Podcasts about harlem school

Tai Jimenez, Director of the Dance Theatre of Harlem School, joins us to discuss her journey in ballet and her vision for training the next generation of dancers. She breaks down the school's structure, why DTH remains an afterschool program, her plans for future growth of their trianing programs as well as how they help students transition into professional careers. We also explore the current job market, the challenges of rebuilding boys' programs post-COVID, and DTH's efforts to change perceptions about male dancers. Plus, in our Ballet Lightning Round, Tai shares pivotal moments from her own training, the best advice she ever received, and what excites her about the future of ballet. Learn More about the Dance Theatre of Harlem School on their website More Links: Support Ballet Help Desk Buy Corrections Journals Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Ballet Help Desk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

What an absolute honor it is today to have the first ever African American Rockette, the fabulous Jennifer Jones, here with me to talk about her new book Becoming Spectacular: The Rhythm of Resilience from the First African American Rockette, which comes out February 18. What a powerhouse woman Jennifer is. The Radio City Music Hall Rockettes had been in existence for 62 years in 1987, when Jennifer broke barriers and became the first African American Rockette. She made her debut with the Rockettes on January 31, 1988—which was also Super Bowl Sunday, which was in San Diego that year. Jennifer takes us inside that moment in today's conversation; she writes, poignantly, “Making history rarely feels like it in the moment.” Jennifer talks about the struggles she faced and her rock-bottom moments as she worked to achieve this dream; what it was like to be the first; dance and what it has meant to her life; what life as a Rockette was like—and Jennifer would know, as she was one for 15 years; her life after the Rockettes, including joining the cast of the acclaimed Broadway production of 42nd Street; her diagnosis with cancer and how she made it to the other side; and how, in her words from the book, “As I age, I feel more alive than ever.” Quick correction: I said in the episode that Jennifer was given five months to live; it was actually five years to live—but she beat the odds regardless. The Rockettes are an iconic dance troupe, but Jennifer is an iconic woman, and I know you're going to fall in love with her as I did in this conversation. She is a Tony Award-winning dancer, a staunch advocate for equal rights in the arts, and her work has been celebrated by the Harlem School of the Arts, Radio City Music Hall, and Madison Square Garden. She is a survivor of colon cancer, and she fiercely promotes early screenings. She's also written a children's book called On the Line, and there exists a Limited Edition Dancing Jenn Doll, which is reflective of her dedication to the arts. I am so thankful to now know her.Becoming Spectacular: The Rhythm of Resilience from the First African-American Rockette by Jennifer Jones

Tamisha Anthony is an illustrator working for clients such as Penguin Random House, Macmillan Publishers, Little Brown, and Chronicle Books. She recently finished her 6th ⁠picture book⁠ within 4 years, and is now working on her 7th and 8th. Tamisha has taught at the New-York Historical Society and the Harlem School of the Arts, and is currently teaching an art history + illustration class called "⁠Redrawing Black History⁠" with Lilla Rogers for ⁠Make Art That Sells⁠. Her new class "⁠Find Your Art Style with Style⁠" on the same platform will be available in 2025. Tamisha also writes and illustrates the article “Spilling the Tea with T” for ⁠Uppercase Magazine⁠.  In today's episode, ⁠Tamisha Anthony⁠ discusses her career as an illustrator and children's book author, how her personal style evolved and helps her be seen for who she truly is, & her background in dance and the decision to transition out of it to protect her mental health. She also discusses body image and the pressure to conform to certain standards in the dance industry, & how to identify “good stress” and move through the discomfort. Learn more about ⁠Tamisha Anthony & ⁠The Story Project⁠.   --- Support this podcast: https://podcasters.spotify.com/pod/show/storyproject/support

Betty Allen has been featured on countless omnibus Countermelody episodes, but it's time for her to get her own episode! Born in Ohio on 17 March, 1927, she died at the age of 82 on 22 June 2009. Not only did Betty Allen possess a voice of significant power and amplitude, she was a superb musician who channeled her soul into her singing, using her superb technique to convey depth of meaning in all the music she sang. She also had a wide repertoire, excelling in opera, concert, and recital. Though her recorded legacy is relatively small, it is superb and significant. Today's episode samples a cross-section of her recordings, both live and studio, and includes collaborations with Leonard Bernstein, Nicolai Gedda, Eugene Ormandy, Carmen Balthrop, Horst Stein, Leontyne Price, Virgil Thomson, John DeMain, Hildegard Hillebrecht, Richard Bonynge, and Adele Addison. She was a powerful force for good in the musical world, as an educator and advocate as well, succeeding Dorothy Maynor in leading the Harlem School of the Arts, where she served as both executive director and president. Many currently active singers have been touched by the stringent generosity of this fine artist, and it is my honor to pay tribute to her today. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.

The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and the Reclamation of Their Groundbreaking History   By:  Karen ValbyThe forgotten story of a pioneering group of five Black ballerinas, the first principals in the Dance Theatre of Harlem, who traveled the world as highly celebrated stars in their field and whose legacy was erased from history until now.At the height of the Civil Rights movement, Lydia Abarça was a Black prima ballerina with a major international dance company—the Dance Theatre of Harlem. She was the first Black ballerina on the cover of Dance magazine, an Essence cover star, cast in The Wiz  and on Broadway with Bob Fosse. She performed in some of ballet's most iconic works with her closest friends—founding members of the company, the Swans of Harlem, Gayle McKinney, Sheila Rohan, Marcia Sells, and Karlya Shelton—for the Queen of England and Mick Jagger, with Josephine Baker, at the White House, and beyond.Some forty years later, when Lydia's granddaughter wanted to show her own ballet class evidence of her grandmother's success, she found almost none, but for some yellowing photographs and programs in the family basement. Lydia had struggled for years to reckon with the erasure of her success, as all the Swans had. Still united as sisters in the present, they decided it was time to share their story themselves.Captivating, rich in vivid detail and character, and steeped in the glamor and grit of professional ballet, The Swans of Harlem  is a riveting account of five extraordinarily accomplished women, a celebration of their historic careers, and a window into the robust history of Black ballet, hidden for too long. During Covid, five ballerinas met weekly on Zoom and formed the 152nd Street Black Ballet Legacy Council. Karen Valby joined them and wrote their story “Karen Valby's The Swans of Harlem brings to life the stories of Black dancers whose contributions to the world of ballet were silenced, marginalized, and otherwise erased. Karen introduces readers to important figures of our past, while inspiring us to courageously chase our dreams.”Misty Copeland“These five original Dance Theatre of Harlem ballerinas fell in love with an art form that most of America believed was white and should remain so. Upon Arthur Mitchell's founding of an all-Black company in 1969, they eagerly took their places at the barre and challenged themselves to the utmost. They triumphed. They showed that Blacks could not only excel at classical ballet but could also shape the art in their own vibrant image. Karen Valby weaves their stories together as a choreographer would: the women form an ensemble, yet each gets her own riveting solo. It's thrilling to watch as they join forces at last and claim their unique place in American ballet's past, present and future.”—Margo Jefferson152nd Street Black Ballet Legacy FoundationThe 152nd St. Black Ballet Legacy is an independent non-profit organization created by five trailblazing Black ballerinas.  Their professional careers began at the founding of Dance Theatre of Harlem, where their sisterhood was born.  They have enjoyed and nurtured their sisterhood for over 50 years and continue to thrive for the sake of preserving our their rich history.Lydia Abarca Mitchell is a founding member of the Dance Theatre of Harlem and their first prima ballerina. She danced leading roles in George Balanchine's Agon, Bugaku, Concerto Barocco, Allegro Brillante, Tchaikovsky Pas de Deux, and Swan Lake, Jerome Robbins' Afternoon of a Faun, Ruth Page's Carmen and Jose, William Dollar's Le Combat, and Arthur Mitchell's Ode to Otis, Holberg Suite, and Biosfera. She was featured on the cover of DanceMagazine, in the movie The Wiz, and on Broadway in Bob Fosse's Dancin'.  It was a stunning career on the world stage.Karen Valby Author of Welcome to Utopia, and contributor to The New York Times; O, The Oprah Magazine; Glamour; Fast Company; and Entertainment WeeklyDance Theater of HarlemThe Dance Theater of Harlem was founded in 1969, during the Civil Rights movement by Arthur Mitchell and Karel Shook.Harlem School of the ArtsElizabeth Howard, Producer and Host of the Short Fuse Podcast Elizabeth Howard is the producer and host of the Short Fuse Podcast, conversations with artists, writers, musicians, and others whose art reveals our communities through their lens and stirs us to seek change. Her articles related to communication and marketing have appeared in European Communications, Investor Relations, Law Firm Marketing & Profit Report, Communication World, The Strategist, and the New York Law Journal, among others.  Her books include Queen Anne's Lace and Wild Blackberry Pie, (Thornwillow Press, 2011), A Day with Bonefish Joe (David Godine, 2015) and Ned O'Gorman:  A Glance Back (Easton Studio Press, 2016). She leads reading groups at the Center for Fiction in Brooklyn, New York.  @elizh24 on Instagram     

New York City pianist/keyboardist Alexi Marcelo believes in the power of music as a positive and uplifting force. He studied at the Harlem School of the Arts and then went on to the University of Massachusetts at Amherst, where he focused on African-American Music/Jazz Piano Performance and Composition under the tutelage of renowned saxophonist Yusef Lateef. Alexi and Tim were classmates at UMass, and it was there that they became close friends and musical collaborators. Since those halcyon days in Western Massachusetts, he has performed all over the world, including at the North Sea Jazz Festival, Etnafest in Italy, Alice Tully Hall, and more. Alexi is featured on recordings with Yusef Lateef, Adam Rudolph, Mike Pride, and Malcolm Mooney. Currently, he is working on a new album that should be released in the coming year.

Aubrey Lynch II, dean of students and director of ABT Wellness and RISE with American Ballet Theatre in New York City, joined the studio to talk about his work to further mental health and DEI initiatives at ABT and beyond! He focuses on mentoring students at ABT and providing resources for them, as well as expanding access to mental health resources that support the whole dancer in and out of the studio. He also works to build upon ABT's diversity, equity and inclusion initiatives to make ballet a more welcoming place on stage, in the audience and behind the scenes. Prior to joining American Ballet Theatre, Aubrey was the dance director and chief education and creative programs officer at The Harlem School of the Arts. Before transitioning to arts administration, he was one of the final dancers hand-selected by Alvin Ailey to join Alvin Ailey American Dance Theater. Aubrey was an original company member of Complexions Contemporary Ballet, and he was an original cast member of the Tony Award-winning Broadway musical, Disney's The Lion King. Aubrey also acted as the production's associate choreographer, and later, the associate producer. We talked about the importance of self-reflection in ballet, providing visibility for BIPOC and female dancers and choreographers, and why access to mental health is so important for dancers.  Follow Aubrey on Instagram: ⁠⁠⁠@aubreylynch Learn more about Aubrey's work: ⁠⁠www.aubreylynch.com Learn about ABT's RISE program: https://www.abt.org/community/abt-rise/ Support American Ballet Theatre: https://www.abt.org/support/individual-giving/membership/ Follow Aubrey Lynch In Reflection: https://www.youtube.com/watch?v=tuScqUc3gX4&list=PL4kr2tqzHCEb52fNAgZ50pGyPw1MAk2Nm Music in this episode: Waltz of the Flowers - Tchaikovsky Barroom Ballet - Silent Film Light - Kevin MacLeod Barroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. ⁠⁠⁠https://creativecommons.org/licenses/by/4.0/⁠⁠⁠ Source: ⁠⁠⁠http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310⁠⁠⁠ Artist: ⁠⁠⁠http://incompetech.com/⁠⁠⁠ ⁠⁠⁠@eblosfield⁠⁠⁠ | theadultballetstudio@gmail.com Support this podcast on Patreon! ⁠⁠⁠https://patreon.com/TheAdultBalletStudio?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=creatorshare_creator&utm_content=join_link --- Support this podcast: https://podcasters.spotify.com/pod/show/elizabeth-blosfield/support

TVC 638.2: From February 2018: Phil Gries and Ed continue their discussion about Harlem School 1970, Phil's acclaimed “direct cinema” documentary that is also the only known feature-length documentary that was filmed inside an actual inner city public elementary school in the U.S. during the 1960s, 1970s, or 1980s. For our listeners on the East Coast, Harlem School 1970 will be shown at the Maysles Documentary Center in New York City on Thursday, Mar. 14 beginning at 7pm. For tickets and more information, go to Maysles.org Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

TVC 638.1: From February 2018: Phil Gries joins us to discuss Harlem School 1970, an original documentary that provides an inside look at a typical day at Community School No. 30M in Harlem, New York, where Phil taught for three years before embarking on his long career as an award-winning cinematographer for film and television. Filmed, produced and directed by Phil Gries, Harlem School 1970 is an early example of “direct cinema,” a form of documentary storytelling that allows viewers to watch the narrative unfold and shape their own meaning without narration or outside interviews. For our listeners on the East Coast, Harlem School 1970 will be shown at the Maysles Documentary Center in New York City on Thursday, Mar. 14 beginning at 7pm. For tickets and more information, go to Maysles.org Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

Stakeholders in a nascent program in NYC talk about their roles building formal pathways from high school programs to careers in the growing video game economy. Marc joins the gathering to celebrate one of partners' latest achievements in Harlem, a youth-driven exhibition that celebrates the role of video games in the lives of young people, challenging negative tropes about being an enemy to positive growth and development. Special thanks to Harlem School For The Arts, host and without whose support the exhibit would not be possible.Video Games: The Great Connector, explores how young people leverage video games in this pursuit, emphasizing less what games do to youth than what youth do with games. Special thanks to hosts of the event and exhibition, Harlem School of The Arts, without whose support the exhibit would not be possible.Gaming Pathways was founded by a city initiative from the Mayor's Office of Media and Entertainment as a new way for high school students in Harlem, Northern Manhattan, and the South Bronx to get training, degrees, and eventually jobs in digital games. Gaming Pathways is guided by an Educational Advisory Board, which includes many of NYC's leading AAA and indie games companies. Guests:Nick MartinezSylvia Aguinaga at MimogamesNick FortugnoPhil Courtney & Meredith Summs at Urban ArtsBarry JosephSpecial thanks:Stan AltmanKaren MurrayNYC office of Media and Entertainment Commissioner Pat Swinney KaufmanHarlem School of The ArtsLinks:https://www.ccny.cuny.edu/gamingpathwayshttps://hgs-ny.org/https://animogames.org/https://urbanarts.org/ Hosted on Acast. See acast.com/privacy for more information.

Rage Against the Machine guitarist Tom Morello is on tour, and his next stop is at PS 200 - The James McCune Smith School. The Harlem-born musician will perform and speak to middle schoolers in his home turf on Thursday 11/2, as part of a nationwide tour of public schools in collaboration with the music education nonprofit Music Will. Morello joins us to discuss the work he's doing with them.

The RAD's flagship event, the Margot Fonteyn International Ballet Competition, gives young dancers a chance to learn from top professionals. This year's coaches include Endalyn T Outlaw – dancer, educator, choreographer and Dean of the School of Dance at the University of North Carolina. Endalyn's career is incredibly varied – she performed with the Dance Theatre of Harlem and in the original Broadway cast of The Lion King, she's restaged ballets and developed a philosophy of dance teaching that is focused on helping dancers bring their whole selves to the stage.Endalyn T Outlaw – dancer, choreographer and educator – is dean of the School of Dance at UNCSA. She was previously director of Dance Theatre of Harlem School in New York – a company she joined in 1984, becoming a principal dancer in 1993 – and director of the Cambridge Summer Art Institute, Massachusetts. She has created an eclectic body of choreographic works and excels at restaging ballets, having worked with luminaries including Arthur Mitchell, Alonzo King, Agnes de Mille and Garth Fagan. She has performed on Broadway and internationally, including in the original casts of The Lion King and Aida.Find out more about the work of the RADFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.

This is the afternoon All Local update for May 19, 2023

Joan Ross Sorkin (Librettist) is an opera librettist, playwright, and musical theatre bookwriter and lyricist. Operas: Strange Fruit, Premiere, Long Leaf Opera, New York City Opera's VOX, In Concert, Harlem School of the Arts in association with City Opera; White Witch, A Monodrama for Contralto and Percussion, Premiere, Symphony Space. Musicals: Monet, In The Theatre, The Real McCoy, Go Green! and Isabelle and The Pretty-Ugly Spell. Plays: (mis)Understanding Mammy: The Hattie McDaniel Story (Drama Desk nom. for Capathia Jenkins), The Survival Collection, Hamlet in Bensonhurst, The Confessional and others. Member, Dramatists Guild, BMI Musical Theatre Workshop, and ASCAP. (www.joanrosssorkin.com) A production of 'Dandelion' runs from April 29 - May 14th, 2023 at the Playhouse on Park, West Hartford, CT Ticket info: https://www.playhouseonpark.org/web2/Season14/TYA_Dandelion.html

Ivan Hampden Jr. , Founder and President/CEO of Hamptown Music Institute, was born and raised in New York City, and grew up in Harlem's musically diverse neighborhoods to the rhythms of R&B, Salsa, Caribbean, Jazz, Blues, Pop, Funk and whatever else trickled in. This saturation of music inspired Hampden to start playing the drums at the age of eight, with the local Catholic school marching band. By age 13, he was playing in local clubs in and around New York City, with Blues musicians who helped instill in him a sense of timing and groove. The musical diversity of his early youth set the foundation for Hampden's future work with percussion and keyboards. Hampden started his formal training in 1973, studying at the Jazz Mobile with Charlie Percep, and at Mannes College of Music with Norman Grossman. He went on to attend Bronx Community College in 1977, where he received private lessons at the Metropolitan Opera with Richard Horowitz. During his first semester at Bronx Community College, a friend told him about the Dance Theatre of Harlem. Hampden had to be involved and joined the orchestra—a position he still holds today. While at the Dance Theatre of Harlem, Hampden was also a drum and percussion instructor at the Harlem School of the Arts, and at Seton Hall University in the Black Music Department. But his talent reached far beyond Harlem. Hampden has touched and enhanced the New York theater community as well, performing for various shows on Broadway, The Alvin Ailey Dance Theater, and many more.. Not only an accomplished drummer and percussionist, Hampden is also a producer and songwriter who collaborates with such artists as Luther Vandross, Nick Ashford, Chaka Khan, Eartha Kitt, and many others. Along with being Luther Vandross' drummer and co-writing partner for 17 years (which earned him recognition four(4)times from the Grammy Awards as a Musician, Arranger and Programmer on a number of Vandross's platinum recordings) until the time of the consummate musician's death , Hampden currently records and tours with other notable artists such as Stephanie Mills, Ashford & Simpson, Roberta Flack, Phil Perry, Vanessa Williams and Jennifer Lopez. In 2001, Hampden relocated to the south, where he continues to write and produce in between touring around the country and world. In fall 2007, Hampden signed on as an adjunct professor at North Carolina Central University in Durham, North Carolina, teaching recording production I and II, and audio postproduction. In the Fall of 2010, Ivan also accepted an offer to teach Drums and Percussion at Johnston Community College. After 10 years of teaching as a music educator in North Carolina, He is now Founder and CEO of The Hamptown Music Institute in Clayton, North Carolina, where his mission is to “Develop the next generation of music industry professionals and Artists.” While continuing to be in demand as a music Producer, Ivan is also working with new local talent around the country. Live Performance credits: Bonnie Raitt, Al Jarreau, Dionne Warwick, Maceo Parker, El Debarge, Kenny Lattimore, Aretha Franklin, Stevie Wonder, Michael MacDonald, India.Arie and Joe—the list goes on and on. New and accomplished talent alike seems to gravitate toward Hampden. Recording Credits: Hampden's recording resume includes such artists as Diana Ross, Akiko Yano, Ann Nesby, Doc Powell, Jocelyn Brown, Mavis Staples, The Temptations, Nestor Torres, Marcus Miller, Cathy Dennis, Howard Hewett, Luther Vandross, Beyonce Knowles, Ashford & Simpson, Sy Coleman, Tramaine Hawkins and Roberta Flack, just to name a few.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

I lead off my new episodes for Black History Month 2023 with one of the most glorious voices ever captured on recordings, Dorothy Maynor (03 September 1910 – 19 February 1996), one of the most glorious lyric soprano voices ever captured on recording. Discovered by Serge Koussevitzky in the late 1930s and championed by him and a host of other conductors (including Leopold Stokowski and Eugene Ormandy), she became renowned as a recitalist but, because of restrictions of the era placed upon Black singers, never sang on any operatic stage. Nevertheless, her studio recordings of arias by Mozart, Debussy, and Charpentier are legendary. Our appreciation of Maynor the singer is greatly enhanced by the presence of live radio recordings as well as a recently-issued live 1940 song recital from the Library of Congress. It is one of the great injustices of musical history that gifted Black singers of Maynor's caliber from that era were outrightly denied the opportunity to perform in staged opera performances at venues like the Metropolitan Opera. Dorothy Maynor nonetheless persevered and left an incredible legacy, and not just a vocal one: in 1963, the year of her retirement from singing, she founded the Harlem School of the Arts, for which, before she stepped down as President in 1979, she raised more than $2 million dollars for the construction of a new facility for the institution. She also was the first African American singer to perform at a presidential inaugural (both for Harry S. Truman in 1949 and Dwight D. Eisenhower four years later), as well as the first African American to sit on the Board of Directors of the Metropolitan Opera. This episode features Maynor in live, studio, and radio recordings of repertoire by Bach, Handel, Schubert, and Mendelssohn, as well as some of the finest recordings of spirituals ever made. Also heard are the songs of three Black composers, Samuel Coleridge-Taylor, Cecil Cohen, and R. Nathaniel Dett, the latter of which Maynor studied with at the Hampton Institute, whose work Maynor frequently programmed on her recitals. The episode opens with a joyous birthday tribute to next week's subject, Martina Arroyo, whose 1974 album of spirituals was backed by the Choir of the Harlem School of the Arts conducted by Maynor herself. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

We had a great conversation with Kyle P. Walker: Activist Concert Pianist and Educator as our guest of Season 3 Episode 6. Kyle, a strong advocate for social equality, believes music can speak to social issues better than verbal language. Having extensive experience both as a performing artist and journalist, he feels a strong responsibility and passion for raising awareness of social justice issues through music in an accessible and engaging way.In this episode, you will hear Kyle's thoughts on how music can speak towards current social issues, how he brings awareness to influential Black music through his innovative and inclusive programs, and more.[Kyle P. Walker – Activist Concert Pianist]A strong advocate for social equality, critically-acclaimed pianist Kyle P. Walker, believes music can speak to social issues better than verbal language can, the understanding of which he brings to both traditional Western repertoire and that of the living world-wide composers with whom he collaborates. Many of his performances have been featured on media broadcasts, including The Green Space at WNYC, WQXR's Mcgraw-Hill Financial Young Artists Showcase, Sunday Baroque, NPR's Public Radio East, CNN, and PBS. He has been featured in recitals at New York's Weill Hall at Carnegie Hall, and with an orchestra in Stern Auditorium at Carnegie Hall. Mr. Walker was featured in residency alongside the Boston-based ensemble Castle of our Skins at The Isabella Stewart Gardner Museum. The online series of free digital programs explore the ways some Black American composers have found inspiration in the rich tradition of spirituals. Walker is a pianist of DARA + KYLE, an innovative piano/cello duo, and 2021 recipient of the Chamber Music America “Ensemble Forward” career grant. The award-winning duo is committed to bringing excellence and respect to all under-represented composers in the canon. Walker also performs with The Harlem Chamber Players, an ethnically diverse collective of professional musicians dedicated to bringing high-caliber, affordable, and accessible live classical music to people in the Harlem community and beyond. As an advocate of social justice, Walker is a founding member and chamber musician of The Dream Unfinished, an activist orchestra that supports NYC-based civil rights and community organizations through concerts and presentations. As a teaching artist and educator, he has co-presented at the Human Rights Center, New York Society for Ethical Culture, and the Brooklyn Public Library. A dedicated educator, Walker is a member of the piano faculty at NYU Steinhardt's program in Piano Studies. In addition he is also on the faculty of the Lucy Moses School at Kaufman Music Center and on the chamber music faculty of The Artist Program at Suzuki on the Island. He has presented recitals, residencies, and masterclasses at various institutions such as The University of Dayton, The University of Virginia, Belmont University, Allen University, The Harlem School of the Arts, and The Duke Ellington School of the Arts. He has also co-presented extensive workshops alongside The Dream Unfinished, including the Carnegie Hall Music Educator Workshop, speaking about arts activism and building diverse curriculums for students to include composers that reflect the communities they serve. 

Former Radio City Rockette, Keisa Parrish joins us this week with a great discussion on goals (past and present), wellness and how to make the most out of all your experiences.Keisa Parrish has been teaching dance and choreographing for the past 25 years, judging dance competitions for the last 17 years and helping to develop dance programs for over 15 years. She is a graduate of the Fordham University/ Alvin Ailey BFA program, which she completed while performing as a Radio City Rockette in the Christmas Spectacular. For the past 22 years, since living in NYC, Keisa has worked with amazing organizations including Harlem School of the Arts, where she was a teacher and also the Assistant Dance Director. Next Step Broadway, where she was the Manager, Assistant Artistic Director and a teacher. Keisa has been an adjunct professor at New York City College. Judged and Emceed at Elite Dance Challenge Competition, Dancers Inc. Competition, Backstage Competition and many more. She was the former New Jersey Director of scholarship program Distinguished Young Women and has taught and choreographed at many dance schools all over the Tri-State area. As a certified Yoga/Pilates/TRX instructor, she's been featured in Fitness Magazine, on Pix 11 Morning News, NBC New York and Buzzfeed. Keisa's has been teaching fitness and wellness classes/workshops for over 13 years and has worked for great companies such as YogaWorks, Sports Club LA/NY and Clay Gym. Colgate Palmolive has hired her to teach their global leaders "How to use Mindfulness to Alleviate Stress,” while The Covenant House hired her to teach “Exercising & Eating Your Stress Away,” and has taught Pilates as a Team Building program to the Nike Basketball Team New York. Keisa is the Founder & CEO of Luebirta and Kaleonani Inc, a company that inspirse you to leverage your talent, organize your dance curriculum, move your body, take excellent care of yourself and create your best possible life.Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

Hey, PODience! We've got a brand new episode for you and you won't want to miss it. Episode 56: “Arm Yourself with Hope” is a thoughtful, and in some aspects spiritual conversation with James C. Horton, the newly-appointed President of Harlem School of the Arts in New York City. At the top of Courtney's chat with James, a self-proclaimed "analog dude" and father of four ambitious kids, they linger for a while on their childhood experiences. Their conversation really gains momentum when they connect over the meaning of family and finding a connection to the arts as a safe space at just the right time in life. The heart and soul of this meaningful chat is centered around the word “tension.” As James says it, every aspect of art is based in tension and how we, as artists, explore and move through that tension. Without the presence of tension, James notes, there is nothing. How one harnesses and focuses the power of that tension is the artist's ultimate challenge. Other topics explored in this episode include core values as personal and professional anchors, the collaborative and communal nature of theater and slingshots. Yes, you read that right. Slingshots. So where exactly does this conversation begin and end? You've just gotta listen to find out!

"You Gotta Make Them Say 'Wow!'"Our guest for this episode of MFM Speaks Out is Baba Don Eaton Babatunde. He is a percussionist and master of African drumming and the rhythms of the African Diaspora in the Americas.Baba Don has performed and recorded with Abidun Oyewole and The Last Poets, Pattie Labelle, Joe Henderson, Donald Brown, Jason Linder, Tyrone Jefferson, Tevin Thomas, James Spaulding, Ron Carter, George Clinton, Pharaoh Sanders, the Metropolitan Orchestra, Bill Laswell, and Philycia Rashad to name a few. His work with dance companies and choreographers includes The Dance Theatre of Harlem, Alvin Ailey Dance Theatre, Maurice Hines, Gregory Hines, Andy Williams, Chuck Davis Dance theatre, Frank Hatchet, Geoffrey Holder, Louis Johnson, and Pyramid Dance Company.His theatrical credits include The Classical Theatre of Harlem's productions of Macbeth, Caligula, and Dream on Monkey Mountain, He performed on HBO's Hoop Life soundtrack and Julie Andrews' Green Room, and has been featured on a Sesame Street segment called Drumming School.He has performed at Carnegie Hall, The State Theater,  Avery Fisher's Hall, City Center, The Apollo Theatre and The House Of Blues to name a few.He is also a respected music educator. His credentials include workshops throughout the Metropolitan, Tri State  Area, with many institutions such as The Harlem School of The Arts, John Jay College, Arts Connections, Harlem Late Night Jazz, African Horizon, Arts Horizon, Yaffa Productions, North Hampden High School and Jack and Jill Arts Center.Topics discussed:Baba Don's family lineage and their part in the history of Harlem and the civil rights movement, his education, his work as a music educator and purveyor of African drumming in modern western music, the many people he performed with, including his work with Abiodun Oyewole and the Last Poets, The Alvin Ailey Dance Company, and Patti LaBelle, his association with MFM, and his experience, thoughts, and advice about the music business. Music on this episode:"25 Years" by Abiodun Oyewole, featurning Baba Don Eaton"Brothers Working" by Abiodun Oyewole, featurning Baba Don Eaton"Festival" by Abiodun Oyewole, featurning Baba Don Eaton

Today, we welcome guest  Kyle "Grim Chim" Seeley to the show.Kyle "Grim Chim" Seeley was raised in Prince Georges County, Maryland, and was turned on to entertainment at an early age through watching Michael and Janet Jackson music videos. He began training professionally at Suitland High School's Visual and Performing Arts Dance Program. After graduation, he received a full scholarship to prestigious schools such as Washington Ballet School, Dance Theater of Harlem School, Joffrey Ballet School, Alonzo KIng's Lines Ballet School as well as The Ailey School, where he studied all genres of dance and choreography for three years and has had the honor of performing with the Alvin Ailey American Dance Theater in the piece "Memoria" as well as appear in the book "Men in Motion" by Francios Rousseau. After leaving the Ailey School, Kyle pursued the commercial route training in Hip-Hop and Street Jazz under Rhapsody James, Jared Grimes, and Luam. Kyle has had the pleasure of dancing for recording artist Zayn Malik, performing on the Latin Grammy Awards with Bomba Estereo and Will Smith, and dancing in the iconic Las Vegas show Don Arden's Jubilee! Recently Kyle was fortunate enough to dance in two back-to-back Halftime Shows for Super Bowl LV and LVI. Kyle hopes to master the art of versatility one day to create a career merging the world of concert and commercial dance. In this episode, we discuss what it means to control your narrative, why it is so important to show up for yourself before anything or anyone else, black representation in commercial dance, finding love, and so much more!!  So, come on and dive in!To learn more about Kyle and his beautiful journey, check out the links below:~ Instagram: https://www.instagram.com/grimchim/~ Facebook: https://www.facebook.com/GrimChim/Be sure to follow the Hope Without Fear Podcast via the following:~ Facebook: https://www.facebook.com/hopewithoutfear~ Instagram: https://www.instagram.com/hopewithoutfearpodcast/Follow and engage with Host Stacy Simmons:~Facebook:https://www.facebook.com/Mr.StacySimmons~Instagram: https://www.instagram.com/mr.stacysimmons/Please be sure to rate the episode, download it to your device, and subscribe so you may stay alerted when new content releases.  If you have any questions or want to share your thoughts, please email us at hopewithoutfearmedia@gmail.com.  We are thrilled to have you on this journey with us!

Today, we welcome guest  Kyle "Grim Chim" Seeley to the show.Kyle "Grim Chim" Seeley was raised in Prince Georges County, Maryland, and was turned on to entertainment at an early age through watching Michael and Janet Jackson music videos. He began training professionally at Suitland High School's Visual and Performing Arts Dance Program. After graduation, he received a full scholarship to prestigious schools such as Washington Ballet School, Dance Theater of Harlem School, Joffrey Ballet School, Alonzo KIng's Lines Ballet School as well as The Ailey School, where he studied all genres of dance and choreography for three years and has had the honor of performing with the Alvin Ailey American Dance Theater in the piece "Memoria" as well as appear in the book "Men in Motion" by Francios Rousseau. After leaving the Ailey School, Kyle pursued the commercial route training in Hip-Hop and Street Jazz under Rhapsody James, Jared Grimes, and Luam. Kyle has had the pleasure of dancing for recording artist Zayn Malik, performing on the Latin Grammy Awards with Bomba Estereo and Will Smith, and dancing in the iconic Las Vegas show Don Arden's Jubilee! Recently Kyle was fortunate enough to dance in two back-to-back Halftime Shows for Super Bowl LV and LVI. Kyle hopes to master the art of versatility one day to create a career merging the world of concert and commercial dance. In this episode, we discuss what it means to control your narrative, why it is so important to show up for yourself before anything or anyone else, black representation in commercial dance, finding love, and so much more!!  So, come on and dive in!To learn more about Kyle and his beautiful journey, check out the links below:~ Instagram: https://www.instagram.com/grimchim/~ Facebook: https://www.facebook.com/GrimChim/Be sure to follow the Hope Without Fear Podcast via the following:~ Facebook: https://www.facebook.com/hopewithoutfear~ Instagram: https://www.instagram.com/hopewithoutfearpodcast/Follow and engage with Host Stacy Simmons:~Facebook:https://www.facebook.com/Mr.StacySimmons~Instagram: https://www.instagram.com/mr.stacysimmons/Please be sure to rate the episode, download it to your device, and subscribe so you may stay alerted when new content releases.  If you have any questions or want to share your thoughts, please email us at hopewithoutfearmedia@gmail.com.  We are thrilled to have you on this journey with us!

LIKEITORNOT is back with part 2 of the Danny Torres episode! This is definitely, a true ROADHOUSE Edition, as it takes place on the Ave, on a Friday past 10pm. Amazing how we aren't sloppy drunk. Durrdy Dan and Isaac join me as co-hosts and we let Danny tell us how it is, NY style! He hasn't found any good cannoli's in the PNW yet. He discloses the location for the best chopped cheese in Manhattan. We talk 80's gangster movies, American Me, Colors and a lot of other random things like how to actually make cannoli's the way Danny's uncle Bob taught him. We then shift the conversation to pizza. He has great things to say about Little Cesar's and Salamones. Durrdy Dan then brings up the OG's, Abella's Pizzeria on Pacific. Zeek's somehow gets a mention, as does Camp Colvos & Tacoma Pie, Hyp's perennial favorites for the best pizza in the town award. Bar Rosa is the new hotspot because they got Tira Misu. We talk about what makes a Detroit style pie, a grandma slice and Hyp gives love to the legends SLICEBOX Pizza. Tiki Hut also gets some love! As they should! Danny stresses the fact that if you get a slice from a Detroit style pie joint, GET A CORNER SLICE!! Huge s/o to the growth of Tacoma Pie. Paos Donuts and Le Donut get love as the guys talk about donuts all of a sudden. Danny admits and Hyp agrees, that Krispy Kreme is just too good to pass up. High chance we will pull in if we happen to be in the area, haha. Isaac had me rolling at this point btw! We then get into Danny's music upbringing, attending the Harlem School of the Arts, teachers from back in the day who had an impact on him and his upcoming show at ALMA on June 10th, a rooftop, acoustic show with Anuhea, LIKEITORNOT. We end the show with Danny Brown's 'GROWN UP', s/o Detroit. 

WBGO Journal host Doug Doyle chats with Steven Melendez, the inspiring new Artistic Director of the New York Theatre Ballet, about his career and then with the jazz power couple of Adegoke Steve Colson and Iqua Colson about their upcoming special commission and performance at the Harlem School of the Arts

WBGO Journal host Doug Doyle chats with Steven Melendez, the inspiring new Artistic Director of the New York Theatre Ballet, about his career and then with the jazz power couple of Adegoke Steve Colson and Iqua Colson about their upcoming special commission and performance at the Harlem School of the Arts

A bailarina Ingrid Silva deu um passo ousado no auge de sua carreira: resolveu ser mãe. Aos 33, ela hoje divide seu tempo entre o trabalho na companhia do Dance Theatre of Harlem e os cuidados com a filha, a pequena Laura, de um ano e cinco meses de idade. E, quando sai em turnê, as duas coisas se misturam e mãe e filha viajam juntas. “Tenho um grupo de dança que é uma comunidade. Sem eles, eu não conseguiria estar dançando até hoje, todo mundo cuida dela e me dá apoio”, diz Ingrid, a convidada dessa edição do Podcast Da Semana. “Um dos meus medos era eu voltar para a minha profissão e não voltar a ser quem eu sou. Não queria ser só mãe, não me sentiria completa. Fui super aceita no meu ambiente de trabalho”, ela conta a Gama.A história de Ingrid com o balé começou ainda na infância, aos 8, no Rio de Janeiro. No Brasil, estudou ainda com Debora Colker e foi estagiária do Grupo Corpo. Em 2007 ganhou uma bolsa para estudar nos EUA, no Dance Theatre of Harlem School, e em 2013 juntou-se à companhia do teatro. Em 2020, suas sapatilhas foram parar no Museu Nacional de História e Cultura Afro-Americana Smithsonian, em Washington. Isso porque a Ingrid pintava as sapatilhas com base pra que elas ficassem do tom da sua pele. Essa história, e muitas outras, ela conta no livro “A Sapatilha que Mudou meu Mundo” (Editora Globo, 2021), que traça sua trajetória desde a infância.Na entrevista ao Podcast da Semana, Ingrid conta um pouco da sua rotina de mãe e bailarina profissional, sobre as dificuldades com o corpo depois da gravidez, sobre as descobertas da maternidade e sobre como sua luta antirracista e feminista tem influenciado na criança de Laura. “Nenhuma mãe branca tem que andar com a certidão do filho; uma mãe preta com criança mais clara, sim”, afirma.Acesse a Semana "Qual o direito das mães?": https://gamarevista.uol.com.br/capa/qual-o-direito-das-maes

In this episode Margo is joined by Tamisha Anthony. Tamisha is an illustrator working for various clients such as Penguin Random House, Macmillan Publishers, Little Brown, and Chronicle Books. She finds that educating little ones or the young at heart always inspires her art. She has been an educator for the past several years teaching at institutions such as the New-York Historical Society and the Harlem School of the Arts. Currently she is teaching an art history + illustration class called Redrawing Black History with Lilla Rogers for Make Art That Sells.   Margo and Tamisha discuss: Her exploration and discovery of many creative mediums before landing on illustration work How creative projects allow her to embrace herself Personal stories of racism and overcoming adversity  What it was like being the first black valedictorian in her town Her love for black history and how she incorporates it into her art How she approaches creativity Her illustration class, Redrawing Black History And so much more!   Originally from Texas, Tamisha received her Bachelor's degree in Psychology and Visual Arts from Rice University and moved to New York City for her Master's Degree in Computer Art from School of Visual Arts. She is currently a member of Black Creators in KidLit, Society of Children's Book Writers and Illustrators, and the Children's Book Illustrators Group. When she isn't illustrating, you can find her enthusiastically and joyfully swing dancing with her husband! She adores vintage clothes, gardening, and singing sweet jazz standards.     Connect with Tamisha: www.tamishaanthony.com www.instagram.com/tamisha.anthony https://twitter.com/tamishaanthony  

Creating Connection & Belonging with Menon Dwarka Cultural worker and consultant Menon Dwarka joins us on today's episode.  Menon is a composer and writer, and is the Senior Vice President of the Arts Consulting Group. He shares a story about his life-changing encounter with an icon of contemporary classical music when he was a teenager. This conversation awoke in him the awareness of how powerfully supportive it is to fully see another person, and a desire to create spaces to hold the feeling of belongingness.  Join us as we talk about:- Menon's background [00:55]- The cultural work he is doing [2:46]- How the inventive problem solving he became good at in his music career helps in the cultural work [6:51]- His story of a life-changing encounter with an icon of contemporary classical music [11:06]- The importance of narratives that frame our lives, supporting connection and making of beautiful things through the cultivation of belongingness [20:12]- How encouraging adaptability and nimbleness in the organization can support cultural institutions in these challenging times [23:51]-Ways to connect with Menon [27:34]Guest Bio:  Menon Dwarka has held executive director, artistic director, and community arts leadership positions in Canada and the United States over the last 25 years. Whether implementing project management programs and digital town halls at Soundstreams, winning Digital Strategies Fund grants from the Canada Council for the Arts for Arts Etobicoke, or introducing electronic music programs with Morton Subotnick at the 92nd Street Y, Harlem School of the Arts, and Greenwich House Music School, Mr. Dwarka's innovative approach to the arts has always resulted in increased audience engagement and community development with focus on equity, diversity, inclusion, and access. His expertise resides in leveraging technology in service of creating more diverse programming and administrative spaces.Connect with MenonEmailArts Consulting Group: https://artsconsulting.com/the-team/menon-dwarka-senior-vice-president/LinkedIn: https://www.linkedin.com/in/menondwarka/Facebook: https://www.facebook.com/menon.dwarkaTwitter: https://twitter.com/menondwarkaConnect with Story and Horsewww.storyandhorse.comFacebook: @storyandhorseInstagram: @storyandhorse Support the show (https://www.buymeacoffee.com/storyandhorse)

Peter Gluck discusses the facade of the East Harlem School.  East Harlem, New York is a community beset by poverty and its attendant ills of early high school withdrawal, violent crime, teen pregnancy, and drug abuse. The East Harlem School is an independent, not-for-profit, year-round middle school that recruits students from low-income families in the community.  The school had an extremely tight budget, caused both by the high cost of construction that plagues inner-city schools and the fact that its site was within the 100-year flood zone. Peter Gluck and Partners acted as both architect and construction manager in an architect-led design-build process, providing a level of intensive quality control and substantial cost savings, which resulted in a building that would otherwise have been out of reach for such a school.

Episode 77 features Adrienne Elise Tarver, an interdisciplinary artist, educator, and administrator with a practice that spans painting, sculpture, installation, photography, and video. Her work addresses the complexity and invisibility of the black female identity in the Western landscape--from the history within domestic spaces to the fantasy of the tropical seductress. She has exhibited nationally and abroad, including solo or two-person exhibitions at the Aldrich Museum of Contemporary Art in Connecticut; Atlanta Contemporary in Atlanta, Georgia; Victori+Mo (now Dinner Gallery) in New York; Ochi Projects in Los Angeles; Hollis Taggart in New York; Wedge Curatorial in Toronto, Canada; Wave Hill in the Bronx, NY; BRIC Project Room in Brooklyn; and A-M Gallery in Sydney, Australia. She has been commissioned for projects through the New York MTA, the Public Art Fund, Google, Art Aspen, and Pulse Art Fair and has been featured in online and print publications including the New York Times, Brooklyn Magazine, ArtNet, Blouin ArtInfo, Whitewall Magazine, and Hyperallergic, among others. She is currently the Director of Programs at the National Academy of Design. Previously she was the Associate Chair of Fine Arts at SCAD Atlanta, and prior to that was the Director of Art & Design for the Harlem School of the Arts. She received her MFA from the School of the Art Institute of Chicago and BFA from Boston University. Portrait photo credit Eley photo Artist website http://www.adriennetarver.com/ The Aldrich https://thealdrich.org/exhibitions/adrienne-elise-tarver Atlanta Contemporary https://atlantacontemporary.org/exhibitions/adrienne-elise-tarver The Armory https://www.thearmoryshow.com/ Culture Type https://www.culturetype.com/2021/09/07/on-view-adrienne-elise-tarver-the-sun-the-moon-and-the-truth-at-aldrich-contemporary-art-museum-in-ridgefield-conn/ Dinner Gallery https://dinnergallery.com/adrienne-elise-tarver White Wall https://whitewall.art/art/art-aspen-awards-adrienne-elise-tarver-with-inaugural-artist-commission Hollis Taggert Youtube https://www.youtube.com/watch?v=wft8TmSFnvE See Great Art https://www.seegreatart.art/adrienne-elise-tarver-the-sun-the-moon-and-the-truth/ Boston University https://www.bu.edu/articles/2020/gallery-adrienne-elise-tarver/

Roya Carreras is an Iranian-Hispanic artist, choreographer, and educator who works within commercial, film, and theatrical settings from New York City to Los Angeles. On stage, Carreras' work has been presented at the CURRENT SESSIONS, Dixon Place, Baruch Performing Arts Center, and The Green Building in New York City; in California, she has presented at The Odyssey, Highways Performance Space, Electric Lodge Theater, Glenn Wallichs Theatre, Diavolo, Brockus Project Space, and BRAVA. She was a resident choreographer for Columbia Ballet Collaborative of Columbia University in 2015 and in 2018 participated in the MANCC residency funded by the National Endowment for the Arts. She has taught ballet, contemporary, and improvisation at Harlem School of the Arts, New Canaan Dance Academy, American Musical and Dramatic Academy, Peridance, Riverside Ballet Arts, Riverside City College, Pasadena Dance Theater, Norwalk Metropolitan Youth Ballet, East Pointe Dance, and Brockus Conservatory. As a performer, she has worked closely with Barak Marshall at BodyTraffic, Bryan Arias, Danielle Russo Performance Project, and Lux Boreal Danza Contemporanea in Tijuana, Mexico. Carreras holds a BFA in Dance with Honors from UC Irvine's Claire Trevor School of the Arts, with additional training from The Ailey School and Springboard Danse Montreal. Her most recent work "Naneh," premiered inJanuary 2020, set on the L.A. Contemporary Dance Company.

Today on the Rarified Heir Podcast we are talking to Eden Alpert, daughter of the legendary Herb Alpert. Now, if you think you know Herb Alpert, I'm here to tell you, you really don't. Sure you know him from his iconic hits in the 1960s “The Lonely Bull,” “A Taste of Honey” and “Tijuana Taxi” and many others. But did you know he sold more albums than The Beatles in 1966?  Or that he had five albums simultaneously in the Top 20 on the Billboard charts which has never happened before or since? That he's won nine Grammy awards and that he's the A in A&M Records? You want more? He's also a sculptor whose Black Spirit Totems are world renown. He's also an abstract expressionist painter whose works have been exhibited in museums and galleries in the US, Europe and Asia. What's more, he's a philanthropist and his Herb Alpert Foundation has funded programs as diverse as the Harlem School of the Arts, Homeboy Industries, The Soldiers Project and Vista Del Mar Family & Child Services which is the home to The Eden Alpert Therapeutic Music Program. We talk to Eden today about The Herb Alpert Vibrato Grill, a supper club/jazz club she runs expertly due to her outgoing personality, her youth spent in schools with the children of Sonny & Cher, Shirley Jones, Jack Lemmon and Elliot Gould & Barbra Streisand as well as getting a phone call on her 13th birthday from Peter Frampton because….well, he was on A&M Records. Those are the perks of being the child of a celebrity. And this is Rarified Heir.

“When I took the masterclass with Alvin Ailey, I felt like I was home.”—  Aubrey Lynch  From chemistry to coupé jeté: Aubrey Lynch's journey from high school science fan to highly successful dancer, choreographer, and dance teacher might not have happened if his first university chemistry class hadn't been so dry.  Unsatisfied with the teaching method in his science classes, his attention turned to dance. After attending an Alvin Ailey masterclass, Aubrey realized that he could actually earn a living through dance — and had discovered his true calling.  He auditioned to attend the Ailey school... and was immediately accepted.  All that was left was to tell his parents that he was dropping out of university to pursue a dance career. It wound up being the best decision he ever made.  Among many other accomplishments, Aubrey became an original cast member, dance captain, associate choreographer, and eventually associate producer of the Tony Award-winning musical Disney's The Lion King. He's appeared in countless ads, music videos, and movies, and has been coaching, training, and mentoring dancers of all ages for over three decades.  This conversation is wildly inspiring — tune in to hear Aubrey discuss his experiences as a gay black man in 1980s New York City, how he led the miraculous transformation of a community dance program, and why he wants people to never stop following their dreams.  In‌ ‌this‌ ‌episode of the podcast,‌ ‌you'll discover:‌ ‌>>  How Aubrey built up the Harlem School of the Arts into a vibrant, essential community program with over 400 students.  >>  The tools Aubrey uses to help children imagine a future where they achieve their dreams.  >>  The need to awaken the left side of your brain as a creative.    About Aubrey Lynch: Aubrey Lynch is Chief Officer of Education and Creative Programming at Harlem School of the Arts. Aubrey is a mentor for the Theater Development Fund Open Doors Mentoring Program and founder and Artistic Director of Mr. Aubrey's Show Kids MASK, a youth performance ensemble that provides a training ground and performance opportunities for gifted and passionate students.     ‌Highlights:‌ ‌00:16  Meet Aubrey Lynch;  02:01  The dream leap;  06:00  The impact of the AIDS crisis;  08:04  Systemic racism;  09:08  Harlem School of the Arts;  10:57  Dreams, impact & reckoning;  12:27  Changing trajectory;  14:30  Healing through art;  16:10  Inequity;  18:42  From dancing to teaching;  26:39  Owning your darkness;  27:29  Left & right brain;  35:41  Advice for past Aubrey;  39:53  What drives Aubrey & how to give back. ‌Links:‌ ‌Aubrey Lynch  http://aubreylynch.comIG: @aubreylynch Facebook: @aubreylynchTwitter: @aubreylynchLinkedIn: @aubreylynch  Join Our Facebook Group: https://www.facebook.com/groups/artistinclusive  Website: https://www.artistinclusive.com  Connect  https://www.hollandcreative.iodaniel@hollandcreative.ioIG: https://instagram.com/conversioncopydesign https://www.dashofcopy.comanna@dashofcopy.comIG: 

Welcome to lucky episode number 7 of MN Opera's The Score. Today, Paige, Lee and Rocky are joined by not one, but two, legendary guests! We are honored to speak with composer Dr. Adolphus Hailstork and librettist and poet Dr. Herbert Martin, two incredibly accomplished Black artists and titans of the classical music scene. We'll talk with them about their decades of experience in the industry, how they believe the industry can change to allow space for more Black artists in the future, and all about their new piece Pity These Ashes: Tulsa 1921-2021, which commemorates the 100th anniversary of the Tulsa Race Massacre. Also, this past Tuesday was the first anniversary of George Floyd's murder. We'll reflect on a death which shook the world and how it's still affecting us and our community one year later. (Spoiler alert: It's complicated and we get a little spicy.) And, as always, we'll send you off into Memorial Day Weekend with a PB&J, a moment of Pure Black Joy. This week, we'll talk a brand new honor for the late, great Chadwick Boseman and Rocky's obsession with this year's surprisingly Black Eurovision Song Contest. Also, don't miss Pity These Ashes: Tulsa 1921-2021 on Saturday, June 19 at 7pm EDT, presented by The Greene Space in partnership with The Harlem Chamber Players, Harlem Stage and the Harlem School of the Arts and featuring mezzo-soprano J'Nai Bridges. Get your tickets below! Hosts: Lee Bynum, Rocky Jones, Paige Reynolds Guests: Dr. Adolphus Hailstork, Dr. Herbert Martin Producer: Rocky Jones Timestamps The Murder of George Floyd: One Year On - 0:44:20 Conversation with Drs. Hailstork and Martin - 0:38:00 PB&J - 1:08:48 Links Pity These Ashes: Tulsa, 1921 to 2021, Saturday, June 19 at 7pm EDT (https://thegreenespace.org/event/pity-these-ashes-tulsa-100th-anniversary/ (Tickets)) Remembrance and Restitution: A Conversation on Juneteenth, the Tulsa Race Massacre, and Their Legacy in African American History, Thursday, June 10 at 12pm EDT (https://www.facebook.com/thedreamunfinished (Watch)) "Emails show Minneapolis police chief coordinated with PR pros to fight council, protect budget" (https://minnesotareformer.com/2021/05/24/with-budget-on-the-line-minneapolis-police-chief-coordinated-with-political-operatives-to-lobby-the-city-council-emails-show/?eType=EmailBlastContent&eId=2bc2cbd2-10ff-4617-b054-bb44ec07aee0 (Minnesota Reformer)) "Howard University Names College of Fine Arts After Chadwick Boseman" (https://www.cbr.com/howard-university-college-fine-arts-chadwick-boseman/ (CBR.com)) Watch Eurovision Song Contest (https://www.youtube.com/channel/UCRpjHHu8ivVWs73uxHlWwFA (YouTube) and https://www.peacocktv.com/ (Peacock)) If you like what you hear, please support us and SUBSCRIBE to the show on your favorite podcast app and be sure to SHARE our show with your friends. Also leaving a 5-star REVIEW is a great way to help get the word out. For more info about the exciting EDI work happening at MN Opera, please visit https://mnopera.org/edi/ (mnopera.org/edi). Email your questions or comments to thescore@mnopera.org

Bestselling author Roxane Gay reads a piece called "Getting to Know You, Getting to Know All About You," about love in the pandemic, and making a home with her wife, Debbie Milman. Songwriter and actor Celisse talks about writing her song, and about properly understanding the work of rock pioneer Sister Rosetta Tharp. Songwriter, composer, and producer Toshi Reagon speaks about how she constructed her song, "You Belong," to echo the structure of Gay's piece, and about the connections between Tharp and pioneering writer Octavia Butler, whose novel Parable of the Sower, Reagon made into an opera. This episode was recorded during a live performance co-produced with Harlem School of the Arts.

American violist Rita Porfiris  has performed in major concert halls and music festivals worldwide as a chamber musician, orchestral musician, and as a soloist.Currently the Associate Professor of Viola and Director of Chamber Music at The Hartt School, she has also been on the faculties of New York University, the University of Houston Moores’ School of Music, Florida International University, and the Harlem School for the Arts in New York. She has given master classes, lectures and clinics across the U.S., United Kingdom, Germany, Japan, Argentina, Brazil, Iceland, Taiwan, and the Dominican Republic.Ms. Porfiris is a member of the Miller-Porfiris Duo and the Hartt Quartet. As a founding member of the Plymouth Quartet, she was in-residence at the Ojai Festival, Mainly Mozart, Point Counterpoint, and the Internationale Quartettakademie Prag-Wien-Budapest. She was the recipient of Austria’s prestigious Prix Mercure, a prize winner in the Fischoff Chamber Music Competition and the Primrose International Viola Competition, and a laureate of the Paolo Borciani International Quartet Competition.In her 20 year-long career as an orchestral musician, 15 years of which were spent with the Houston Symphony, she worked under some of the most recognized conductors of the 20-21 Centuries, including Leonard Bernstein, Sergiu Celibidache, Kurt Masur, Michael Tilson Thomas, and Christoph Eschenbach. Equally at home in a wide variety of genres, Rita has shared the stage with Burt Bacharach, Ray Charles, Bernadette Peters, Lyle Lovett, Rod Stewart, and Tony Bennett, to name a few.Highlights of recent seasons include chamber concerts with Lynn Harrell, Joseph Kalichstein, and Jamie Laredo; tours to Israel, Europe, and Taiwan; sold-out concerto appearances at the historic Gewandhaus in Leipzig, Germany; Baltimore, Maryland and Lincoln, Nebraska; and a performance of the rarely played Romantic Rhapsody for Violin, Viola and Orchestra by Arthur Benjamin as part of the Miller-Porfiris Duo. In May 2016, the Baltimore Sun declared "Rita Porfiris proved an ideal soloist, as much for her richness of tone and impeccable articulation as for the warmth and subtlety of her phrasing."Rita’s transcriptions for the viola of both classical music staples and pop favorites have been enjoyed worldwide by audiences and performers. Gramophone Magazine called her  transcription of Gliere’s Eight Pieces Op. 39, recorded on the Miller-Porfiris Duo’s second CD “Eight Pieces,”  "satisfying" and "sung with beautiful warmth." Recent acclaim from Fanfare for the Duo's third CD, entitled "Divertimenti" declares their playing "a lightning bolt" and speaks to the "color, fire, and passion."Ms. Porfiris received both her BM and MM in Viola Performance from The Juilliard School, studying with William Lincer. Other teachers and mentors included Paul Doktor, Norbert Brainin, and Harvey Shapiro.WebsiteUncertainty of Fate Festival

Today, on the Conversations on Dance podcast, we are joined by Christopher Charles McDaniel, dancer with Dance Theatre of Harlem. Christopher was born in East Harlem and started his formal training at the Dance Theatre of Harlem School, later going on to train at LaGuardia School of Performing Arts and Ballet Academy East. Christopher has […] The post (224) Christopher Charles McDaniel, Dance Theatre of Harlem appeared first on tendusunderapalmtree.com.

Today, on the Conversations on Dance podcast, we are joined by Christopher Charles McDaniel, dancer with Dance Theatre of Harlem. Christopher was born in East Harlem and started his formal training at the Dance Theatre of Harlem School, later going on to train at LaGuardia School of Performing Arts and Ballet Academy East. Christopher has […] The post (224) Christopher Charles McDaniel, Dance Theatre of Harlem appeared first on tendusunderapalmtree.com.

Gwen Laster is a Detroit violinist and awardee of the National Endowment for the Arts, Jubilation Foundation, Puffin Foundation, Arts Mid-Hudson, Lila Wallace, and Cognac Hennessey Jazz Search. Motor City's exciting urban and classical music culture influenced her improvising and composing. Her parents loved jazz, blues, soul, and classical music. She studied with inspiring music teachers in public school. After earning two music degrees from the University of Michigan, she relocated to New York, where she collaborated, performed, and recorded with Anthony Braxton, Nona Hendryx, Aretha Franklin, Wadada Leo Smith, William Parker, Danny Elfman, Sun Ra Arkestra, Tyler, the Creator, Gladys Knight, Emeline Michel, Andrea Bocelli, David Foster, Alicia Keys, Rhianna, Shaggy, Andrew Baba Lamb, Natalie Cole, Solange, Mark Anthony, J Lo and Shakira at President Obama’s Inaugural Neighborhood Ball. She played local jazz clubs and subbed on Broadway in Miss Saigon, Beauty and the Beast, Carousel, Wicked, Porgy and Bess, and The King and I. Laster led ensembles, orchestrating and composing string arrangements. She founded Creative Strings Improvisers Orchestra (CSIO), a music education ensemble teaching young strings players improvisation, composition, and global ensemble music. CSIO facilitated workshops at El Sistema Ravinia, Harlem School of the Arts, St. Ann's School, Blue Mountain Chamber Music Festival, Wappingers Schools, Poughkeepsie Day School, Interlochen Summer Institute, Sphinx Performance and Preparatory Academy, Eastman School of Music, Center for Creative Education, Howland Cultural Center, Bard College as an adjunct Jazz Violin professor, and Beacon CSIO online classes.  www.facebook.com/groups/creativestrings www.wijsf.org

JaQwan J. Kelly is an actor, writer and producer known for his work Hulu's WuTang: An American Saga, Steven Spielberg's The Post and Blue Bloods. A Harlem native, his acting journey first began at the Harlem School of the Arts. He went on to obtain his Bachelor of Arts in Theatre and Performance from SUNY Purchase. Today we chat about switching from being a journalism major, getting into acting, booking his first commercial, collaborating with friends, and the genesis of "He, The People". You can watch "He, The People" on Prime here: https://www.amazon.com/He-People-JaQwan-J-Kelly/dp/B08DL7Z57W/ref=sr_1_1?dchild=1&keywords=he+the+people&qid=1616647082&sr=8-1 JaQwan J. Kelly's imdb: https://www.imdb.com/name/nm5744298/?ref_=nmbio_bio_nm JaQwan J. Kelly's Instagram: https://www.instagram.com/jaqwanjkelly/ ______________________ For inquiries or submissions to be a featured on an episode, e-mail: kristin@creativity.chat Kristin's instagram: http://instagram.com/kristinmwitcher

Today best friends Milena and Megan cover American geographer, geologist and educator Zonia Baber & African American concert soprano and founder of the Harlem School for the Arts, Dorothy Maynor. This episode is inadvertently dedicated to our favorite High School English teacher, Mrs. Burnett Zonia Baber Some women are ahead of their time – Zonia […] The post Ep. 44 Educators Educating Educators appeared first on My Favorite Feminists.

Russ talks with  JUDY BOWMAN, CSA.  Judy has been casting theater, film, and television in NYC since 1993.  FILM/TV: One Moment, Dead Sound, Separation, Hurricane Bianca, No Alternative, Lost Cat Corona, Gold Star, Copenhagen & Big Dogs season 1(Amazon Prime). Artios Award nominee for Best Webseries Casting, PT Barnum Award recipient. Recent NY THEATER: Nothing Gold Can Stay(Lortel Award noms),  Molly Sweeney, The Net Will Appear, Dutch Masters. Extensive work with Humana Festival, Dorset Theatre Festival, Arizona Theatre Co, Woolly Mammoth, Cleveland Play House, Merrimack Rep, and others.  She was a longtime teacher with Columbia University’s MFA film program & Harlem School of the Arts. For more extensive credits:  http://www.judybowmancasting.com/ (www.judybowmancasting.com) and her imdb page.      Links Judy's links http://www.judybowmancasting.com/ (www.judybowmancasting.com) IMDB -JUDY https://www.imdb.com/name/nm0101344/?ref_=fn_al_nm_1 (https://www.imdb.com/name/nm0101344/?ref_=fn_al_nm_1) Actors connection https://www.actorsconnection.com/ (https://www.actorsconnection.com) One on One https://www.oneononenyc.com/ (https://www.oneononenyc.com) Links to Russ on YouTube and his Websites https://linktr.ee/russcamarda (https://linktr.ee/russcamarda) Russ Movies https://www.imdb.com/title/tt2137381/ (https://www.imdb.com/title/tt2137381/) https://www.imdb.com/title/tt2414886/ (https://www.imdb.com/title/tt2414886/) http://www.russcamarda.com/ (http://www.russcamarda.com) http://tagstudiony.com/ (http://tagstudiony.com) Production partners https://idunleashed.com/ (https://idunleashed.com) Support this podcast

A native of Brooklyn, NY, Deryck Clarke (French horn) comes from a family of immigrants from Guyana, South America. He is a graduate of the High School of Performing Arts in New York City and the Curtis Institute of Music. He holds a BM from the North Carolina School of the Arts and a MM from the Mason Gross School of the Arts at Rutgers University. His professional engagements include Soulful Symphony, the Martina Arroyo Foundation’s Prelude to Performance orchestra, Early Music New York, the Paula Kimper Ensemble, the Ray Chew Orchestra, Imani Winds, Oregon Symphony, Winston-Salem Symphony, Seoul Philharmonic, and Broadway productions of The Lion King, Beauty and the Beast, Aida, and the US Tour of Oklahoma! Throughout his career Deryck has performed with renowned artists including Leonard Bernstein, Isaac Stern, Donnie McClurkin, Ashford and Simpson, Sir Andrew Davis, Aaron Copland, Paquito D’Rivera, and James DePriest. While in college, Mr. Clarke discovered his passion for teaching at the NY State Music Camp/Hartwick College Music Festival. He was faculty member at the Apple Hill Chamber Music Festival, the Juilliard School's Music Advancement Program and the Mannes College preparatory division. Mr. Clarke also served as Interim Music Director of the Harlem School of the Arts. As a NJ state certified music educator, Deryck received awards and recognition for his service as instrumental and vocal music teacher at the Mount Vernon Elementary School in Newark, NJ. He later served as Program Director of William Paterson University’s Music After School program in Paterson, NJ and Start the Music camp, and an artist-in-residence at the Cicely Tyson School of the Arts in East Orange, NJ. Deryck is currently the Educational and Community Outreach director for The Harlem Chamber Players and founder of the Harmony Effect, an instrumental music learning program. He serves on the Leadership Council of the Newark Arts Education Roundtable, the Education Committee for the American Federation of Musicians Local 802, and the Education Committee of the New Jersey Symphony Orchestra Board of Directors. See omnystudio.com/listener for privacy information.

Adrienne Elise Tarver is an artist who makes hard work look easy. From her expansive studio practice, to her position as the Associate Chair of Fine Arts at Savannah College of Art and Design’s Atlanta Campus, Adrienne is able to gracefully accomplish making insightful, challenging work while also organizing a great spreadsheet. In this episode, we talk about how she balances art making and organization to achieve success.   With a practice that spans painting, sculpture, installation, photography, and video, Tarver’s work addresses the complexity and invisibility of black female identity in the Western landscape, from the history within domestic spaces to the fantasy of the tropical seductress.   “I often use the tropics as a starting point to look at the complexity of origin stories and histories of displacement. Using this familiar imagery, I confront artists like Paul Gauguin and Henri Rousseau and their imaginations of the tropics, considering the problematic perspective from which they were creating, and challenging the ideas they have perpetuated.   Recent work seeks to go beyond the origin story and investigate the future. Pulling from nearly forgotten histories and exploiting the inability to create a true or accurate representation of an ancestral home, I collect imagery and ideas that resonate internally.     Throughout my practice, I wonder: if mythologies from an imperialistic past can so thoroughly permeate our present identities, can we re-configure the narrative to create new realities? If our current struggles are indeed a sign of progress, can we look forward and claim our space for a better reality in the future?” -Adrienne Tarver   She has exhibited nationally and abroad, including museum shows at the Bronx Museum of the Arts and Children’s Museum of Manhattan, as well as solo exhibitions at Ochi Projects in Los Angeles; Wave Hill in the Bronx, NY; Victori+Mo in New York; BRIC Project Room in Brooklyn; and A-M Gallery in Sydney, Australia. She has been commissioned for an upcoming New York MTA project, received the inaugural artist commission prize for Art Aspen in 2019 and was selected by ArtNet as one of “14 Emerging Female Artists to watch in 2017.” She has been featured in online and print publications including the New York Times, Brooklyn Magazine, ArtNet, Blouin Art Info, Whitewall Magazine, Hyperallergic, Ingenue Magazine, among others.  She is currently the Associate Chair of Fine Arts at Savannah College of Art and Design’s Atlanta Campus (SCAD Atlanta).  She received her MFA from the School of the Art Institute of Chicago and BFA from Boston University.    Sponsors: Sunlight Tax: SAVE $25 on Money BootCamp- Sunlight Tax w code ILIKEYOURWORK25   NYC Crit Club: NYC Crit Club is now accepting applications for Spring 2021 semester. Now in its fourth year, NYC Crit Club is offering 9 new courses this Spring via zoom with 8 new faculty and 30 guest speakers and critics from around the country.  TAKEAWAYS: -Experimenting with every aspect of the art world -Job tips for artists-Framing jobs to get started with when you move someplace new -How admin experience can help you in your career -Relocating with the arts and while being an artist - Her Nonprofit work teaching at Harlem School for the Arts-NYC  - Working across media - How to loosen up in the studio with watercolors  -Being ok with uncertainty  - Ignore the trends and go with what interests you.    LINKS: http://www.adriennetarver.com/ http://instagram.com/adrienne__elise https://www.nytimes.com/2020/02/20/arts/design/art-galleries-new-york.html ArtNet Article -14 Women to Watch   I Like Your Work Links: Creative Goal Setting 2021 I Like Your Work Podcast Studio Planner Instagram Submit Work Observations on Applying to Juried Shows

Monica and Mike positive spin caroling. They also discuss push mowers, angry dishes, and titties on your titties. The charities this week are Broadway Cares, Harlem School of the Arts, and the Apollo Theater. You can take the quiz here.

In this episode you meet Sandra Hurse, Managing Director, Chief Human Resources Officer, GCM Grosvenor. Sandra Hurse is the firm’s Chief Human Resources Officer. She also serves on the ESG Committee and the Diversity & Inclusion Governing Committee. Prior to joining GCM Grosvenor, Ms. Hurse held various positions at Bank of America, most recently serving as Global Head of Human Resources for Corporate and Investment Banking. Previously, Ms. Hurse also held leadership roles in Talent Management and Talent Acquisition at Goldman Sachs and JPMorgan Chase. She received her Bachelor of Business Administration in Finance from Bernard M. Baruch College and her Master of Business Administration in Marketing from the University of Michigan. Ms. Hurse serves as a Corporate Board Member for the Harlem School of the Arts. Some of the things that stood out to me during our conversation were about:⁠ - The importance of people being able to see your humanity. - The difference between humility and hubris. - Hiring well. - Understanding value creation in your organization.

From chemotherapy to now radiology. Lisa's story in our first episode was just scratching the surface of her journey. When we sat down again, earlier this month, she explained things to me that I never could have imagined. Her story is moving, inspiring, and shows how remarkably resilient she is. Lisa’s Dance Bio Lisa Latempa was born and raised in New York City. She started dancing at the age of 5 taking contemporary, tap, ballet, jazz, and African dance. Her dance roots began at a local community dance school, Children’s Arts & Science Workshops before moving on to the Heights School of Ballet and the Harlem School of the Arts. She began flamenco lessons at the age of 10 and continued for over 8 years under accomplished flamenco dancers Ricardo Santiago and Maya de Silva. Following her move to Buffalo, NY in 2006, Lisa began teaching flamenco in the area after taking several workshops in Toronto. She joined the Syracuse-based flamenco dance troupe Puente Flamenco in 2012. Lisa was also a troupe member of Devi Bollywood Performing Arts. Outside of dance, Lisa is a special education teacher in the Buffalo schools and a mom of a 3-year-old boy.

One of the most accomplished artists in the music industry, Herb Alpert has sold over 72 million records and co-founded A&M Records, one of the most successful independent music labels in history and home to such artists as The Carpenters, Quincy Jones, Cat Stevens and Peter Frampton.  A brand new documentary, Herb Alpert Is…, directed by John Scheinfeld, provides a passionate and inspiring look at the life and work of Alpert and the incredible impact he’s had on American culture.   Trumpet in hand, Herb Alpert first rose to fame in the 1960s with his Latin-flavored group the Tijuana Brass Band and has gone on to earn 15 gold and 14 platinum records. He has won nine Grammys and received the National Medal of Arts from President Obama in 2012.  Less known is his striking work as an abstract painter and sculptor. And he was just named “Philanthropist of the Year” by the Los Angeles Business Journal for his significant support of educational programs in the arts nationwide, from the Harlem School of the Arts and UCLA to the annual ASCAP Foundation Herb Alpert Young Jazz Composer Awards. Alpert talks to us about his decades-long career, the documentary and what lessons he’s learned - and still learning -  on his incredible, artistic journey.  Also, award-winning jazz composer, vocalist and multi-instrumentalist Camille Thurman co-hosts and shares some valuable tips on staying inspired, creative and focused on your craft during the pandemic. Then music biz vet Benjamin Groff explains how to find and develop your identity as an artist. If you want to check out the fantastic new film, Herb Alpert Is… ASCAP and the ASCAP Foundation are thrilled to bring you an exciting opportunity to support the Foundation and entertain yourself in the process. Just use our special link to rent and stream the film PLUS watch some exclusive bonus material. 50% of the proceeds will be donated to the ASCAP Foundation to help nurture the music talent of tomorrow. Are you a jazz composer under the age of 30? Submit a new, original work for The ASCAP Foundation Herb Alpert Young Jazz Composer Awards, an honor granted annually to encourage talented jazz composers during the earliest stages of their careers. Winning composers will receive a monetary prize. The deadline is December 15, 2020. Check out Benjamin Groff’s first book, How Do I Get A Record Deal? Sign Yourself! - it’s currently available for free. He also has some terrific Teachable courses on songwriting and marketing, which you can find on his website too - he’s offering VERSED listeners 20% off, using code BENJAMIN20. Listen, Watch & Subscribe  Apple Podcasts | YouTube | Spotify | Stitcher | Google Podcasts 

A dancer’s battle with breast cancer. Lisa tells an incredible story of her experience with being a stage 3 breast cancer survivor. In our one on one, Lisa takes us through her journey, where she was surrounded by courage, love, support, along with the pain and strength which unfolded after being diagnosed with breast cancer. Through her story and experience, Lisa hopes to inspire others to speak up, to share their journey, and for everyone to take their bodies and health seriously. Lisa’s Dance Background Lisa Latempa was born and raised in New York City. She started dancing at the age of 5 taking contemporary, tap, ballet, jazz, and African dance. Her dance roots began at a local community dance school, Children’s Arts & Science Workshops before moving on to the Heights School of Ballet and the Harlem School of the Arts. She began flamenco lessons at the age of 10 and continued for over 8 years under accomplished flamenco dancers Ricardo Santiago and Maya de Silva. Following her move to Buffalo, NY in 2006, Lisa began teaching flamenco in the area after taking several workshops in Toronto. She joined the Syracuse-based flamenco dance troupe Puente Flamenco in 2012. Lisa was also a troupe member of Devi Bollywood Performing Arts.

With his trumpet he turned the Tijuana Brass into gold, earning 15 gold and 14 platinum records; He has won nine Grammys Awards between 1966 and 2014, and received the National Medal of Arts from President Barack Obama in 2012. Herb co-founded the indie label, A & M Records with his business partner, Jerry Moss, which recorded artists as varied as Carole King, Cat Stevens, The Carpenters, Janet Jackson, Peter Frampton, Joe Cocker, Quincy Jones, Sergio Mendes, and The Police. A&M would go on to become one of the most successful independent labels in history. He has shown his striking work as an abstract painter and sculptor, worldwide. And through the Herb Alpert Foundation, he has given significant philanthropic support of educational programs in the arts nationwide, from the Harlem School of the Arts and Los Angeles City College to CalArts and UCLA. John Scheinfeld’s documentary Herb Alpert is... profiles the artist, now 85, mostly from the perspective of colleagues like Questlove, Paul Williams, Sting, and Bill Moyers. In their words, the shy, unassuming trumpeter is a musical, artistic and philanthropic heavyweight. Director John Scheinfeld stops by to talk about many facets of Alpert’s personal and public life that make him the compelling and warm-hearted person he is. For news, screenings and updates go to: herbalpertis.com For more on the work and latest news go to: herbalpert.com

This Conversation was presented LIVE via www.facebook.com/huntingtonarts/live on September 10, 2020, 7:00PM. Panelists: Lisa Berman, Actress & SingerJohn Brautigam, Composer & Lyricist Kevin Harrington, Producer/Director, Plaza Theatricals Yolanda Wyns, Director of Music, Harlem School of the Arts Moderator: Marc Courtade, Executive Director, Huntington Arts Council Conversations in the Arts has evolved into an ongoing program by the Huntington Arts Council to stimulate and promote the arts. These participatory talks featuring artists and scholars from our community, will enrich our arts experiences and help us to more fully understand the values and contributions the arts have made, and continue to make, to society. Conversations will be held monthly as engaged inquiries and dialogues used to explore ideas, facilitate collaborations and networking opportunities. Open to the public. --- Send in a voice message: https://anchor.fm/hac-podcast/message Support this podcast: https://anchor.fm/hac-podcast/support

We McDonald’s star-making turn on her show-stopping blind audition on the hit NBC TV show The Voice drew national attention in 2016. It was the kind of momentous debut she had been preparing for her entire life. Singing since the age of 12, We attended the Harlem School for the Arts after school and on weekends, where she studied theater, piano and further cultivated her unique and righteously robust voice. We McDonald is a singer, and songwriter and that has been touring internationally and sharing her sultry vocal gift with the world. In 2017, We had the opportunity of appearing on the Emmy Award winning PBS Gershwin Awards honoring Legend Tony Bennett. And, in 2018 she belted the National Anthem at Yankee Stadium. Available now is her latest single “If I Didn’t Love You”, released early 2019. Late 2019 her self-titled EP is scheduled to be released featuring a diverse slate of songs written by We that showcase her soaring vocal presence. A newly published children’s and young adult book author, We released: Make It Happen! We McDonald: Singer, part of the Make It Happen! series of books that help middle school students build skills to reach their own goals; and a picture book, The Little Girl with The Big Voice, written by We for younger children. We’s captivating story as a singer, songwriter and as a teenager courageously embracing her uniqueness resonates with kids as well as adults looking to expand their own understanding of themselves and the world around them.

We McDonald’s star-making turn on her show-stopping blind audition on the hit NBC TV show, The Voice, drew national attention in 2016. It was the kind of momentous debut she had been preparing for her entire life. Singing since the age of 12, We attended the Harlem School for the Arts after school and on weekends, where she studied theater, piano and further cultivated her unique and righteously robust voice. We McDonald is a singer, and songwriter and that has been touring internationally and sharing her sultry vocal gift with the world. In 2017, We had the opportunity of appearing on the Emmy Award winning PBS Gershwin Awards honoring Legend Tony Bennett. And, in 2018 she belted the National Anthem at Yankee Stadium. Available now is her latest single “If I Didn’t Love You”, released early 2019. Late 2019 her self-titled EP is scheduled to be released featuring a diverse slate of songs written by We that showcase her soaring vocal presence. A newly published children’s and young adult book author, We released: Make It Happen! We McDonald: Singer, part of the Make It Happen! series of books that help middle school students build skills to reach their own goals; and a picture book, The Little Girl with The Big Voice, written by We for younger children. We’s captivating story as a singer, songwriter and as a teenager courageously embracing her uniqueness resonates with kids as well as adults looking to expand their own understanding of themselves and the world around them.

Gil Hedley joins Tahnee on the podcast today. Gil is an anatomist and self proclaimed "Somanaut" - a person who is "dedicated to exploring the inner space of human form". Gil has encouraged thousands of fellow "somanauts" to appreciate, explore and embody the wonders of human form through his lecture presentations and hands-on human dissection courses in the laboratory. Tahnee and Gil dive deep today, exploring the intricate nature of the of these bodies we call human. The pair share their insights through the lens of anatomy, philosophy and spirituality. This one is a bit of a mind bender folks, but in the best possible way. Tune in to be taken beyond the linear understanding of the human body into the expansive realm of universal connection. Tahnee and Gil discuss: Integral vs regional anatomy, embodied understanding vs intellectual analysis. The heart as a factual vessel not a 'pump'. Taoist sexuality and sexual anatomy. Religion and spirituality. The intricacy and non symmetrical nature of the human form. The human body as a whole, each individual as a cellular representation of the whole - the universal body. Martial Arts and the textural foundations of the body. The fascial system.   Who is Gil Hedley? Gil Hedley is an anatomist and certified Rolfer who holds a PhD in theological ethics. Gil's combined interests and training have supported his personal and professional exploration of the human body, which has lead him to develop an integral approach to the study of human anatomy. Through hands-on human dissections courses in the laboratory and lecture presentations, Gil has encouraged thousands of fellow "somanauts" to appreciate, explore and embody the wonders of human form. Gil has authored a number of books, as well as produced The Integral Anatomy Series, a set of four feature-length videos documenting his whole body, layer-by-layer approach through on-camera dissection.   Resources: Gil's Website Gil's Facebook Gil's Youtube   Gil's Free Online Courses   Q: How Can I Support The SuperFeast Podcast?   A: Tell all your friends and family and share online! We’d also love it if you could subscribe and review this podcast on iTunes. Or  check us out on Stitcher :)! Plus  we're on Spotify!   Check Out The Transcript Here:   Tahnee:   (00:08) Hi everybody. Welcome to the SuperFeast Podcast. Today I'm really excited to introduce Gil Hedley, who's joining us from Colorado. Hi Gil.   Gil Hedley:   (00:15) Hi, Tahnee.   Tahnee:  (00:16) Nice to have you here with us.   Gil Hedley:   (00:18) And everybody listening.   Tahnee:  (00:19) Yeah, the whole listening world. Gil is the founder of Integral Anatomy and he's a really amazing anatomist and somanaut which is a great word that I'd love for you to explain for us later if that's okay. But also you've studied theology and you have a PhD in theology. Is that correct?   Gil Hedley:   (00:37) Theological ethics, actually, yeah.   Tahnee:  (00:38) Okay. And you've done some rolfing things. You've kind of got this interesting mix of I guess the spiritual, and the tangible physical, and then obviously, like through the hands-on human dissection that you do. I feel like that's such an interesting combination of worlds to weave. But what I've seen you express, I suppose is this really beautiful and profound philosophy that I guess has arisen through your physical dissections and actual extractions of human form. But how does one go from actually doing theology, which I understand is like the study of religions and theological ethics, which is I suppose, I saw your piece on marriage. Is this around the role religion plays and how we create ethical constructs in our society. Is that right?   Gil Hedley:  (01:28) That's exactly right. Yeah, exactly. Looking to see the moral systems that are rooted in religions. So that's my master's degree. It was in the study of religion. My BA was also in the study of religion, and my PhD. All ethics throughout actually, I was studying ethics throughout. But basically, yeah, looking at ethics is a meta study where you look at people's ways of being in a world and trying to see how they reason about their moral-   Tahnee:  (02:05) Conduct sort of thing.   Gil Hedley:  (02:05) Conducts, and preferences, and choices, right? So.. And then theological ethics is where you look specifically to the moral systems of religious systems and ask like, "How do they come to believe that? What's their rationale for holding that position," or what have you. So actually, I brought my spirituality to the University of Chicago, certainly didn't get it from it. In fact, when I showed up, they're like, "What are you talking about God? we don't know God," because it's a very academic and abstract mental place.   Gil Hedley:  (02:37) That sort of intentionally drives you out of your body. My attempt to claim a body there was, was amusing I think, to my professors. I started doing Tai Chi and then I learned massage and rolfing while I was in my PhD program, in my own effort to just ground myself because I felt that although grounding was not a appreciated pursuit in my field, actually quite the opposite. I felt that it was ridiculous to try and come to moral positions or study ethics about the body, for instance, and make rules and such about the body or even evaluate rules about the body without knowing what a body is, or even living in one because it wasn't really valued to actually live in your body at the University of Chicago. I went into Tai Chi to try and just ground myself and get a little physical and explore my movement and such. I went to massage training and my rolfing training.   Gil Hedley:  (03:46) I got a little more body connection. I kind of realised that I couldn't speak to the body without having a more intimate understanding of the body. Before you knew it, I wasn't so much into the rolfing thing as I was into the anatomy that was helping me be a good rolfer. I sort of switched my career choice out of the rolfing upon the shoulders of which I continue to stand and into the the body exploration in the laboratory, where I found myself swimming in a universe that both terrified me and compelled me completely.   Gil Hedley:  (04:28) I found that when folks found out what I was doing, friends and other people, I was in a healing school as well after my rolfing training, did five years in an energetic healing school, kind of psychodynamics and energy healing and that kind of thing. My friends were like, "Teach us anatomy." I was like okay. I kind of told them what was going on in the lab. When I was in the lab, I kind of brought the energy of the healing school to that. That's much more how spirituality made its way into my anatomy laboratory as opposed to anything I ever got at the University of Chicago studying theological ethics, where I basically just fought the popes in Latin. It wasn't really particularly spiritual.   Tahnee:  (05:15) Well, and religion has such a history of denying the body because I mean ...   Gil Hedley:  (05:20) Exactly.   Tahnee:  (05:21) Do you have anything to say to that? Because I mean, I've got lots of thoughts on that.   Gil Hedley:  (05:25) Absolutely I mean the ease with which I engaged in the intellectual pursuits at the university and in graduate school was grounded, it was founded I should say, in my own disconnection to my body that was definitely fostered by my religious upbringing as a Roman Catholic. With all due respect to Roman Catholics, some of my best friends are Roman Catholics, my mum for instance, the modelling of the body in the church that I was raised in as liberal and 1960's kumbaya religion that I was raised with, still had a beloved saviour crucified, right, as the model of the body, and a virgin mother of him. So when you put those two together, you start scratching your head. You don't even have to scratch your head.   Gil Hedley:  (06:24) It's so deep. It goes in so deep to your psyche and to your way of moving, literally it affects how you move when your heroes, when your spiritual heroes, are naked but murdered and his mother weeping at the foot of the cross, actually never had sex, according to the story. So this is strange, and it's a strange way to model by the people you value most are void and have broken their bodies and offer their bodies as a sacrifice etc. When you take that seriously and I did, I took it so seriously, I got a PhD teaching Catholic ethics.   Gil Hedley:  (07:06) You get massively conflicted around your body and around your body's urges, around sexuality, around physicality, and many people just never worked through that. I've actually used the study of anatomy and the exploration of movement through something like Tai Chi for years. Then just like life and sex and family to become embodied. So that when I speak an anatomy word, it's not just an intellectual thing for me. I have a relationship with that tissue, an intimate relationship with a tissue. I know what it feels like, I know where it is. I can go there. I can call out its name and it calls back to me with sensation. So that's the embodiment that I've pursued and it's their integral anatomy.   Tahnee:  (08:02) So do you feel like there's this deeper sense of like introception and self-awareness, I suppose through the work that you've done, like it hasn't? Because I think a lot of people-   Gil Hedley:  (08:13) Yeah, I can go in there.   Tahnee:  (08:15) Let's go. Yeah. Because I mean, I see a lot of people. I've done a little bit of work in wet labs and stuff. It's almost like people become disconnected from the body when they do that work. It becomes this body I guess.   Gil Hedley:  (08:29) There's a risk of that when the approaches is regional and not integral. That's why I've developed integral anatomy because a regional anatomy, when you're parsing the body out literally into parts, bits, pieces, naming them, that's an intellectual process. It's a mental construct, and it doesn't have a whole lot to do with what's in front of you. But if you give a little time for the body to talk to you and tell it a bit about itself, and this was kind of my point as an ethicist was I keep learning about people and systems that are ordering the body around. They haven't even stopped to listen to what it has to say, or how it's organised, and what it might speak to the moral life because it's the moral life is lived, is a bodily lived experience.So what does the body speak to that? Because if the body is a gift and not a curse, then it can possibly inform the moral life rather than be its subjugated-   Tahnee:  (09:25) Vehicle of fear almost. Yeah.   Gil Hedley:  (09:28) And bedraggled partner or servant or mule as it were. Yeah, so if you're just doing regional anatomy, you really do run the risk of of getting disconnected. When you come into a lab and the body's head, and hands, and feet are wrapped, and they're faced down, and you never connect with them as even though the housing of a person but it's just like you're on day one of medical school. You're told to go in and find the integration of the trapezius muscle, meaning you have to hack a panel out of the skin, superficial fascia, deep fascia, flip the muscle over, find the nerve, then you get your A. Now, what happened to you in the process, right?   Gil Hedley:  (10:16) So chances are, you're disconnected or as I bring people into a room, we stand around the table holding hands in a circle. We give thanks and we bring ourselves into a state of appreciation. We acknowledge that this form is a gift, and this is came from a person who had an intention or the family who has an intention. We look them in the eye, and we sit them up, and we stand them up, even and we meet them in a vertical so that we can we can acknowledge, "Oh, this isn't just some dead body. This was someone's body." It's not a person on the table by any means. I'm not a surgeon. I don't work on living persons.   Gil Hedley:  (10:58) But I do work on the artefacts, and the footprints, and the old shoes of persons. I learned a lot about them as a result of that. I learned more about myself, my own fears, my own disconnections. I invite the people in the room to constantly, step up to that mirror and look in it. And see, do you hate what you see in the mirror? Do you love what you see in the mirror? Do you hate some of it and love some of it? Some of it you can't even see because it's literally outside of your ability to see. So I try and help people to see more. Then to just observe what their relationship is to what they see. Because if it's unappreciative, I'm going to work my hardest to to point out aspects of appreciation that can bring that person into a positive relationship with the gift that's in front of them and hopefully the gift that they're walking around with.   Tahnee:  (11:54) I had a close friend about maybe 2013, do your training in San Francisco. She sent me these emails while she was there, and it was like witnessing a breakdown, and then a breakthrough, and then this kind of rebuilding of her identity. I mean, I just looked at them again, when I knew I was going to talk to you. I remember them, they was so visceral for me when I wasn't there. I can feel how visceral it was for her and this process of spending six days, going back to her hotel alone and just processing. I think about how we're so removed from natural processes, death, birth, like all of these things.   Tahnee:  (12:36) I remember when I had my daughter, I had an experience meditating where I could almost feel this energy stream between her and I. Even though I was across the room from her. I remember reading in one of your posts about like fat being the fascia, sorry being the receiver like a transmitter of energy. I could feel how like my body had softened so that I could have this deep connection with her. I think those little little insights, they just they change your experience so much. How could I hate my chubbiness? If I was deeply connected to my little baby.   Tahnee:  (13:14) I mean, for me, that was just such a beautiful, getting even emotional talking about it. It was such a beautiful change because I've spent my whole life with eating disorders and various forms of that even if they weren't avert. That's what I saw with Kate, her respect for her body and for her students and how she was able to just see differently, I can just imagine you must have these huge transformational experiences going on every day in your work, right?   Gil Hedley:  (13:44) At least in my courses, I definitely set them up as opportunities for transformation and healing, I like to say that my classes are transformational, not traumatic. Because I mean, I was brought into gross anatomy laboratory when I was 17 years old in high school and in an advanced biology class. The guy who took us around the lab, at the Harlem School of Pediatry was basically like John Belushi, it was a joke. He was going to make us laugh and we did laugh, but it was simultaneously horrifying.   Gil Hedley:  (14:22) There were bags of feet on shelves around the room. There were hammy pelvis and legs lying on the table. He's yanking on tendons, showing, making toes move like a chicken. I didn't eat chicken for two years after that visit to the lab. It made a tremendous impression on me. When I came to study in a lab myself, I was like, the fact of the matter is that when you enter the laboratory, you actually go into altered states of consciousness, just by dint of the circumstances.   Gil Hedley:  (14:48) So you don't need to take anything magic to have your consciousness altered when you go into the lab. If you're brought in mindfully, with consciousness and awareness. I felt and do feel a keen responsibility when I have a room full of people in an altered state of consciousness instead of to jerk them around or mess with them, to serve them. From my Catholic upbringing, I have a service mentality. That's my ethics. That's my religion, my religion is service, right? That's the core of my own ethical structure. I do take the opportunity to serve the people in their altered states of consciousness in the laboratory for their sake, as opposed to what often happens in workshops where people are brought into altered states of consciousness and then the leader manipulates them for their own sake to take the next workshop. I hate that. I can't stand that.   Tahnee:  (15:55) Welcome to the yoga industry, yeah.   Gil Hedley:  (15:58) Yeah. It's so mean to start enrolling people when they're in the middle of their ecstatic experience. I would much rather have you calm down and realise here, and two years later think would you ever want to do that again? Most people are like, "No, that was plenty. I got that down." Now, there are the occasional people who come back and come back and back and back. Some people come every year. But they've made it their own practise. That's their own practise. I've made it my own practise as well.   Tahnee:  (16:27) Well, I mean, it seems like an endless task almost to try and map the body. I mean, it's so complicated.   Gil Hedley:  (16:38) It is. Things don't hold my attention for very long unless they're very interesting. So I found like with ethics and the moral life while I was studying that still am, I haven't stopped, observing, making observations and tinkering with my own set of ideas around how it is to be in the world and what I am in the world. What is going on here? These questions still drive me, who I am and what is my body. But when I think about how long I've been doing this for at this point, if you'd asked me, I would be like, "You're crazy." But it turns out that it really is the universe that we're exploring here. Whether you do it in macrocosm or microcosm.   Gil Hedley:  (17:23) I mean, I am like a kid in a candy shop in the lab every day because I'm seeing stuff, making observations, seeing details that have escaped me for all these years or details that I saw and then forgot. To be able to do that is quite a privilege, but also just speaks to the complexity of the subject. Even at the gross anatomical level, because people I mean, many people just dismiss gross anatomy like, "Oh, we already know all that stuff. That was figured out 400 years ago, right?" There it is. It's in the book. It's done there's nothing more to say. If you were getting a PhD in anatomy right now, you'd be hard pressed to find a professor who would support PhD level work and gross anatomy. No, you're going to be doing molecular biology. You're going to be working at nanometer level sizes of anatomy, cellular anatomy, gross anatomy is passe.   Gil Hedley:  (18:28) They'd rather have it out of the building actually because it smells and it's expensive and scary. But I have found actually that working at the gross level, I'm exploring the same questions that people are exploring at the micro level about movement and interfaces and relationships and continuities. But I find that the gross anatomical level provides a mirror for transformation that may be the microscopic level might not. You might not see yourself there quite as easily as you do when you're looking at a bedraggled old man on the table or a sweet old grandma.   Tahnee:  (19:06) Yeah, you see humanity reflected back at you, don't you?   Gil Hedley:  (19:09) Yeah.   Tahnee:  (19:09) I mean, I've read just recently actually read that you were talking about, you've even got theories that challenge, I guess, our gross anatomy conceptions that say like the heart is a pump, like you see it as more of a fluid. Is it that pressure dynamics, is that kind of what you're ...?   Gil Hedley:  (19:30) The heart is definitely not a pump.   Tahnee:  (19:30) Yeah. So speak to that.   Gil Hedley:  (19:32) By design, but the heart can be reduced to a pump, under the untoward circumstances of a stressful life. You can force your heart to become nothing but a pump to maintain homeostasis, but by design the heart is more of a, I see it as the place where the blood spins itself, where it refreshes its movement.   Tahnee:  (19:55) I guess centrifugal force kind of a thing is that what you ...   Gil Hedley:  (19:59) I think it's more about ... Well, there's that for sure, because I would say one of the primary functions of the heart is to facilitate the restoration of the vortex, the lamination of the blood and its flow as opposed to forcing it through smaller and smaller tubes that terminate 30,000 miles away and then make a 30,000-mile road trip back. That ain't happening with that little bit of flesh inside your chest. If you saw the kind of a pump that would be required to force a fluid through pipes with increasingly smaller diameters, the mathematics of it results in the need for an absolutely large machine, which is not located inside your chest.   Gil Hedley:  (20:43) If you've ever seen a heart lung machine, just look it up on Google, heart lung machine. It's like a big ass machine that is forcing blood. It's really the the amazing fluid dynamics and fractal form of the vascular network that's actually a reflection of the movement of fluids rather than its cause that results in the blood being drawn to the periphery and then being drawn back to the centre.   Tahnee:  (21:19) Like a tide, kind of?   Gil Hedley:  (21:21) Yeah, maybe like a tide. But there's a wonderful, wonderful Austrian naturalist whose name was Viktor Schauberger.   Tahnee:  (21:31) Yeah, I was about to say. Because he was all about the water needing to spin in vortex. We have an egg at home that our water-   Gil Hedley:  (21:37) Do you really? That's so cool.   Tahnee:  (21:38) Yeah.   Gil Hedley:  (21:39) How wonderful.   Tahnee:  (21:39) That's the thing. Because like nature is if you look at a coastline, it's all fractals, if you look at anything in nature, it's water streams like and the way water-   Gil Hedley:  (21:48) Yeah, so is the heart rhythm, the heart rhythm is fractal, we are fractal. We are mirrored best with fractal forms. We don't need a pump to make the water go around the planet or to make a vortex form in a stream nor do we need to control the streams banks. Similarly, if left to its own devices and if the heart is free, the blood will flow beautifully for your whole life. But if you resist that flow, if you resist the movement of life within you, literally through hypertension, emotional states and dietary duress is supplying your form, you can actually, I use the phrase canalyzing.   Gil Hedley:  (22:38) Which I mean to make a canal out of literally. So, if you put a canal and put walls, canal walls on a stream, you stress it basically. You dispermit its normal flow of movement, and yet it's still on a spinning planet. So what happens is there's friction, right? Instead of there being sort of a frictionless passage of the fluid, you have friction against the walls of the canal, which will be broken down by the fluid friction and also by the altered chemistry of the water, which when not moving in the same way has an altered chemistry. It's no different in our bodies, when we enter into emotional states that stiffen our otherwise flexible river beds, then we can analyze the path of the blood, generate friction of the blood against the vessel walls, which abraids, destroys them along with the altered chemistry, which chemically abraids them.   Gil Hedley:  (23:36) You have that combination of things, and then homeostasis kicks in and says, "Well, you promised to stay on this planet as long as I could keep you here, and so I'm going to proliferate cholesterol from your liver, the purpose of which is to be an antioxidant, and I'm going to take the oxidised cholesterol. I'll pack into the fissures along the vessel walls and I'm going to ... Oh well that's not enough. We're going to going to a hole in this thing eventually. So you really do want me to build a canal and your body will actually lay down bone basically," it'll calcify a literal canal, a little calcified canal inside the blood vessel. Then your blood will try and flow through that but you've created is no longer being sucked to the end and sucked back.   Gil Hedley:  (24:24) You're actually demanding like I said, at the beginning of the story, that your heart be a pump then, and then you'll get megalocardia, right, the heart will increase it and literally, increase in size as it worked for the first time in your life to move the blood. It never had to work before, it just happened. The ocean doesn't work to draw the rivers into it. The clouds don't work to form, and rain over the mountain tops, and soak into the soil and turn into spring water and bubble back up. There's no work involved. It's all just happening on a spinning planet, in a spinning galaxy. We are that.   Tahnee:  (25:03) Spinning bodies.   Gil Hedley:  (25:04) Yeah, we our bodies, are participating in that potential fluid movement on the planet. Unless we decide to hell no. I'm going to do it this way. I'm going to do it the hard way I'm going to resist the moment of life within me, and show it better. We never do we always show it worse.   Tahnee:  (25:28) I mean, it sounds like you're talking a lot to the Taoist world view. Would you say that's fair? Because it seems to be, like if we resist the flow of life a lot of this stuff, I guess is reminding me of like the Tao Te Ching and those kinds of concepts.   Gil Hedley:  (25:42) Yeah, there's a lot of good stuff in there, huh? Definitely. I would say when the Tao is lost, morality arises. Yeah, that's a little Tao Te Ching for you. I read it many times as a boy.   Tahnee:  (25:54) Yeah.   Gil Hedley:  (25:55) Man. I love the Tao Te Ching. I was like, "Wow, what's this all about?"   Tahnee:  (26:00) This idea I mean, because I have a little bit of a background in Chinese medicine too. I'm thinking like one thing, Paul Grilley who's a yin yoga teacher, I think you know him.   Gil Hedley:  (26:09) I know, Paul, he's pretty good.   Tahnee:  (26:11) Yeah, yeah. Well, he was talking recently about how one of his theories is that the fluid around the organs changes, and that gives rise to deficiency or access patterns and stuff. That makes sense when you're talking about the chemistry of the fluid. If it's altered by stagnation or by excess flow or whatever, getting flushed out too quickly, then we're going to end up with physiological effects from what had happened.   Gil Hedley:  (26:37) Absolutely.   Tahnee:  (26:39) Yeah, and then those manifest health symptoms and things, is that phenomenon visible in the fashion, not just in organs, obviously be it all through the body, right, that we'll be seeing this kind of stiffening?   Gil Hedley:  (26:51) Absolutely, I see. Well, what I call perry fascia I see as a fluid reservoir in our body. I like Peter Fritos word of a conduit. It's both a pathway as well as a reservoir. It's chemistry is dependent upon levels of hydration, which can be altered, but not only hydration, but the entire chemistry is altered by dehydration, right? You start to get you know, hydrogen bonding and cross fibre linking in the tissues that are designed to facilitate differential movement. When that happens, then at some level, the function is mitigated.   Gil Hedley:  (27:53) I don't know what percentage is required. I'm not saying dehydrated like cardboard, I'm saying like 2% of lack of fluidity and what does that do to the cells or the slipperiness of the tissue. When there's this level of drag generated mechanically throughout your body, how does that alter physiology? How does it alter movement? How does it alter mood or how does mood alter? It goes both ways, right?   Tahnee:  (28:24) Yeah, yeah. I mean, it's so easy for us to be either or with these things. When you start to really look into them, it's always both, there's a great F. Scott Fitzgerald, quote, it's like, the sign of advanced intelligence is the ability to hold two opposing ideas at the same time. It's one that we constantly have to remember where we because ... You try and conceptualise these things, and it's so easy to want to know the truth which and then realistically it's always both. We're physical beings, we're emotional beings, we're spiritual beings. We're all of these things at once. I mean that idea that you say of I guess just reclaiming the body as a positive kind of a thing because I think so much of our culture like movement practises are ... I see some of the stuff people are doing, especially on social media and it just seems like it's abuse. It's like we're flogging our bodies.   Gil Hedley:  (29:22) Oh yeah, for sure.   Tahnee:  (29:24) I mean, you have some movement practise of your own. Right? Or you speak to movement quite a bit like, is there a ...   Gil Hedley:  (29:34) I walk.   Tahnee:  (29:34) Well, I mean-   Gil Hedley:  (29:34) I usually walk when I'm on the telephone. At the moment, I'm plugged in, I hover over cadavers in uncomfortable positions for hours a day, tormenting myself. Then I come home and collapse on a soft gushy sofa and do four hours of admin on my computer. While we make popcorn and eventually relax by watching something on Netflix. I'm pretty much in the loop of-   Tahnee:  (29:57) Of life.   Gil Hedley:  (29:59) Earlier. By the way, I think F. Scott Fitzgerald must have been a Libra.   Tahnee:  (30:03) I'm a Libra, so maybe that's it.   Gil Hedley:  (30:06) You're a Libra? I'm also a Libra, like a triple Libra.   Tahnee:  (30:10) Oh, no, are you?   Gil Hedley:  (30:12) Yeah. I'm as Libra as they get. I'm a Venusian, they're like man are from Mars and women are from Venus. Gil is also from Venus.   Tahnee:  (30:21) This explains a lot though because you also have the poetry and the beautiful philosophical musings, which I think is a very Libran trait to always look at the beauty in everything.   Gil Hedley:  (30:30) That is very true.   Tahnee:  (30:34) There was something you actually said. No, I think he taught a workshop on it overseas. I think a friend of mine from England went, I think that's why I knew about it. It was Sex and the Sacred Heart. Is that something you did?   Gil Hedley:  (30:48) That was recently, yeah.   Tahnee:  (30:50) I was not there, but yeah. I think a friend of mine from England who I'd done one of Paul's training's with was in attendance.   Gil Hedley:  (30:55) Yeah. Jo Phee.   Tahnee:  (30:57) I love them.   Gil Hedley:  (30:58) I held a yin teacher training in Berlin, actually.   Tahnee:  (31:02) Yeah. She had a whole bunch of you though that were pretty next level guests.   Gil Hedley:  (31:05) Yeah. Robert Schleipe was there. Jupp Vaanderwall, John Sharkey, and there was a gentleman, an acupuncturist fellow who I didn't have the pleasure of meeting. He was gone by the time I arrived. But anyway, yeah, When Jo says come, you got to go.   Tahnee:  (31:23) For someone so teeny, she's definitely got a authority.   Gil Hedley:  (31:27) Yeah, well, Jo's been coming to my class for years. I figured I owe her.   Tahnee:  (31:31) Yeah. Look, I mean, she's a wealth of information and hardworking.   Gil Hedley:  (31:36) She's wonderful, wonderful teacher. Yes, so I did teach a workshop called Sex and Sacred Heart. It was a kind of an experiment. I was thinking I might tour that talk. I was trying to see could I actually teach a class without my computer and without an image from the lab, and just tell stories that use toys such so I did. I did twisty tie balloons.   Tahnee:  (31:59) Okay. I thought you might made ...   Gil Hedley:  (32:01) I made a giant clitoris and a giant penis, and we had a great time.   Tahnee:  (32:06) Well, because one of the things my Taoist teacher talks about is how the Heart is expressed in the head of the penis and the clitoris. That's one of his big things. He's like-   Gil Hedley:  (32:16) I believe him.   Tahnee:  (32:18) Yeah. All of his work is around sex is a healing practise instead of as something to be-   Gil Hedley:  (32:23) Wonderful.   Tahnee:  (32:24) Yeah, was that the name of what you were talking about? Basically?   Gil Hedley:  (32:27) Well, for me, I wanted to basically offer, have a frank discussion about sexuality that wasn't so reductionistic as well. It's like well, first let me share with you some of the basic anatomy of our sexuality that may be overlooked or misunderstood because people haven't gotten that Sex 101. I found the more I talk about it, the more I realised that folks really don't know anything at all about their sexual anatomy for starters. And that's understandable, it's just not around. Where it is being taught, it's very difficult to comprehend the dimensions, the dimensionality and relationships, the anatomical structures are poured over it for years.   Gil Hedley:  (33:15) I think I can offer, I can make those connections with people but then also to be like, "It's not about these body parts. It's nice to know that and to be able to meet and connect with the actual qualities of our parts intimate," as I call them, but also that ultimately good sex is a function of the Heart. Not everybody wants good sex, but if you look at some people just want trashy sex, whatever you want to say. That's fine too. I'm not the judge. But in our culture, at least in the American culture which is all I can really speak to, the disconnection that we spoke of earlier with regard to our religiosity actually produces its opposite in the culture with as much or greater strength.   Gil Hedley:  (34:11) So to the extent that you deny, suppress, repress, revile, hate, and control sexuality, you create the largest porn industry in the world because literally, the porn industry is a function of our religion in the same way that the devil it's himself is a creation. If you have a pure God, that's only love and you and you subtract anything else from that God, you build a devil, right? If you go to the Indian religions, Kali Maas, terrifying, and sexy, and murderous and terrifying. You know what I'm saying? So it's all wrapped up into one thing. It's a little more psychologically rich. Similarly, if you banish an aspect of the human body to a lesser status. You cut off your very experience of the human body at the waist, you will not know the fullness of your Heart.   Tahnee:  (35:21) Even at the shoulders, like so many people who are living from above the neck, right?   Gil Hedley:  (35:27) Absolutely. Not even in the head. They're actually above the head. It's too terrifying to even come into the body. If you just ask people to a number, "Where do you feel yourself to be?" There will be people who will put their hand over their head. They don't feel themselves to be inside their bodies. If you've actually judged the body to be dangerous or if the body is perceived to pose a moral risk to the soul or salvation or however you want to construct it, then you're going to have a very busy porn industry.   Gil Hedley:  (36:15) In the same neighbourhood, because it'll be right next to the church. So there'll be the church, and then there'll be the dirty movies shop, right? Because you can't part yourself from that. You can't divide your heart like that. So for me, the is heart sacred and it infiltrates every cell, makes up to every cell of my body, the capillary network infiltrates my below the waist as well as above, it's the same Heart. I can't believe that a kind creator God would would give me a zone one of my body that was forbidden somehow or that was somehow less than any other aspect of my body. My mouth can't say to my dick, "I don't need you," to crudely paraphrase, the Apostle Paul.   Tahnee:  (37:14) That might be the headline. Kidding.   Gil Hedley:  (37:19) Yeah. You might have an establishment coming. Just saying.   Tahnee:  (37:22) Same intention.   Gil Hedley:  (37:24) Yeah, it's like the eye can't say to the hand, "I don't need you." There's nothing, there's no part of a body that is a gift that is unwelcomed or dirty or doesn't belong. And once you actually embrace the whole of the body as a gift, then you could say, "Well, then I gotta unwrap it all. I have to be open to the potential, the entire potential of this form and not just part of it." If I fall down on my knees, and literally straightened my body up and cut my pelvis, the energy off of my pelvis, above the pelvis, it's a strange thing. It's a very strange thing.   Gil Hedley:  (38:10) I don't feel like that justly demonstrates gratitude to the gift of the whole body. I feel that kind of, then so we actually have a culture that's split on those lines, right? And you end up, because of that split, the spirituality, actually a kind of spirituality, that splits the body in two and considers part of it great, that part of it good. That kind of spirituality literally drives the negative and empty expression of sexuality in the culture, right, because then everyone who actually goes for it is like, "Well, this, this can't be that." They're just the other side of the coin. By bringing the heart or the idea of a sacred heart into the story of sexuality is to say that we can't split our hearts in two and expect ourselves to feel whole. The heart is no less present in your [inaudible] than it is anywhere else.   Tahnee:  (39:16) And I mean when you're... Because that's something I think I've heard you say that even the separateness of our bodies is something you've brought into question recently. Is that something? Have I understood that correctly? Because I've been thinking about I guess, again, looking from the Taoist perspective, and even some of the tantric practises , that sacred union has been transformational for people. I've certainly had that experience in my life where I've had the good and the bad sex, where part has been really healing and empowering. That's, I guess, my current relationship,. It is like a transcendental experience where you actually do sort of dissolve almost, then there's that experience of like meditation or altered states of consciousness.   Tahnee:  (40:15) I mean, that's what my experience has been when I've managed to kind of unify through sex. I think that's there's a reason that subjugated because that's very empowering. You don't want to be a part of a ... You become kind of less able to be controlled, I think, when that's a part of your experience, because if you think about advertising, and politics, and all of these things, they really come out of this, these ideas. I know we're getting into deep territory, but that's been my experience. I think about if I'm repressed, and suppressed, and afraid, and don't trust myself, and don't trust my power and my body, then I'm much more easy to control. It's an act of sovereignty and liberation in a way.   Gil Hedley:  (40:58) That's beautifully put, I love it.   Tahnee:  (41:01) Yeah, well, I'm getting there. So could you flush out that idea for me about because we're all so different, and that's something you mentioned before we got on, you've been in the lab a lot lately. You've been taking apart two bodies simultaneously, and recording it so people can actually see even side to side, we're different. This is something I literally have to hit people over the head with. You won't be able to assume the same shape on one side that you do in another side in a yoga class.   Tahnee:  (41:29) It might be minutely different, it might be vastly different. I think people think we kind of have like those butterfly prints you do it at school when you're a kid. We're like clone from side to side. But that's not how we grow to my understanding. We kind of spiral out. That fractal nature of us. We aren't perfectly symmetrical, and none of us are perfectly-   Gil Hedley:  (41:52) Very true.   Tahnee:  (41:52) Yeah, well, none of us a perfectly symmetrical, but then you're also saying that we're very similar. So can you explain what's going on for you there? What's that line of thinking?   Gil Hedley:  (42:02) Well, we got a head. I have a head, we both have a couple arms, most of us do, a couple of legs, some hairy bits here and there. That's kind of like the basic map, right? Then literally to a number, every one of us kind of is a spin on that basic format that we call the human body.   Gil Hedley:  (42:31) But when I think about the human body, I mean, I've thought about the human body for years and years and years now. I keep kind of shifting my idea of the human body. Now when I say the human body, I tend to include yours with mine. I tend to include all the bodies as the human body. There's this body of humans on the planet. There are many, many cells to it, right? This human body, We're actually, all those human body cells that we are are governed by the same sun, the same moon, the same stars, the same spinning planet. Those are the master glands and the master physiology of the whole human species. And believe me, when the sun throws some crazy ass cosmic rays at this planet, we behave differently. When the when the moon is full, we behave differently.   Tahnee:  (43:33) Luna speaks.   Gil Hedley:  (43:35) Yeah, exactly. Our skins are producing in response to the sun, everything, whether we're hungry or tired is based on the sun. You can't get off the planet. Just try, jump. See how far you get. You snap back down like a magnet. There's substance to the space between us. Just because it's not our, our sensory habit of perceiving the content or substance of the spaces that we imagine are between us in the same way that when I went to the lab at first, I didn't really expect the muscles to be connected to each other. I mean, I knew they were connected to the bones or something, but I thought there was kind of, I don't know, maybe some juice in between them.   Gil Hedley:  (44:42) I didn't expect it to be a facial connection. I didn't expect it to be a substantial connection. I was basically surprised and in denial of the connection I was witnessing. Isn't that true about all of us? Aren't we surprised and in denial of connections between us? Right? Such that we keep forcing our minds to imagine ourselves separate in spite of the intimacy of our mutual connection across the planet with one another, regardless of telecommunications or whatever. There's a substance that's a continuity that is the relationship of the whole human body on the planet.   Gil Hedley:  (45:32) I don't really need to even stop it there. Why stop at the human body? Why not just talk about the planetary body or the body of consciousness? Right? Then you can just include everything. Why not? Because I don't know, I don't really. I'm not really a big, big bang kind of guy. You know what I'm saying? I find that to be a very amusing story. Right. Whether it be true or not, I don't even care. But I just see it as, as a nice metaphor for connection really. Right? So if you do conceive of a beginning or of a beginning that was the end of something else or a new beginning that is a very concentrated mass of atoms without so much space in between them that that spread out, formed our universe and our bodies and our stars at the star dust.   Gil Hedley:  (46:34) If there's any truth to physics, the proximity of those generated a mutuality such that at a distance, they remain connected in their behaviours and in their substance, even electromagnetically or however else that happens. I don't really know. But just as a story, I'm willing to ramp that up at the macro level. I can easily extend the notion to our mutual connectedness. I also know that I can feel people at a distance. I don't automatically deny that experience. Any human can, with a little practise view remotely and extend their consciousness. So the the field of consciousness that we share may be our body, may be my body. I don't say that egotistically, but as just a simple fact of reality.   Tahnee:  (47:37) That's very yogic. Well, that's sort of the map I've learned of what Paul teaches is actually, where ideas and energy and form, but we're all the same thing all the time. It's just we choose to perceive ourselves this way right now.   Gil Hedley:  (47:59) It's not the worst choice in the world, it can be interesting.   Tahnee:  (48:06) If you do believe we chose it, then we chose it. There has to be a reason on some level that we're here for this experience. Again, ideas and stories.   Gil Hedley:  (48:16) Punishment. You're being punished. You've come to the earth because you suck.   Tahnee:  (48:22) I heard a spiritual teacher stay the other day. He said, "You've been very naughty. That's why you're here." And it made me laugh, and it was in the time of Coronavirus. I was like, maybe it's our great punishment or something   Gil Hedley:  (48:38) Yeah, I don't think so. I have sneakingly suspicious that we're not being punished.   Tahnee:  (48:45) Yeah, I mean, my partner and I talk about these things a lot. We both feel that, I've always used the analogy of like Super Mario. I had a little Gameboy when I was a kid and it's like, why am I putting myself through this? It's because I learn and I grow and I get better. It's that self-development that motivates my life and obviously motivates yours. It's like that constant curiosity and questioning. I think that's fun.   Gil Hedley:  (49:13) Yeah, some of us are cursed with that drive to grow. What is that about?   Tahnee:  (49:20) Maybe we did something naughty.   Gil Hedley:  (49:21) Yeah. We must have done something naughty.   Tahnee:  (49:24) I have one sort of last question that which is curious to me as a movement, as somebody who I guess practises yoga asana as well as other things. You talk a lot about textures and about feeling textures. I know like bodies. Actually, I have a couple of questions in here. So I know you do like fixed dissections and then also gooey ones, which Joe and I actually talked about last year when I saw her she was saying that she'd done, like the brain was just like a puddle. It was very different to a normal brain.   Gil Hedley:  (50:00) Very different. Yeah. It's moving. Why is it moving?   Tahnee:  (50:03) So this idea that because most of us, even if we've seen anatomical models, they've been quite fixed by the formaldehyde and that kind of processing that goes on. You work with bodies that are quite fresh sometimes. We are really just sacks to goo and space and water and stuff, right?   Gil Hedley:  (50:27) It's pretty well differentiated in there actually.   Tahnee:  (50:29) Okay.   Gil Hedley:  (50:31) Yeah, I guess I'm not a massive goo, but tubes of goo. Is that kind of ...?   Tahnee:  (50:38) Yeah, well, there is a very watery quality to the body that's not fixed. There's a very, well for lack of a better word, sort of chickeny quality, cooked quality to the fixed bodies. Neither of them really capture the, the true tone of the human form and its textures. There are advantages and disadvantages to studying both. That's why I like to do them both because they're complementary rather than one better than the other. I couldn't work for seven straight weeks on an unfixed body because it would be rotten by the end of it.   Gil Hedley:  (51:16) The decay is too rapid and the fixed bodies, if it's done well, you can read into them the properties of the unfixed body. So the textures that I'm feeling into also represent differences, right? I can extrapolate from textures that are slightly off differences that can be palpated in the living form, right? So although the textures might not be the same, there are relative differences conveyed to the living form, whether it be a fixed or a unfixed body. can I can make use of the donated forms, the models as I call them, to interpret and read into the living body in the same way that a good tracker can read into the hoof prints of an antelope herd and pick out the the young and the weak, and walk after those hoof prints. Sure enough, come upon the young and the weak that are worn out, that just lie down and then the Bushmen of the Kalahari, just they can just dinner is served.   Tahnee:  (52:40) Got served.   Gil Hedley:  (52:43) I basically consider myself a tracker. You know, I don't I don't take the track for the being, right? I don't mistake the track for the antelope, but I can learn a whole lot about the antelope from the track. I can learn a whole lot about movement dynamics, fluid dynamics, structure function from the track that is the deceased human body.   Tahnee:  (53:14) So this idea of then movement, it becomes more about experiencing or developing this ability to perceive the textures. Is that what you're kind of getting at when you talk about movement practise and bringing this stuff in? Because there is that sort of Taoist idea that junk kind of congregates at the joints. I guess being dense and less full of goo perhaps, maybe is where that idea is coming from on a physical level.   Gil Hedley:  (53:45) The joints are pretty full of goo too actually. I just had a handful of synovial fluid this afternoon and my hand. I was like, wow, this is serious goo.   Tahnee:  (53:55) I guess that's more goo than what I'm imagining, because I'm imagining if there's a fluid and then a junction that's gooier, you can imagine things getting trapped there as opposed to like moving through muscle tissue where maybe there's more blood, it's more dynamic, there's more access. In my body, I can feel that those movements have a different texture and I guess a different experience. Is that kind of what you're talking to? I guess I'm just trying to comprehend how I would experience texture in my body.   Gil Hedley:  (54:28) Touch, just grope around.   Tahnee:  (54:30) Just touch it.   Gil Hedley:  (54:32) Yeah, just touch it.   Tahnee:  (54:32) Yep. I've got some rope up here in my shoulders.   Gil Hedley:  (54:35) Well, exactly. That's exactly right. So it's like, oh, I feel some rope up there. What's moving or not moving their? Or oh, this is kind of mushy, no matter how hard I try and contract it. What's going on there? Or when I turn this way, I feel stiff. When I turn that way, I can keep going. What does that texture feel like or what does it mean to move from my bones or what does it mean to move from my deep fascia versus my superficial fascia or from my membranes? Can I actually ... Actually when you can begin to sort of get a sense of those textures in your movement. We see this in the sort of traditional movement arts around the planet. Someone who's doing Xing Yi is moving from their sinews, from their tendons, and their deep, deep fascia. Very different than someone who's practising Aikido or something, right? Or someone who's doing Kung Fu or Karate or Taekwondo.   Gil Hedley:  (55:51) Those all the martial arts are actually deep explorations and moving from different textural foundations in the body and exploring their power, and the individual's relationship to the movement potential of those different layers. I find that fascinating, and fun to explore. and easy to see. For me, from my vision when I'm looking at, I'm like, "Oh, wow, that's a real muscley movement I'm looking at there," or wow, I look at my friend Russell Malphite, who's a choreographer in London and man that dude is liquid, he's just moving. He enters into the, the fluid potential, the fluid surfaces that are inherent within his body, and then he projects that out into space for all of us to witness.   Gil Hedley:  (56:48) Your jaw drops and you're like, wow, how can that even be? How can a person move like that? With that as your mirror, it confronts your own movement way of being in the world. This is ethics, your own movement way of being in the world which may be conserved or stiff or held in textures that are more wooden. That might be conveying a wooden mentality or a wooden religiosity or disdain for your own sexuality so that you can't actually get a wave going through your spine or an infinity wave going through your pelvis because that would be judged as seductive or something. Yeah. So that's kind of what I'm getting at.   Tahnee:  (57:36) Yeah, we have a friend who's, his name's the Movement Monk. But he teaches just those explorations. When I was practising them, and I heard you speak to that, I thought about it, because I mean, practising a lot of Yin. You really feel like that deep fascia, those rebound kind of sensations, and that's something I think for me, in my eyes, I think I was, must be early 20s when I first practised Yin. It was such a visceral and distinct sensation versus like the muscular action I supposed I was used to from athletics and life, and even regular yoga. I feel like we've lost a lot of that, I guess kind of exploratory function in modern movement. So it's nice to feel like maybe it's coming back a little bit. Yeah, well, that's probably a nice place to wrap up. So thank you. I mean, I really appreciate you taking the time. You must be knackered. The Australian, I don't know if that's an American word. Very tired.   Gil Hedley:  (58:42) Yeah, it's a very American word. Knackered, we say that all the time. Yeah.   Tahnee:  (58:46) Yeah.   Gil Hedley:  (58:46) We say, "I'm wasted. I'm so tired. I'm wasted."   Tahnee:  (58:50) In Australia, that means you drunk too many beers.   Gil Hedley:  (58:53) Yeah, that means that here too actually.   Tahnee:  (58:56) Yeah, so thank you so much. I really appreciate your time.   Gil Hedley:  (58:59) Thank you, Tahnee.   Tahnee:  (59:00) Yeah, I'll put all the links to your work on our webpage so that people can find you. But do you want to just rattle off your website for us? GilHedley, right?   Gil Hedley:  (59:10) Www.GilHedley.com, G-I-L-H-E-D-L-E-Y dot C-O-M. There's tonnes of free stuff there. So enjoy it.   Tahnee:  (59:16) Yeah.   Gil Hedley:  (59:17) Yeah.   Tahnee:  (59:17) Also you're on YouTube, you've got your famous fuzz speech, which I know you've probably copped a lot slack about it.   Gil Hedley:  (59:23) Very kind to not ask me for a whole hour about the fuzz speech.   Tahnee:  (59:27) I figured you've probably been there and they'll be stuff out there about it.   Gil Hedley:  (59:32) Yeah. It's not a problem. I'm happy to speak to that anytime. But actually I do on my website, if you join it, which involves putting your email down. I won't email you back unless you have beg me to, basically I have three free full length video courses that amount to about 16 hours of teaching an on camera dissection. That'll give you my learning curve over the years and a whole lot of cool content, then I put that up there, especially for you Australians, because-   Tahnee:  (01:00:02) I know. I've been dying to come for years.   Gil Hedley:  (01:00:06) I always feel bad. I mean, I'm honoured that the Australians come to my courses. They're always like, "When are you going to come to Australia?" I'm like, never. Just do that.   Tahnee:  (01:00:16) The logistics must be difficult to arrange a cadaver in another country.   Gil Hedley:  (01:00:20) It is. Yeah. I'm so busy with what I'm doing now that I'm not really looking to-   Tahnee:  (01:00:26) Yeah, expand in that way.   Gil Hedley:  (01:00:27) Multiply, multiply the number of times, the number of weeks I spend in the lab each year.   Tahnee:  (01:00:33) But don't worry we come to you.   Gil Hedley:  (01:00:35) Thank you.   Tahnee:  (01:00:35) Australians like travelling.   Gil Hedley:  (01:00:37) I'll be coming to you because all this stuff that I've been doing in the lab, I'm basically shooting footage for a massive online course.   Tahnee:  (01:00:45) Yeah, awesome.   Gil Hedley:  (01:00:45) Yeah, that'll take people-   Tahnee:  (01:00:46) Is there a timeline for that, Gil, in terms of ... Do you have a ...?   Gil Hedley:  (01:00:51) Give me a year, about a year, maybe less. I mean, the stuff on my website, I give away and it was just so I could learn how to make a website that could contain this massive thing that I'm building. Right now, we're shooting it. So there's a whole lot of other levels to making good education than just shooting the excellent video. I want to have it be flushed out as a whole course of study into the human body that's not exclusively laboratory based, but that has other elements to it as well in terms of exercise and exploration that can facilitate folks all over the world having a totally different experience to what it means to learn anatomy.   Tahnee:  (01:01:37) Yeah, I think that for me is such a gift. I mean, I'm sure I'm speaking for other people, but to not have to go through a traditional route to learn this stuff. I was looking at do I go back and do another degree and study. I'm like, I'm not going to learn what I want to learn as well. So that's really amazing we have these kind of independent options. That's something I can't imagine how much work that's been for you at the backend. So very grateful. Thanks.   Gil Hedley:  (01:02:11) I can't even tell you. I can't even tell you.   Tahnee:  (01:02:13) I mean, look, we sell herbs in a country and it's hard enough, I can't imagine what it's like moving tissue around. Yeah. I've heard some stories over the years of what you've jumped through. It's always impressed me. Anyway, on behalf of anyone out there who's listening, thank you. Yeah, I'll see you one day when the Coronavirus ends and the world is open again.   Gil Hedley:  (01:02:37) I look forward to it, Tahnee.   Tahnee:  (01:02:39) With existential experience.   Gil Hedley:  (01:02:39) Yeah.   Tahnee:  (01:02:42) All right. Thanks, Gil. Have a beautiful afternoon.   Gil Hedley:  (01:02:44) You're welcome. You too. Bye bye.

IN THIS EPISODE Articles mentioned: Minnesota Violin Shop Robbed In Violent Pepper Spray Attack https://theviolinchannel.com/minnesota-violin-shop-robbed-pepper-spray-attack-fein-violins/?fbclid=IwAR1Wh1Zw2mhwuEIIXC1q473mWPn1d_Rzggna7tqYn-pa6DdWiMlokKp1T_k Harlem School of the Arts receives multi-million dollar gift from The Herb Alpert Foundation https://abc7ny.com/society/harlem-school-of-the-arts-receives-multi-million-dollar-gift-from-the-herb-alpert-foundation/5618436/?fbclid=IwAR0yLu-4sxyESHlfumE-SFYO5ObEkPb77aGKO8_I7ZbFbGQQsqB8Sw4q6EE Lizzo boosts flute sales as classical music has renaissance on Instagram https://www.foxbusiness.com/lifestyle/lizzo-boosts-flute-sales-as-classical-music-has-renaissance-on-instagram Faceboo Black Excellence: Patrick Dailey Patrick’s website: http://patrickdaileyct.com/ Piece of the Week: Take the A Train - Duke Ellington https://www.youtube.com/watch?v=MQ_vOm-mAys Follow us on social media: Facebook: https://www.facebook.com/classicallyblackpodcast/ Instagram: https://www.instagram.com/classicallyblackpodcast/ Twitter: https://twitter.com/classicblackpod New episodes every Monday on Youtube, Soundcloud, Spotify, Google Play and Apple Podcasts! *Please note: Opinions expressed here are those of the persons speaking, and do not necessarily reflect the views of the Eastman School of Music.

Mecca Alim is a Bronx-based artist whose current body of work concentrates on characters in a world free from every form of bigotry and discrimination that impact the societies we live in. She has exhibited her art in galleries and establishments such as The Holy Apostles Gallery in Chelsea, Patria NJ in New Jersey, Backstreet Gallery in New Rochelle, Greenpoint Gallery in Brooklyn, The Harlem School of The Arts, and more. Mecca graduated summa cum laude from The College of Westchester before transferring to The College of New Rochelle, where she presented the solo thesis exhibition.  She is experienced with traditional media such as drawing and painting, and with digital media and computer programs. Mecca currently is a teaching artist at the Harlem School of the Arts. Her artworks are composed of characters personally created. They are all placed in a multicultural universe where “body-shaming,” racism, sexism, homophobia, xenophobia, and other forms of bigotry do not exist. These works are a response to the social issues that continue to plague the world that we live in. Mecca categorizes herself as a cartoonist who delves into a world of fantasy; her personal form of escapism. While she realizes that we may never reach a utopia in which people will respect others regardless of their race, gender, or physical shape, Mecca can at least express these ideals through her work.

Visual Artist, Fashion Designer and Educator Julia Kito Kirtley is extremely talented and well versed in the creative field. Her exhibit “I Hear Music in the Streets” features 13 mixed media paintings that masterfully blend cityscapes, sound and movement to examine the relationship between the city's kinetic energy, the sound of music and the role of the dancer within this sphere. The exhibit also shines even more light on the underground Hip Hop aesthetic. Born and raised in Compton California, Kito has lived in Brooklyn, New York for the past 20 years. A Graduate of Pratt Institute with a BA in Interior design she is inspired by New York's urban environment and the kinetic energy it embodies. Her biggest inspiration comes from dancers with in the underground dance scene. Their movement often inspires many of her works. Her abstract paintings of cityscapes often serve as the foundation of her three dimensional exhibitions that examine the relationship between the city's kinetic energy, the sound of music and the role of the dancer within this sphere. Currently, Kito is a teaching artist and has worked for CAW (Creative Arts Workshop for Kids), Museum Of Arts And Design and Harlem School of The Arts.

Shawn Harris started his comedy career in 1994 in NYC, he quickly started making a name for himself throughout the boroughs of the city Bronx,Brooklyn,Queens etc. His comedic style grabs you from the moment he walks on stage-standing at 6'5 his style of comedy is from the "Old Skool" Raw, but with an up to date twist. After grazing all of the comedy clubs in NYC for 6yrs & having an opportunity to perform on Broadway at the world famous Caroline's Comedy Club (and receiving 4 standing ovations in one set) he decided it was time for Television-so on to Los Angele's he went. In 1999 Shawn was given the opportunity to perform on BET'S COMICVIEW and hasn't looked back since, his name quickly gained notoriety all over the world. After 6 performances on BET Shawn started branching out to other networks (HBO,COMEDY CENTRAL,NBC,etc) his parodied remix performance of Usher's "You got it bad" became a world wide sensation called "You've gotten Fat" getting THOUSANDS of hits on Youtube,Google & many other other media networks. Shawn Harris has a national following in many cities across the US and in the UK,as well as online communities, colleges,& on television.You've seen Shawn in multiple Comedy Films,Music videos,Stand up Comedy Shows, Comedy Tours, National Stage Plays,and devoting quite a bit of time to a few different Charities and speaking to kids in High Schools to guide them to their own successes. Then... Jas Anderson will join us to talk about his upcoming projects. Jas Anderson has been a part of the arts since he was a young child, studying acting for commercials at Weist Barron, and training in theater and dance at the renowned Harlem School of the Arts. Since then, he has flourished into a promising young star.  Jas has had major roles in several films, starring in Rock the Paint opposite John Doman (HBO's The Wire and Mystic River.)

Tyson has been called an actor's, actor.  Learning stage at The Harlem School of the Arts under James Pringle.  His passion for the stage grew and later he was introduced to Rome Neal who gave Hall a residency at the Nuyorican Poets Cafe.  There he performed in plays written by Amiri Baraka and Ishmael Reed just to name a few.  Hall worked on several independent films during the early stages of his career.  The recognition from Susan Smith of Hopkins, Smith and Barden lead to him being casted in the movie "Paid In Full", Directed by Charles Stone lll, plus American Gangster and Kite.  With endless appearances in Law & Order, The Wire and Oz - just to name a few - Tyson Hall has much to say! Tune in 7pm Sunday with host Nadine Michel

Flyin' West  The Harlem School of The Arts Production! Join  The Gist of Freedom as he speaks with a member from the Flyin' West, theater production!   Set in Nicodemus Kansas in 1898, this is an inspiring story of African American pioneers in the American West. A warm humor filled family saga, it illuminates the rich history of a group of black homesteaders and explores the unique challenges they faced as pioneer women. Following the 1992 premiere of the play in Atlanta at the Alliance Theatre, under the direction of Kenny Leon, Flyin' West was the most produced new play in the country in 1994. Join Jamaal Brown Host of The Gist of Freedom as he speaks with the director of Harlem School of The Arts, Director Mr. Teacher about  the Flyin' West, production!     Kevin Dunn, the creator of PuzzlesForUs also joined in. You can visit PUZZLESFORUS.COM