I help people with curating and creating the best story of their life, their project, their idea, their business. As Hugh continues to pull me back into the nonprofit world, I help nonprofits to curate their story of great success. Hugh Ballou: You're so valuable to this sector. Let me introduce who's here. We're here to share with you. It's a preview session. Thank you for being here today. Today is a special edition of The Nonprofit Exchange. It's thoughts, ideas, encouragement, empowerment, learning, examples to learn from. It's people who have something to share. Everybody here has been a guest on previous episodes of the podcast. We'll have some more people joining us. These are presenters for the Nonprofit Reactivation Symposium that will happen on May 1. I wanted the presenters to give you their story about what they're going to share with you. Also, why did they want to show up? I am going to start with Dr. David Gruder. David, you've been with me doing this kind of stuff for a way long time, back since water. This is #27 of these live events. This one is the first one that is virtual, and it's very different. It was the Leadership Empowerment Symposium for years. You and I started noodling on the title. Share a little bit about what we talk about and why we named this a reactivation symposium. Dr. David Gruder: Right. Well, first of all, it's a pleasure to be here with you, Hugh, as always, and to be with these wonderful, esteemed colleagues who I so respect and appreciate and love. The changes that are going on in our society right now that have been brought to the forefront through the COVID-19 crisis are changes that have been under way for a while in a lower-key manner, that in a sense flew under the radar. Because of what's been magnified through the COVID-19 crisis, we really are in the process of establishing what's being called a new norm. Nonprofits are going to be dramatically impacted by this new norm. So what we at SynerVision Leadership Foundation are committed to doing is helping nonprofits stay ahead of that curve so that we craft the new norm together as the nonprofit world so that nonprofits can fill their proper place in the world in a more effective way in the new norm rather than be drowned out because of the craziness that is going on as the new norm emerges. Hugh: Craziness. Whoa. I love it. We were talking a little bit before we officially started. I had a technical glitch, and my Zoom disappeared off my computer. I am back. We were talking about being busier than ever. When somebody says, “Why do we need reactivation?” you are going to talk a little bit… Tell them about what you're talking about. David: The topic I am going to be speaking on is reenvisioning leader development in the new normal. The things that have been emerging during this COVID crisis really illuminate the necessity of, I don't want to be dramatic here too much, but pretty much an overhaul of the vision of what leadership is going to need to include that people were thinking of as optional before now. Now it's mandatory. I am going to be covering four key areas of new norm leadership and leader development in my talk. Hugh: We won't tell them exactly what that is yet. David: Ooh, it's a secret. You have to show up to find out. Hugh: It's a secret. Each of you have recorded a little promo that we have put out on the Internet and invited people to come. The latest one I got a few minutes ago was from Dr. Gordon. We have some California people here. David Gruder, you're way south, Spanish-speaking San Diego. Thyonne, you're a little north of there in Los Angeles. Talk a little bit about what you're talking about, and why. Thyonne: Yes, I'm Dr. Thyonne. I will be talking about shifting your crisis story through board leadership. I'll be speaking in regard to how boards and executive directors and organizations overall need to work together during the time of crisis more than ever. No matter what, board leaders and their executives should always be in mind step. But during a crisis, it's really important for the board to step up and take their leadership role and do it in a more advanced way than they have in the past. I'll be speaking about how board members can show up in that type of way. Hugh: We'll be talking more about that. This is the special edition of The Nonprofit Exchange. This particular event, we have a key sponsor, EZ-Card. *Sponsor message from EZ-Card* We have Greg Sanders today. Greg represents the EZ-Card company. It's his company. He founded it. But you're not just a tech guy, are you? Just a little bit about Greg. Why are you supporting the work of SynerVision Leadership Foundation? Greg Sanders: I just want to say what a privilege it is first of all to be here. I understand this is a relatively informal gathering, so I did not wear a suit and tie. I agree with Dr. Gruder. This time is a time of transition. So many people are learning new technical skills, supportive technologies, to enable them to conduct business and do face-to-face meetings in this type of venue as opposed to meeting at Starbucks and going to live venues. Not just businesspeople, but their customers. If I am going to do an estimate and put a roof on your house, I am not going to come to your house anymore. I am going to ask you to hop on your phone or computer. The normal person on the street is also developing all of these online skills. So to David's point about nonprofits, every nonprofit I'm aware of works with a skeleton crew. They are time-challenged and resource-challenged, and they probably don't have time to think about what Dr. Gruder is going to talk about, which is how to rest and reshape and reform. They are trying to survive. Coming on Friday is so valuable. What we're doing at EZ-Card is we are the supportive technology. I am not a major speaker. I will speak briefly about possibly using EZ-Card along with Zoom or other technologies which move your message forward in this particular environment. That is what EZ-Card is. I will be explaining the benefits of EZ-Card as a mobile app. When I think of a nonprofit, they have to get their message out. They have to raise money. They have to let their supporters know this is our valuable work we are doing day in and day out. Any video they can show where they are caring for children or at-risk populations, any way to get their message out there, and they can do that with EZ-Card on their phone. That is what we'll be doing, and we are happy to support the event itself. If you'd like to look at it and share it with people to get there on Friday, you just text LDR, which is an abbreviation for leadership, to 64600. Two things will happen. You will get a link to your phone. You click the link, and the EZ-Card opens. It could take you to the SynerVision website. It could take you to details about Friday's event. You can register. But it will also give Hugh and the leadership team your mobile number so they can send you text reminders about the event. Text LDR to 64600. We'd like to provide similar technology to any nonprofit if we can help you do what you do better and help you raise more money. Hugh: It's an amazing tool. I know David Gruder has one. The others of you who have seen it. Sherita just saw it for the first time. Bob Hopkins out there in Big D, Dallas, Texas. You're recording as you were wearing this ten-gallon hat. So passionate about philanthropy he even named his horse Philanthropy. Bob Hopkins: I did. I did, and I do. Hugh: It's this kid who said to his dad, “Your ten-gallon hat won't hold ten gallons; it only holds four quarts.” Tell us what you are going to talk about and why you want to talk about that. Bob: It changes every hour quite frankly. I just got off the television looking at the president of Brown University. By the way, universities are nonprofit organizations. Talking about how hundreds of thousands of colleges are going to stay afloat because they depend upon tuition, and lots of kids aren't going back to school at this time because they don't know what they're going to do, and they don't have jobs anymore. They won't be able to afford to go. I'm sure every board of directors of every university or college in the country is madly trying to figure it out. One of the people I invited to come on Friday as a student is Alfonse Brown. He's at a university in Florida, an African-American law university, the oldest one in the country. He has board meetings all day Friday and Saturday, trying to figure out what they are going to do in the fall. Not in the summer. We have already figured out the summer; we are doing Zoom, just like we're doing now. What are they going to do in the fall with those huge buildings, with billions of square feet? With students, I have 22-24 students in my classroom. We cannot handle six feet apart. If every classroom doesn't have 24-26, they will lose money. Thousands of colleges will have to close. Then I'm thinking about my students. My students have been introduced to the nonprofit sector in my class because I teach communications with a focus on nonprofit management. I'm thinking about them because what are they going to get out of it, and what message am I going to give them? I have a requirement that all my students come to this class on Friday. It's half of their final. Then they have to write a critique on what they experienced, what they got out of it as 50 points, and they have to write their eulogy for the other 50 points. After this semester, they will probably want to die anyway, so their eulogy might be appropriate. I don't know. I'm going to look at what you all are going to talk about, so I will try to fit in so I am not talking about the same thing. I listened to speaking about boards of directors as well as Thyonne. There are so many avenues of how to talk about boards of directors. How to get them, how to keep them, how many to get, what are their responsibilities, those kinds of things. I think, and you already messaged it to me right now, is how they will stay afloat. That's what boards of directors are going to want to know when they come to see us when we are talking about nonprofit management and organizations. How are we going to stay afloat? What is the new normal going to be? I think that changes every day, too. We are supposed to in Texas open up last Friday. I went to the bank just now. There was one man in there without a mask on. I went to the president sitting in the corner and said, “Is it a requirement to wear masks now?” He said, “Yes, it is, but we're not enforcing it. It's a $1,000 fine, and we're not enforcing it.” I said, “Why not? It's a rule and a law. If I have to do it, they have to do it because I am not being protected, but they are being protected from me.” I tell you every minute I find something different. Our lives are going to change not just from the board level, but from the people who come to participate with us. All of them won't be board members. They will be people who are not involved in the nonprofit sector as a living or in a vocation, but as maybe just a volunteer. Hugh: Bob and I met recently. My wife was going to Dallas for a conference at SMU. We were introduced by guests on my show who were the founders of Barefoot Winery. They accidentally founded a winery; it's a great story. We connected. Bob, you have a book in your hand there? Bob: Hugh, I'm so sorry you asked. This is my book. It's called Philanthropy Misunderstood. Is that appropriate for the time. I think it should be Management Misunderstood, Nonprofits Misunderstood, Our Planet Misunderstood. My next book will be called Philanthropy Understood. Hopefully in the next two years, we will figure that out. Hugh: Sherita and Thyonne will have some stories for you there. They have a massive amount of connections and nonprofits they have worked with. The new normal is you go into the bank with a mask on. It used to be when you walk into the bank with a mask on, they will be nervous. Now if you don't have a mask on, they're nervous. The new normal is opposite polarity. Bob: They are still nervous because they arrested two men and asked them to leave. Unfortunately, you people of color will understand this. These were two black men with two black masks on. The people behind the counter were uncomfortable with them and asked them to leave, not knowing if they had a billion dollars in the bank or whatever reason they were there. It didn't matter. We have a lot of challenges coming up. Hugh: Sherita, on that happy note, tell folks- Bob has been a lifelong champion of nonprofits. He has been a CFRE with the fundraising professionals. He is a wee bit older than me. Finally I am in a group with one person who is my senior. My sister Sherita out there, where are you now? Arkansas? Sherita Herring: I am in Hattieville, Arkansas, of all names, right? Bob: I know Hattieville. Sherita: The fact that I am even here in Hattieville. When I was a young girl, do you guys remember Petticoat Junction? I used to want to live there. I loved Betty Jo, Billie Jo, Bobbie Jo, Uncle Joe. I loved the pig Arnold. Most people did not realize how much I am a country girl. I am telling you that story because what I am going to be talking about on Friday is there are grants that exist even now that will allow you to live your most unbelievable dreams. I am living my dream. I am sitting here on 30 acres of land that has been passed down in my family for over 100 years. It's been almost 50 years since my great-grandfather passed away and anyone has lived here. It's not a cliché for me. I am living my best life right now in an RV with chickens and Guinea, and he is out there spraying. That's what I'll be talking about. Thank you for having me on with these other experts, Hugh. Hugh: We have Wil Coleman. He is a great musician out there in Raleigh, North Carolina. We will hopefully have Dr. Williams here in just a minute. Sherita: He is coming on now. Hugh: We also have a presenter who is not here, Bishop Ebony Kirkland. If you go to the landing page for the symposium at NonprofitLeadership.live, I am watching my phone. People are registering. It's exciting. We want to fill the house because there is so much important work to do. If you click on the pictures for these good-looking people, a video will pop up with an invitation as to what they are talking about in more detail and why you should come. This word “reactivation,” it's a mystery word for some of us because we are working as hard as we can. It's a new era. It's an important era. Bob has invited students. He is in the classroom again. He's worn a lot of hats. I gotta tell you, I have been in his class with his students. They come to our nonprofit leadership group on Thursdays. You are inspiring a new group of leaders, profound group of leaders coming up. There is a lot of untapped potential for people who might get overlooked. I remember, Bob, when I was 18, I had a chance to conduct when I was nothing but potential. Somebody like you believed in me. Somebody like you said, “Hugh, give it a go.” I was able to step up into a whole career. Let's go back to David Gruder for a minute. I want to ask any of you to shout out when you can. This is such an important occasion. Bob just talked about colleges who are a specific type of nonprofit. Big universities with big budgets and a lot of foundations and history are having challenging times. Imagine a small community organization that wants to feed people, clothe people, house people. They are working on a bare strings budget. David, what's important for our mindset? What's important for how to equip ourselves to rethink leadership and our work? David: Oh my. Well, okay. Short version is that we need to shift our, what's called in psychology, locus of control. Right now, in society, there is an external locus of control. What locus of control has to do with is how a person centers their ideas about where control lives. Right now, a lot of people are thinking that society and government and COVID-19 and external circumstances are the boss of them. That is a mindset that is a surefire recipe for victimization, powerlessness, and empty, unhelpful forms of rebellion. That has to shift into what in psychology is called an internal locus of control, where I'm the boss of the future I create. I'm the boss of my own stories that I tell myself and the emotions that I have and response to those stories and the words and actions that I say and do in response to the emotions I have about the stories I create. That is a skillset that is developable, and it is a crucial skillset, not only for leaders to embody, but for teams to be trained in how to do because without that, there will be no conscious, elevated, spiritual architecting of a new norm that is helpful to humanity rather than harmful to humanity. Hugh: David Gruder says things, and I say, “Gosh, I wish I would have put those words together like that.” He is a champion wordsmith. Anything else you want to share? Thyonne, I was so impressed by your short video. Of course, I was impressed by all of them, but yours is in mind because I got it most recently. It was passionate. You used to be part of a foundation that sent you out to do board capacity building. Why is it so important for us to learn ourselves as leaders, to equip ourselves as leaders to grow and engage our boards at a higher level? Thyonne: Thanks for the compliment on the video that you had me do at the last minute. It's really important for us as leaders to engage and interact with our boards because our boards are what make our organizations. They hold the fiduciary responsibility for our nonprofit organizations, which means if they're not working in step with the executives and the team at the organizational level, you absolutely could slip and fall. Your board is like your safety net. They are looking at things. Their role is to actually make sure the organization is staying afloat, is sustainable, is doing what it says it's supposed to do, staying in line with the vision and the mission. Your board is your support system. It's important for leaders to understand the relationship and the role they have with their board members. The foundation that I worked with prior was the Annenberg Foundation here in Los Angeles. We did do capacity-building by teaching board leaders how to work in alignment with the executive director. The program was called Alchemy. It was a magical program to bring together the executive director and a support person, or a champion, and the board chair. They had to come together in the program, which we would do quarterly. We came for classes and learning how to work together, how to build the capacity of the organization, and even how to fundraise. With them working hand in hand, they were able to have much higher success rates. It's important for leaders to understand the importance of their board and what their board roles are. Especially with small organizations, when you start an organization, my mom is on the board, my brother is on the board, and my sister down north. They're like, “Yeah, sure, you can put my name down.” They have no idea what it means to be responsible on a board. They don't know anything about board governance. It's important for leaders who want to start these nonprofits to understand your board is a serious thing. It's not just your mom and grandma and everybody who said, “Yeah, we should do that. That sounds cool.” And you're selling pies or chicken dinners or whatever it is to raise money. That's great, but if you have a board who understands their fiduciary responsibility, they will say, “We can sell these chicken dinners, but we also have to expand and talk to somebody like Sherita about how we find grant funding and how we are in alignment with that and how we stay with our vision and our mission. If you're working with saving the chickens, selling chicken dinners might not be a good idea.” Hugh: Absolutely. Thyonne: It's important for us to know what we're doing and that our boards know their roles. Hugh: I want to get Sherita on here for a minute. Sherita has some family issues, and she needs to go tend to some of those important things. She set you up for this thing that you are going to talk about. Everybody thinks there is grants, and it will be a smooth road going after them. You send in an application, and people will give you all this money. We have to learn some things as leaders, don't we? Sherita: Yes. For one, grant funders are investors just like any other investor. People think that there is a magic potion or something when it comes to grants for the nonprofit arena. That's why another time when Hugh and I worked together, and I wrote that article, “Nonprofit - The Stepchild of Business,” people treat a nonprofit like a side gig or a hobby. They don't put much into it. They might submit one grant or two grants and don't receive it and say, “See, everyone told me not to do this.” But they have been trying to get money for their for-profit business for 20 years and kept trying until they succeeded. They will not put much into the nonprofit arena but expect a greater return. That's what tends to happen. When you're going after grants, it's a joint process with the executive or whoever they choose to work with the person that is writing the grants because even myself, I raised over $30 million. We developed over 600 organizations. But there is no way to just take it upon myself and write about my clients' accomplishments without their assistance. I am very good at what I do, but I am only as good as the information received. People expect you to write a grant for a building, for the grant-writer to write about it without their input. The grant-writer doesn't know their accomplishments, who they have worked with in the past as far as collaborations, their projects. It has to be a joint effort in order to make it happen. Yes, like you said, I lost a very dear uncle this morning. I tried to clear my calendar to be on here with you, but I got the call this morning that my uncle passed away. I am working on a couple of things. Before I leave, it's also important for people. Just today or yesterday it was reported, a director of an ER committed suicide. She was in New York at a major hospital. Had contracted coronavirus herself while treating patients. Got well, went back to work, and yesterday, committed suicide. Organizations after every catastrophe, whether it is Katrina or the 1930s Depression, after every catastrophe, it doesn't stop there. There is going to be an aftermath. There is cause and effect. Organizations are going to need to get prepared for depression, suicide prevention, PTSD, while also like professionals like ourselves, helping people to regain themselves after this. With every issue or problem, there is grant funding. That is why grants are there: to address problems and issues. This is why the nonprofit arena, and you hear about grants more during times like this. It's not that it operates less. The nonprofit arena steps up more. It's important to understand that, understand how you can stabilize your footing, and understand the process of how to go after funding in order to ride this wave. Yes, it is a negativity that is happening right now. Yes, we are losing lives. Yes, a lot of businesses are closed right now. If we understand how to ride the wave of what is happening right now in addition to knowing how to survive and move forward in it, that is what I will be talking about. I thank you for having me on, including me with these other experts. Wil, hi, how are you? It's been years. Tell Pastor I said hello, and I do want to speak with you guys following on this. David Gruder, Greg, Thyonne, and Bob, I look forward to being with you on Friday. Have a very blessed day. Hugh: That was so profound. It's time for some summary statements. I'd like to start with Bob Hopkins. Every time I talk to Bob, I am amazed at the depth of knowledge he has about a lot of different topics. He is living the sweet life. He could be tending his garden, but he is out there inspiring students and teaching. He has joined the SynerVision team and wants to help us take the magazine up another level and do some work with us. Blessings to you and sharing your gifts, and thank you for being a part of this presenting team. We are going to wrap up here and let everybody have a moment to say something. What would you like to add to the conversation? Bob: I'm anxious to read the content again of everybody and what we are going to do and where I fit in. I am going to be there for the entire time. A lot of it might be off the top of my head after I have learned what I have heard from you. I don't want to go on a tangent that doesn't have some relationship to what we are already talking about. I think as a time when we all speak for 20 minutes at a time, then I'm later on in the afternoon. I'm the last speaker. At least that was the schedule I saw. Hugh: I messed with it because we had some changes I had to make. I am going to send that out to you right after this session. You do have several times that you are going to be able to influence people and share some of your stuff. I have had to rework it. Our Bishop Kirkland in New York couldn't be here today. She is sitting in New York talking to people about working together, collaborating. She is going to share with us Friday about that. We will get a report on how that is going in New York City. Bob, you could speak off the top of your head all day and not duplicate yourself. You have such a wealth of information. We are going to talk about philanthropy. His book is brilliant. He lifted it up before. Your book is 100-something stories of nonprofits and how philanthropy really works. We think we know what philanthropy is, but it really is different. How do boards connect with that? You have experience running nonprofits as well as being a resource to them. We have had to make the schedule a little fluid, but it's not a whole lot different. I have moved you up in the day a little bit. Whenever you talk, people are going to listen. It's like one of those big investment companies. When they talk, we all listen. Knowing that, you're going to have great gifts to share. Don't put yourself down. You have a lot of important stuff to share. Thank you for being part of this great presentation team. Bob: Thank you. Hugh: Greg Sanders. Why is the work of a nonprofit so important? Why are you sponsoring SynerVision? Greg: My mother and my father were both university teachers. My mom was in foreign languages, Spanish. My father was in music. I taught sociology for 30 years. I have a big heart for students who can't figure out what the heck they are going to do with their lives when they are 18-22, which is an important thing I felt like I did when I was working at the university. Not just transmitting content, but helping people figure out their futures. I think about Dr. Gruder who is known for integrity. My feeling is that everything we do should be of service to other people. I love the nonprofit organization because they wear right on their sleeve that we are here to serve. Businesses should have that same mindset. If what you do is not improving the quality of life for other people, you should go do something else. That is what EZ-Card attempts to do. I tell people if you are going to build a house, you could do it with your bare hands, but it's a lot better to do it with tools, even with power tools, because if you spend $1 on a power tool, it's going to help you save hundreds of dollars in building that house. That is what we are trying to do at EZ-Card. If the technology fits and helps people to do what they have chosen to do to help other people in a more efficient manner, that is what we're all about. I think we are right. We need to rethink the way we are doing everything, and we need to think about it in terms of helping other people. We are trying to make money during this period of time, but we are also caring for people. Just recently, I had one middle-aged adult talking about taking care of her 88-year-old mother right now and saying, “My mom was healthy. She went out with her friends. She went to restaurants. She had an active life. Now she is cooped up in her house and is wasting away. She is no longer actively engaging.” My advice is to maintain your normal life as best you can, even having to shelter in place. How can you maintain the routines? How can you maintain life as normal? It's that kind of strategic thinking that nonprofit organizations have to be maintained in. You can't do some things the way you did them before, but you can make a semblance of those activities and try to keep those healthy routines in place. I am privileged to be a part of it. We are trying to drive some traffic to what is happening on Friday from the EZ-Card side. Hugh: Text 64600 with LDR in the message. You will have the SynerVision card. Dr. Gordon, how would you like to close? Thyonne: Hugh, I hope you can keep David, Greg, Bob, and Wil because I plan on putting on my mask and kidnapping Bob from Texas. Bob, don't pay attention. I am going to be grabbing you and bringing you to California. Bob: My bags are packed. Thyonne: I have already texted Greg's site. I am excited about that. David, I know how I feel about you. Wil, I just met you. This is going to be an amazing symposium. I am excited to be part of it. Anyone who misses it, you are about to miss out on the opportunity of a lifetime. That is what we have to understand as nonprofit leaders and people in this space. I will speak as an African-American woman. This isn't our first time in a crisis. We know how to get through a crisis. Nonprofits, we are used to not having a whole lot and making a lot happen. In this crisis, we are the leaders. We actually know what to do already. Our leadership style is what everybody else is trying to do. We have been doing this makeshift thing for a long time. We have such an opportunity to take this thing by the horns and make an opportunity of it. That is what I will talk about with the board leadership as well. When board leaders step up right now, there are all sorts of opportunities for us to come out of this thriving and leading during this crisis as well as through this crisis to help us get through it. There is so much opportunity. With the people who will be at this symposium, wow, you will get the ideas, the information. You will have the knowledge that you need to break through and make a change in your organization. I am excited. Hugh, let's make it happen. Bob, don't look for me, but I am coming to get you. Hugh: That's awesome. You may have noticed some old white guy. Sometimes we're clueless. Some of us know how to dress, but not me. Wil, did you say Pastor is on here? Blessings. Do you have a picture, or will you just talk to us? Dr. Kevin Williams: I am just going to talk to you. I don't have a picture today. Hugh: Thank you for being here. All of us have crazy schedules. We have some awesome folks. You are going to talk about how Paul said be transformed by the renewal of your mind. Talk about the transformation that you are going to talk about. You will be square up at noon EST at the symposium. It's the spot before we take a lunch break. Tell us why we need that and why you want to share that with people. Kevin: Right now, I think one of the greatest challenges that that could hinder any individual is to be stuck to an old way of thinking. Everything that has transpired recently has caused two waves of thought. One wave is people believing that things will go back to the way that they were, which is a very dangerous mindset. The other thought is understanding that they won't go back to the way that they were, but also understand what is getting ready to come. Any time there is going to be advancement, either you are going to be a reactionary person or you will be an initiating individual. Thought leaders nowadays have to initiate so that we can provoke other people to initiate and not be reactionary. Usually, if you are reactionary, you are going to suffer the consequences of reacting. But when your mind is renewed, when Paul talks about that, he is talking about a renovation of taking out some old things, almost like renovating a house, taking out some old things and literally changing the scope of the house and the aspect of it so that it can meet your current needs. The same thing happens in the mind. If a person doesn't transform their thinking and get out of the old stuck way of thinking, they are going to ultimately implode and damage themselves. But when an individual comes into a mind renewal, this is why symposiums like this are key and important, because what you have then is you have thought leaders who are ultimately like construction workers. What we're doing is aiding the individual to renovate their thinking because in this renovation, people are not just going to learn about what's new, but also learn the type of thinking they should have that has hurt them before but also is going to help them now because now we're open to a new way of thinking. If you look at what's happening with the United States, with the government, with the marketplace, everything is shifting. Look at stocks. Look at the different kinds of currency now, like cryptocurrency. All of these different things that are happening, our mind has to be renewed. The next thing is we have to make sure that we don't fall into the hands of something that we don't ascribe to because with all of this that is happening, by being a faith leader, I understand that God has an agenda. Even though God has a focus and a vision for all of us, so does the enemy. We have to make sure we are not operating in something that looks like it has a form of goodness, but denies the power thereof. As thought leaders, one of the things I believe that is important is that our thinking definitely has to change in order for us to be effective for this coming time and for this generation right now that is depending on us to see something for them that they cannot see for themselves. Hugh: Awesome. Dr. Williams, it's been a few years, but you invited me down to work with your congregation. We did some leadership stuff. Wil and I did some music stuff. Also, the very first symposium happened in Greensboro at your church. Did you know that? Kevin: Wow. I knew that we did the symposium, but I didn't know it was the first one. Hugh: That was a shorter one. It was an evening. You put out the word, and everybody came. I remember Bishop Willimon asked somebody why they came, and they said, “Pastor said to come.” He was quite impressed with that. This is #27. It's changed a little bit. Of course, we can't do it live right now, so we are doing it virtually. It's a celebration of something we started in Greensboro at New Jerusalem Cathedral. Thank you for helping me launch this so many years ago. Kevin: Most definitely. I always want to be a part of things that you're doing. Hugh: Blessings. You've been a blessing to me. Thank you for being here. You're sharing it with your tribe. Bishop Kirkland is out here in New York City getting people to collaborate. She is doing some important work today. She will be with us on Friday. May 1. Be there. Thank you for getting in here. As we close out here, my brother David Gruder, you get the last spot. You know Dr. Williams, don't you? David: Yes. We have not talked or seen each other for a number of years, but I am delighted to reconnect. Hugh: This has been a great conversation. What do you want to leave us with? David: What I want to leave you all with is a quote from a 20th century thought leader that many of you are familiar with by name at least, Buckminster Fuller. What Bucky Fuller said was, “The best way to predict the future is to invent it.” This Friday, we are going to be talking about how nonprofits get to invent their future in effective, useful ways. I am really looking forward to offering some key psychological foundations for inventing a new future. Hugh: And you have a book. Do you want to offer a virtual version of it? Tell us about that. David: Very briefly, yeah. I have been involved in one capacity or another with 24 books now. One of them is a book I was the psychology editor for called Transcendent Thought and Market Leadership. That is by Bruce Raymond Wright. I have been blessed by Bruce to be able to offer a digital copy of the book as a gift to everyone who attends the symposium on Friday. Hugh: We will have some other gifts, but that is a significant one. David, thank you for being here. Kevin, thank you for being here. Greg, thank you for being here. Bob, thank you for being here. Thyonne is going to capture you and take you to California. He can do a book signing there. He will do that in California. I look forward to putting a spin on nonprofit leadership in a good way and inspiring people to go out there and make a huge difference. Thank you so much for sharing today with everybody.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Supercharge Your Funding Program with Smartphones Interview with Dr. Greg Sanders and Adam Bricker form EZCard Note: EZCard.com is a sponsor of SynerVision Leadership Foundation SynerVision is using a new web based tool called EZCard and it's the best thing we've ever seen for connecting early with our tribe! We asked Adam and Greg to come on the show to show you a new way of promoting your nonprofit to supporters. Use this tool to raise funds, promote events, provide information to supporters about the work of the organization, and more. EZcard's mission is to elevate and empower all people and communities with affordable, digital technology, including tools for automation.  This enhances the bottom line of any business, school, or non-profit organization, and strengthens communities.  That's what we're all about! Here are the presenters: Dr. Greg Sandersis the Founder & CEO of EZcard, a simple but powerful, cutting-edge technology for smart phones.  Dr. Sanders taught sociology at the university level for 30 years and is, from one perspective, a very unlikely CEO of a software company.  He is not a programmer, and while he speaks 8 languages and plays 27 instruments, he doesn't speak “geek.”  However, six years ago he had a clear vision of how to put the power of the smart phone into the hands of ordinary people, and EZcard was born. Adam Brickeris a forward-thinking and innovative Fitness Philosopher. His ability to see what others miss allows for the creation of plans and strategies specifically designed to overcome obstacles that have previously prevented his clients from successfully attaining their goals. When a person fails to achieve successful results multiple times in multiple programs, its almost always an alignment issue between their beliefs and their desired outcomes. The biggest barricade to their success can be removed, usually very easily, once it is identified. The process to identify these hidden self-image beliefs is what Adam has brought to the fitness industry and what makes Bricker worth talking to. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Episode #42 of the Blue-in-Green:PODCAST which sees Imran connect with Greg Sanders - guitarist, producer and band leader of the incredible UK jazz ensemble, Teotima. Greg lets us in on the early days of Teotima, the processes involved with each of their stunning albums ('Counting The Ways' and 'Weightless'), how they hooked up with First Word Recordings and what the time in between projects has been filled with. Genuinely thrilled we're able to present this episode to you and to perhaps introduce any of the uninitiated to the wonderful music of Greg Sanders and those that comprise Teotima. www.blueingreenradio.com TuneIn: bit.ly/2LBK0BD The Blue-in-Green:PODCAST unveils new episodes on the first, second and third Mondays of the month. This podcast series runs in conjunction with the online radio station, Blue-in-Green:RADIO which celebrates 21st century soul, jazz, funk, Latin & hip-hop music. These shows are designed to give you some insight into the incredible range of talented presenters we're so lucky to host from all over the world and to geek out musically with us.

Signature Sponsor Dr.Greg Sanders Dr. Greg Sanders is the Founder & CEO of EZ Digital LLC, and visionary behind the EZcard, an affordable yet powerful digital media card. EZcard can simultaneously serve as a digital business card, a mobile website, and a smart-phone “web app.” EZcard started in local markets near St. Louis, Missouri, but has now expanded throughout the United States. As an innovative and flexible technology, EZcard serves individual businesses, networking groups, speakers, authors and influencers, events and event planners, and even chambers & community leaders as a “Town App” for communities. Greg was also selected as 2019 Entrepreneur of the Year by the Southwestern Illinois Business Association. With a Ph.D. in sociology, Dr. Sanders taught at Greenville University (Greenville, IL) for 25 years, and 5 years before that in southern Michigan. He was a Department Chair and served for one year as the President of the Illinois Sociological Association. Greg also lost two children in late 2018 to untimely deaths, and speaks on the subject of recovering from grief, and finding your life-work balance when tragedies occur and life turns your world upside down. He is also a spiritual leader in his community and enjoys music, writing, speaking, tennis, biking, soccer, pickleball, and Hallmark movies. He retired from teaching in 2016 to start EZcard. From one perspective, he is a very unlikely CEO of a software company. He is not a programmer, and while he speaks various foreign languages and plays over 20 instruments, he doesn’t speak “programming geek.” However, six years ago he had a clear vision of how to put the power of the smartphone into the hands of ordinary people, and EZcard was born. Learn more from Holly Porter at www.HollyPorter.com. Email questions & inquiries to Holly@HollyPorter.com Do you have a Book in You? Let's chat! www.ChatwithHolly.com Please subscribe to our Podcast so we can stay in touch and you can get other great shows sent to you.    

Given that open enrollment season is upon us and there is a presidential election on the horizon, healthcare in America is a topic once again standing center stage. On today’s episode, Charles leads a conversation with health insurance expert, Greg Sanders, about the various options for those out there who are NOT covered by a group plan. Specifically, they discuss options for young individuals and the self-employed out there that are not covered under a group plan, options for those considering retirement prior to Medicare eligibility, and general Medicare options once 65 or older (This episode has a little bit for everyone- so listen in and share away!)Support the show (https://atlantafinancial.com/fit-perspectives/)

Vintage Sermons // 10:00am Gathering // Greg Sanders  // Luke 15 Download Teaching Notes Subscribe to our Podcast

The term “adulting” has become a tongue-in-cheek term used by young adults to celebrate the completion of daily “adult” tasks such as paying bills. But what are the deeper responsibility of adults in our society? In Book 5 of the Harry Potter series, Harry Potter and the Order of the Phoenix, the adults are waging a resistance against the Dark Lord Voldemort that they do not fully let Harry and his friends into. Though this frustrates the youth, the adults have a sense that the full fight is not yet for these teenagers. In an age where our most outspoken and arguably most effective activists against violence have been youth, how are we as adults measuring up? How might we fully embrace the responsibilities of being adults?

When we allow ourselves to accept the journey within the Dark Woods, the resiliency of the human spirit tends to shake things up a bit as we begin to awaken to nudgings toward a fuller life. But life is messy. Life is uncertain. Rather than a problem to be solved, what if we saw uncertainty as a gift helping us let go of all we cannot know so that we can live more wholeheartedly? Rev. Anastassia preaching; Greg Sanders on piano.

We sat down with Greg Sanders of Realty ONE Group Edge to discuss his career, move to Realty ONE Group, new office opening and the greater Atlanta market. Come join the conversation!

Solving the Sensory Overload of Today's Digital Age   In this episode, Virginia and Dr. Greg Sanders discuss: How Greg's journey began Tackling the digital beast The new tech concept of "inviting the audience in" How easy is EZ Card? Key Takeaways: Greg and his company try to give people a digital tool to simplify their world The detriment of social media is that you see the people that you want to connect with, but you also see everyone else that you don't 6 percent of emails get opened whereas 96 percent of text messages get opened We need to think about making technology work in smart ways and as a community   "Technology should build communities and it shouldn't do what you wouldn't do, in person." - Dr. Greg Sanders   About Dr. Greg Sanders: Dr. Greg Sanders has a PhD in sociology, 30 years of university-level teaching experience, and is now Founder & CEO of EZ Digital World Corp, a software company devoted to helping to empower and elevate people with innovative digital communication.   Reach Us Here: Virginia Muzquiz - @TheReferralDiva     Connect with Dr. Greg Sanders: Websites:  https://ezcard.com/index.php Email: greg@ezcard.com   Connect with Virginia Muzquiz: Twitter: @TheReferralDiva Website: http://masterconnectors.com/   Show notes by show producer: Anna Nygren   Audio production by Turnkey Podcast Productions. You're the expert. Your podcast will prove it. 

Dr. Sanders received his undergraduate degree and his M.D. from McGill University in Montreal, Canada. After completing his internship and residency at Boston University, he completed a Fellowship in Cardiology at Harvard University. Dr. Sanders is Board Certified in Internal Medicine, Cardiovascular Disease, Echocardiography and Nuclear Cardiology. He is a designated Fellow of the American College of Cardiology (FACC). He has been recognized as one of Phoenix Magazine's TOP DOCs. He practices all aspects of non-invasive cardiology and has a special interest in Information Technology. This interest led him to create the company, HybridChart, a hospital rounding solution that has proven to help practices increase revenue, positively impact practice efficiencies and productivity, and improve census management, discharge management and readmission rates. 00:00 Why Greg started HybridChart in 2008. 02:00 How Greg balances being a practicing cardiologist and covering 7 hospitals with his ten partners. 02:30 The challenges of coordination and process for a physician. 03:50 How HybridChart eases the communication between physicians and other physicians, as well as the back office and physicians. 05:00 The difference between an EHR and the Sign-Out. 05:00 The information gaps between EHRs and Sign-Outs. 06:20 The disconnection between emerging electronic solutions and electronic recording keeping apps and the cumbersome issues this causes for physicians. 08:30 The major gaps in technology that a Rounding Physician faces everyday in an effort to solve problems there are no current tools for. 10:30 How the Rounding Physician's routine changes for the better with HybridChart. 11:00 Auditing and Digitizing only what needs to be audited and digitized. 11:45 Most practices dedicate 1-4 full-time-equivalent employees just to managing patients. 14:00 How HybridChart connects the dots between EHR data, clinical data, and real-time hospital data about a patient. 14:20 HybridChart's billing services. 17:40 How HybridChart makes an obsolete paper system accountable. 18:30 The challenges with implementing and training physicians in new technology, and how HybridChart eases physician adoption. 21:20 HybridChart's “Jump Right In” Onboarding system. 24:30 How HybridChart handles Discharge Management with the utmost care. 25:50 Data Acquisition and Quality Measurements. 27:00 Find out more at: http://hybridchart.com/ Or LinkedIn Or Facebook

The Vigilante: Fighting Hero of the West brings the history of comic book movies into the genre of westerns while still staying grounded in "modern day" of the 1940's. Enter The Vigilante a superhero with the powers of a cowboy and the voice of an angel. Greg Sanders a.k.a. "The Prairie Troubadour"  an actor by day and crime busting under the guise of The Vigilante a little bit later in the day. This DC comics hero has to solve the mystery of the "100 Tears of Blood" before everyone's horses get stolen. Special Guest Rhodrick Magsino joins our intrepid host in his quest to watch every comic book movie ever made.

Panel Discussion

Open Data in the Chicago Region: Leaders, geeks and grassroots

ESTACADA, OR - Four contenders competed for the "Baddest Badass" purse at Cross Crusade Race #5 Sunday. Tony Tapay had a strong showing in the single speeds and has been declared Baddest Badass. He was followed closely by Badass Tad Bamfod who rides a fixed gear bike. Jonathan "Badass" Maus who co-hosted the live feed from Barton Park hit a rock wrecked (see the Barton Quick Edit). He fell back a few spots from his strong showing last week. Greg Sanders also ran into some issues during the race. He did complete it, though, and can also wear the title of Badass, but he can't wear the purse. At least not this week. All Badasses rode out to the Cyclocross Crusade and completed their race. It's not easy. Barton Park Race coverage and the Badass Challenge was sponsored by Oregon's Mt. Hood Territory